REVIEWS

January 23, 2020

Handel's Saul

Theatre du Châtelet, Paris

"Anna Devin, who embodies her tender younger Michal, sets herself apart with her velvety tenderness, and file particularly sweet notes that light up in the passages color that it crosses and which it plays impeccably." Anna Devin, qui incarne sa tendre cadette Michal, se démarque nettementpar sa tendresse veloutée, et file des notes particulièrementsuaves qui s'illuminent dans les passages colorature qu'elle traverse et dont elle se joue impeccablement. - Avant Scene Opera

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"On the other hand, Anna Devin affirms her presence and excellence as a Michal; his air stamp and the accuracy of his words are, in our opinion, one of the pillars of this production." En revanche, Anna Devin affirme sa présence et son excellence en tant que Michal ; son timbre aérien et la justesse de ses propos sont, à notre sens, un des piliers de cette production. -
Toute le Culture

May 23, 2019

Mozart Die Zauberflöte

Irish National Opera, Dublin

"Anna Devin brought her Pamina vividly to life with her pearly voice and lively acting.... her lamentation on Tamino’s perceived rejection in Act 2 (“Ach, ich fühl's”) was meltingly sung." Bachtrack, Read more

"Soprano Anna Devin delivers a stand out performance as the impassioned Pamina, her voice clear, resonant, and soaring with power." theartsreview, Read more

March 27, 2019

Cavalli’s La Calisto

Teatro Real, Madrid

"The character of Calisto was entrusted to Anna Devin... She has an exquisite, silvery voice, completely uniform in all the registers which she used to service the complex character of a woman who wants to die a virgin but who gives herself to the goddess Diana, gets pregnant, and is later transformed into a bear; she ultimately ends up being transfigured into the Ursa Major constellation by Giove."
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May 14, 2018

Handel's Arminio

Internationale Händel Festspiele Göttingen

"Ms. Devin, with her clarion soprano then closed the act with Tusnelda’s appeal to Varo, “Rendimi il dolce sposo,” one of Handel’s most expressive major key sicilianos. There was not a dry eye in the theatre, as her bright tone weaved its way amidst the restrained string parts....Ms. Devin’s exquisite vocal control and fine sense of baroque style were assets throughout in her mostly slow, minor-key arias, beginning with her first “Scaglian amore,” affirming her steadfast love with a da capo of fluid ornaments. " Read more »

"Anna Devin's fascinating Cleopatra, one of the finest London has heard since Valerie Masterson at the Coliseum almost four decades ago...Devin dispatched 'V'adoro pupille' with instrumental clarity, beguiling tone and a properly seductive persona, yet had plenty of emotion in reserve for 'Se pietà and 'Piangerò la sorte mia'. As her recent Semele in Karlsruhe made clear, the Irish soprano is an ideal interpreter of Handel's 'sex-kitten' roles - in Winton Dean's apt phrase - and deserves to be seen in this part on stage." Huge Canning, Opera Magazine

April 15, 2018

Handel's Guilio Cesare
St. John's Smith Square, London

"This year we were able to discover his extraordinary talent on the Badisches Staatstheater stage, there is the virtuoso interpretation of Anna Devin,beautiful in the art of the modulation of affects on the theme given by the phrase that is repeated. These exercises in style are fully successful both in terms of vocal technique and performance, Anna Devin , skilled in all registers and moods, manages to give the impression of naturalness and spontaneity to this which is actually the result of elaborate work." - From google translation - Read more »

March 2, 2018

Handel's Semele
Händel Festpiele, Karlsruhe

December 1, 2016

Mozart's Idomeneo
Kilkenny Arts Festival with Early Opera company

"Anna Devin delivered Ilia's arias (especially her gossamer-spun 'Zeffiretti Lusinghieri') with the sweet, vulnerable purity required. Far rarer was her ability to invest the recitatives with a surprising range of emotions, not excluding peevishness, irony and political tact. This was dramatic singing of the highest calibre." Christopher Webber, Opera Magazine

"The stars of the evening were Irish singers, soprano Anna Devin, who impressed as an emotionally rounded Ilia,...handling of the work’s finely tailored recitative was in a class apart from the rest of the cast." - The Irish Times, Michael Dervan.
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February 7, 2018

Mozart Concert Arias
NSO Dublin with Harry Bicket, NCH

"Devin is one of those singers whose sheer fluency and ease of command can quite mask the extremity of some of the demands she masters in performance. Everything she sang on Friday was first class, and her negotiation of the precipitous heights in Ah se in ciel, benigne stelle, K538, will long remain specially etched in the memory."Read more »

March 2016

Mozart's Le nozze di figaro
Welsh National Opera and Scottish Opera 

"above all, there’s Anna Devin as the Susanna of your dreams: smart, funny, with emotions flashing across her face by the microsecond and a sunny, crystal-clear voice that can hang blissfully in the air or — in Act Four — make Mozart sound as lusciously lubricious as Richard Strauss. Lucky Figaro. Lucky us." Read more »

Richard Bratby, The Spectator

"The indisputable star of the show is Susanna, and Irish soprano Anna Devin executes a flawless performance. Her stompy, sassy portrayal of a feisty young bride, coupled with a crystal, spine-tingling voice, is truly a performance to behold. Her talent and vocal versatility is breathtaking, and she captivates the audience – drawing out laughter and moments of touching humility." Read more »

The Reviews Hub

"The biggest plus factor in this staging is the exceptional Susanna of Anna Devin: she has a natural charisma, her soprano blending clarity and bloom" Read more »

Rian Evans, The Guardian

"Anna Devin's Susanna is the stand-out performance. Bright of voice and quick of intellect, Devin owns Act I when Susanna is confronted with a succession of unwanted visitor's to her future bed-chamber" Read more »

Thom Dibdin, The Stage

"Anna Devin’s radiant Susanna"Read more »

Ken Walton, The Scotsman

June 2015

Verdi's Falstaff

Royal Opera House, Covent Garden

"it was Anna Devin’s Nannetta who took one’s breath away. Nannetta’s every phrase drew one’s attention, as the floaty lines soared with power and lyricism. I loved the way in her first romantic exchange with Fenton in Act 1 that the high Ab first established Nannetta’s clarity of conviction, then retreated demurely, before surging with burning passion. Such vocal control suggests real artistry and musico-dramatic intelligence" Read more » Claire Seymour, Opera Today

"Anna Devin as an especially determined Nannetta Ford, is superlative, floating every line with vivid sense of bel canto style and rising to the highest artistry in the Queen of the Fairies’ seriously beautiful song" Read more »

David Nice, The Arts Desk

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