"Her voice was, as always, a model of beauty combined with style…"
Colin Clarke, Seen and Heard
"Sampson’s light bright timbre touches the heart…"
Hugh Canning, The Sunday Times
"The highlight of Carolyn Sampson’s singing was in the fifth movement, where here razor-sharp tuning and brilliantly introduced vibrato was masterful."
Bernard Hughes, The Arts Desk
"Sung with luminous perfection and beautiful diction by Carolyn Sampson."
Keith Bruce, Herald Scotland
Equally at home on the concert and opera stages, Carolyn Sampson has enjoyed notable successes in the UK as well as throughout Europe and the US.
On the opera stage her roles have included the title role in Semele and Pamina in The Magic Flute for English National Opera, various roles in Purcell’s The Fairy Queen for Glyndebourne Festival Opera (released on DVD) and both Anne Truelove The Rake’s Progress and Mélisande Pelléas et Mélisande in Sir David McVicar’s productions for Scottish Opera. Internationally she has appeared at Opéra de Paris, Opéra de Lille, Opéra de Montpellier and Opéra National du Rhin. She also sang the title role in Lully’s Psyché for the Boston Early Music Festival, which was released on CD and was subsequently nominated for a Grammy in 2008.
Carolyn’s numerous concert engagements in the UK have included regular appearances at the BBC Proms, and with orchestras including the BBC Philharmonic, BBC Scottish Symphony Orchestra, Britten Sinfonia, City of Birmingham Symphony Orchestra, English Concert, Hallé, Orchestra of the Age of Enlightenment, Scottish Chamber Orchestra, The Sixteen, and Royal Liverpool Philharmonic Orchestra.
In Europe her many appearances have included concerts with Bergen Philharmonic, Freiburger Barockorchester, Gürzenich Orchestra, Leipzig Gewandhaus Orchestra, Orchestra dell'Accademia Nazionale di Santa Cecilia, Rotterdam Philharmonic, Royal Concertgebouw Orchestra, Salzburg Mozarteum Orchestra, Symphonieorchester des Bayerischen Rundfunks and Vienna Symphony Orchestra.
In the US Carolyn has featured as soloist with the Boston, Cincinnati, Detroit, Minnesota Orchestra and San Francisco Symphonies, the Philadelphia Orchestra, and the St Paul Chamber Orchestra, and is a regular guest at the Mostly Mozart Festival. In October 2013 she made her Carnegie Hall recital debut to a sold-out audience in the Weill Recital Hall, and has given recitals at the Lincoln Center, New York, and San Francisco Performances.
Carolyn works with conductors such as Sir Mark Elder, Harry Bicket, Ivor Bolton, Riccardo Chailly, Harry Christophers, Philippe Herreweghe, Louis Langrée, Andris Nelsons, Yannick Nezet-Seguin, Trevor Pinnock, Masaaki Suzuki and Donald Runnicles.
A consummate recitalist, Carolyn Sampson appears regularly at the Wigmore Hall where she was a “featured artist” in the 14/15 season. She has given recitals at the Oxford and Leeds Lieder, Saintes and Aldeburgh Festivals as well as at the Amsterdam Concertgebouw, Barcelona, Freiburg, Oper Frankfurt, Pierre Boulez Saal Berlin, Vienna Konzerthaus, and a recital tour of Japan.
Carolyn has developed a partnership with the pianist Joseph Middleton over recent years. Her debut song recital disc with Joseph, 'Fleurs', was released early in 2015 featuring songs by composers from Purcell to Britten, and was nominated in the solo vocal category of the Gramophone Awards. Since then they have gone on to release several further recordings for the BIS label most recently ‘Album für Die Frau. scenes from the Schumanns' Lieder’.
Alongside her longstanding relationship with the BIS label she has released multi award-winning discs for Decca, Harmonia Mundi, and Hyperion, receiving accolades including the Choc de l'Année Classica, Gramophone Magazine Editor’s Choice, BBC Music Magazine’s “Record of the Month”, an ECHO Award, and a Diapason D’or. Her recording with Ex Cathedra for Hyperion, 'A French Baroque Diva' won the recital award in the 2015 Gramophone Awards. Carolyn was also nominated for Artist of the Year in the 2017 Gramophone Awards, and her recording of Mozart’s Mass in C minor and Exsultate Jubilate with Masaaki Suzuki and Bach Collegium Japan won the Choral Award. Their subsequent recording together of Bach St Matthew Passion also won the Choral Award in the 2020 Gramophone Awards. Carolyn recently released her first solo orchestra CD, Canteloube 'Chants d'Auvergne' with Tapiola Sinfonietta and Pascal Rophé under the BIS label.
Plans for this season and beyond include performances with the BBC Philharmonic (Dutilleux Correspondances) a tour with Helsinki Baroque (Schumann’s Genoveva), CBSO (Poulenc Gloria), Cappella Amsterdam (Frank Martin’s Le Vin Herbe), Cleopatra Handel’s Giulio Cesare at the Palau in Barcelona and in North America Handel’s Messiah with the Handel & Haydn Society, Orchestra of St Luke at Carnegie Hall (St Matthew Passion), concerts and a recording with the Minnesota Symphony (Mahler 8) and a recital with Kristian Bezuidenhout for the Boston Early Music Festival.
Carolyn's most recent disc with Kristian Bezuidenhout, Trennung: Songs of Separation was released in March 2022 on the BIS label.
This biography is for information only and should not be reproduced.
Trennung : Songs of Separation
BIS records, Carolyn Sampson and Kristian Bezuidenhout
Everything about this recording declares perfection ... Sampson's decades of experience and total ease with vocal ornamentation provide one unexpected delight after the other ... Sampson and Bezuidenhout grace us with [an] authentic version, in which ornamentation speaks as strongly as rallentando. It's marvelous, as is Sampson's delightful little fizz of vibrato at the end of appropriate phrases in other songs. Trennung's capper, Haydn's solo cantata "Arianna a Naxos," rivals the best.
Jason Victor Serinus, Stereophile
Carolyn Sampson is een begenadigd verteller die nooit verveelt en alles met een uniek mooie stemkleur en perfecte dictie overbrengt, daarbij gesteund door Kristian Bezuidenhout, een musicus met dezelfde grote klasse.
Translation: Carolyn Sampson is a gifted storyteller who never gets bored and conveys everything with a uniquely beautiful voice colour and perfect diction, supported by Kristian Bezuidenhout, a musician of the same great class.
Sylvia Broeckaert, Klara
Orchestra of St Luke's, Carnegie Hall & Bernard Labadie (April 2022)
Joshua Blue, a tenor stepping in for the ill Andrew Staples, had a consistent brightness — much like his fellow soloist, the soprano Carolyn Sampson, who after warming up bounded through runs with skilful control and enunciation.
Joshua Barone, New York Times
Handel & Haydn Society, Boston & Harry Christophers (November 2021)
Soprano Carolyn Sampson cast an angelic vocal presence in her featured moments. She managed the quick vocal turns of “Rejoice greatly” with dexterity, her smooth tone bringing soft repose in the middle section. “I know that my redeemer liveth” was just as affecting, her warm, glowing voice conveying a sense of self-assuredness in the text’s statement of faith.
Aaron Keebaugh, Boston Classical Review
Carolyn Sampson delivered perfectly supported and well-projected vocalisms over a wide dynamic range, angelic and consoling and prophetic by turns.
Lee Eiseman, The Boston Musical Intelligencer
Canteloube's Chants d'Auvergne, BIS Records
with Tapoila Sinfonietta & Pascal Rophé, released Oct 2021
…few can match Sampson’s overall sense of exuberant joy in these wonderful songs […] Her characterisation is superb, elated in ‘Lo calhe’ (The Quail), playfully coquettish in ‘Tchut, tchut’ (Shush, shush), yet unaffectedly tender in ‘Brezairola’ (Lullaby).
Michael Beek, BBC Music Magazine
Chanteuse rompue à tous les genres musicaux et à l’aise du baroque aux répertoires du XXe siècle, l’Anglaise Carolyn Sampson séduit par la plastique superbe de son timbre et sa musicalité naturelle. Elle incarne, sans surjouer ces chansons traditionnelles si magnifiquement harmonisées et orchestrées par Canteloube.
Translation: A singer familiar with all musical genres and at ease from baroque to 20th century repertoires, the Englishwoman Carolyn Sampson seduces with the superb plasticity of her tone and her natural musicality. She embodies, without overplaying these traditional songs so magnificently harmonized and orchestrated by Canteloube.
Pierre-Jean Tribot, Crescendo Magazine
Carolyn Sampson […] aborde ce répertoire avec une évidente sincérité, beaucoup de probité, un respect fidèle des indications, un timbre lumineux et une maîtrise impeccable des grandes lignes mélodiques que Canteloube recueillit sur le terrain avant de les sertir dans une instrumentation virtuose.
Translation: Carolyn Sampson […] approaches this repertoire with obvious sincerity, a lot of probity, a faithful respect for indications, a luminous timbre and an impeccable mastery of the main melodic lines that Canteloube collected in the field before setting them in a virtuoso instrumentation.
Charles Sigle, Forum Opera
Carolyn Sampson is on terrific form. Her diction is excellent and the sheer sound of her voice gave me consistent pleasure. Set 1 opens the disc in winning fashion. In ‘La pastoura als camps’ (The Shepherdess in the Fields) she gaily relates the story, singing characterfully but with a pleasing lightness of touch. […] Equally persuasive is her account of ‘La delaissado’ (The Deserted One). […] Ms Sampson captures the melancholy of the music perfectly. This is one of the outstanding performances in the programme.
Carolyn Sampson is a delightful and highly engaging soloist. She sings the slow, lyrical songs beautifully, investing words and music with great feeling. She’s just as successful in the quick, witty numbers; in these you can tell that she’s singing with a smile on her face. Her diction is admirably clear and though I’m no expert in the pronunciation of the Auvergnois dialect, what I heard corresponded with what I expected to hear as I followed the texts in the booklet. Ms Sampson’s partnership with Pascal Rophé and the Tapiola Sinfonietta is a conspicuous success.
John Quinn, Music Web International
Sampson’s soprano is bright and coquettish, […]. There is plenty of character and expression to her singing, notably in the Trois Bourrées […]. Sampson gets her tongue around the notoriously difficult-to-learn Auvergne dialect, derived from Occitan, nimbly.
Mark Pullinger, Gramophone
"La proposition « cinq étoiles » de Carolyn Sampson et Pascal Rophé nous sort de clichés sans complaisance, pour une offre musicale sublime en tout point. […] Sous la fraicheur du timbre de Carolyn Sampson, ses origines populaires deviennent de véritables envolées lyriques de grande qualité dans Lo fiolairé (La fileuse), et d’une élégance indéniable dans Quan z’eyro petitoune (Lorsque j’étais petite). C’est forte d’une dextérité solide et d’une diction parfaite face à la langue auvergnate que la soprano magnifie Lou coucut (Le coucou), Carolyn Sampson diffusant grâce à une sincérité évidente et une sensibilité réjouissante, les inflexions lyriques de cette langue régionale au sein d’un sens du discours parfaitement maîtrisé, presque théâtral dans Oï ayaï (Oh ! Ah !) ou Tè, l’co, tè ! (Va, l’chien, va !)."
"The "five stars" proposal of Carolyn Sampson and Pascal Rophé takes us out of clichés without complacency, for a sublime musical offer in every way. […] Under the freshness of Carolyn Sampson's timbre, her popular origins become true lyrical flights of high quality in Lo fiolairé (The Spinner), and of undeniable elegance in Quan z'eyro petitoune (When I was little). It is with a solid dexterity and a perfect diction in the face of the Auvergne language that the soprano magnifies Lou coucut (The cuckoo), Carolyn Sampson diffusing thanks to an obvious sincerity and a joyful sensitivity, the lyrical inflections of this regional language within a perfectly mastered, almost theatrical sense of discourse in Oï ayaï (Oh! Ah!) or Tè, l'co, tè! (Go, the dog, go!)."
Charlotte Saulneron, Res Musica
Sampson is known mostly as a Baroque specialist, and her creamy voice suits these songs well…
James Manheim, All Music
Pergolesi's Stabat Mater & Stravinsky's Pulcinella
BBC Proms, Royal Albert Hall (August 2021)
…we were rewarded with some remarkably beautiful singing: […] Sampson and Mead have great reserves of sweetness in their voices and the ability to make long notes bloom as they progress.
David Karlin, bachtrack
Her voice was, as always, a model of beauty combined with style…
…possibly the most beautiful moments came in Sampson’s ‘Sancta mater’, her slurs astonishingly accurate.
Colin Clarke, Seen and Heard
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