Anna Samuil


Ms Samuil has been singing leading roles at Deutsche Staatsoper Berlin, the Edinburgh Festival, Teatro alla Scala Milan, Metropolitan Opera, Salzburg Festival, Glyndebourne Festival Opera, Maggio Musicale Fiorentino, Grand Theatre Luxembourg, the Festival de Musique de La Reunion, L'Opéra National de Lyon and Bayerische and Hamburgische Staatsoper, to name but a few.

Internationally celebrated soprano is a principal soloist at the Deutsche Staatsoper Berlin where, this season, she can be seen and heard giving her role debut as Elisabetta in Don Carlo and singing the roles of Violetta La Traviata and Mimi  La Bohème, concerts of Beethoven IX, with Barenboim in the annual New Year’s Eve Gala concert. Outside Berlin her engagements include the Rosalinde Die Fledermaus with Zubin Mehta and the Israel Philharmonic Orchestra, War Requiem with the Lorin Maazel at Munich’s Philharmonie am Gasteig, Verdi’s Requiem with Fabio Luisi at Dvorak’s Prague Festival and Rachmaninov’s The Bells at Konzerthaus Berlin. In summer 2013 she appeared as Freia and Gutrune in Barenboim’s Ring at the BBC Proms at the Royal Albert Hall.

In future seasons she will take part in Barenboim’s Ring cycle and Mehta’s Ring cycle at the Palau de les Arts Reina Sofia, Valencia and will sing Rachmaninov  the Bells with Kitajenko in Gothenburg

Ms Samuil continues to give recitals throughout Europe accompanied by her husband.

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News & Features



Carmen Micaëla

L'elisir d'amore Adina

Ruslan und Lyudmila Lyudmila


Le nozze di Figaro La Contessa di Almaviva  
Don Giovanni Donna Anna  
Così fan tutte Fiordiligi

Bethrothal in a Monastery Louise

La Bohème Mimì, Musetta

The Golden Cockerel Shemakhan Tsaritsa  
The Tale of Tsar Saltan Tsarevna, Swan-Bird

The Bartered Bride Mařenka

Die Fledermaus Adele,Rosalinde

Mazeppa Maria  
Eugene Onegin Tatiana
Ionlanta title role

Rigoletto Gilda  
La Traviata Violetta  
Falstaff Alice Ford

Lohengrin Elsa  
Das Rheingold Freia  
Götterdämmerung Gutrune + III Norne
Meistersinger von Nürnberg Eva  
Parsifal Blumenmädchen  


Norma title role

Anna Bolena title role         
Don Pasquale Norina

Rusalka title role

Faust Marguerite
Roméo et Juliette title role

Manon title role
Thaïs title role

Don Giovanni Donna Elvira
Idomeneo Elettra
La clemenza di Tito Vittelia

Les contes d’Hoffmann Antonia

War and Peace Natasha

Turandot Liu

Il turco in Italia Fiorilla

Otello Desdemona           
Il Trovatore Leonora
Simone Boccanegra Amelia
Luisa  Miller title role
I Manasdieri Amalia


Symphony No. 9 in d-minor op.125  
Christus am Ölberge op.85  
Concert Aria Ah, perfido! op.65

War Requiem op.66

Messiah HWV 56

Symphony No. 4G-Dur

Mass in c-minorl KV 427
Exsultate, jubilate KV 165 (158a)
Requiem KV 626

Hamlet op.77

Petite Messe solennelle
Stabat Mater

Seven Romances after Alexander Blok op.127

Four Last Songs

A Child of our Time

Messa di Requiem

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  • Don Giovanni 2



Konzerthaus, Berlin

Konzerthausorchester Berlin
Tschechischer Philharmonischer Chor Brno
Dmitrij Kitajenko
Anna Samuil Sopran
Dmytro Popov Tenor
Alexander Vinogradov Bass

Sergej Prokofjew
"Romeo und Julia" - Auszüge aus der Ballettmusik op. 64
Sergej Rachmaninow
"Die Glocken" für Soli, Chor und Orchester op. 35

Konzerthaus, Berlin

Konzerthausorchester Berlin
Tschechischer Philharmonischer Chor Brno
Dmitrij Kitajenko
Anna Samuil Sopran
Dmytro Popov Tenor
Alexander Vinogradov Bass

Sergej Prokofjew
"Romeo und Julia" - Auszüge aus der Ballettmusik op. 64
Sergej Rachmaninow
"Die Glocken" für Soli, Chor und Orchester op. 35

Konzerthaus, Berlin

Konzerthausorchester Berlin
Tschechischer Philharmonischer Chor Brno
Dmitrij Kitajenko
Anna Samuil Sopran
Dmytro Popov Tenor
Alexander Vinogradov Bass

Sergej Prokofjew
"Romeo und Julia" - Auszüge aus der Ballettmusik op. 64
Sergej Rachmaninow
"Die Glocken" für Soli, Chor und Orchester op. 35

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BBC Proms, Royal Albert Hall

"Anna Samuil's innocent Gutrune was immaculately realised, both vocally and dramatically."

George Hall for The Guardian


Staatsoper im Schiller Theatre

Anna Samuil präsentiert stimmlich eine bezaubernde Gutrune mit weichem Sopran

Thomas Molke for Online Musik Magazin


Staatsoper im Schiller Theatre

Anna Samuil stattet die Freia mit leuchtendem, frischem Sopran aus

Thomas Molke for Online Musik Magazin

Don Giovanni

Israel Philharmonic Orchestra / Zubin Mehta

"Russian soprano Anna Samuil is an Italianate Donna Anna — a full lyric soprano, rather than the roof-raising dramatic favored by German practice — but her timbre acquires an exciting thrust above the staff. She negotiates upward leaps with assurance and fairly sails through "Non mi dir," while her quieter singing suggests vulnerability."

Stephen Francis Vasta for Opera News

"Anna Samuil has plenty of passion and fire as Donna Anna and her voice is supple and warm, but it can really ring out."

Stephen Eddins for

La Boheme

Baltimore Opera

"The incomparable Mimi (Anna Samuil) is the thunder and lightning of the show. With here serene soprano sound and her simplistic wishes for life you fall instantly in love with Samuil’s portrayal of the classic flower girl. Her duets with Vasiliev swell your heart with ardent fever just to hear them; a deep compassionate longing for their stories to end happily. Her final aria, which starts and finishes as a duet with Rodolfo, "Sono Andati?" is as devastating as her ending; a beautiful tragedy that will make you weep with the remorse for love too short."


Amanda Gunther for DC Metro Theater Arts

Anna Samuil gave a sympathetic performance as the tender-hearted, consumptive seamstress Mimi, who, like her fellow Parisian bohemians, struggles with issues of love and livelihood. The soprano’s fast vibrato gave her tone intriguing coloring, and, at her best, her phrasing communicated vividly (....) in Act 3, with gorgeous, long-breathed sculpting of the last lines of "Donde lieta usci." This was exquisitely poetic singing.

Tim Smith forBaltimore Sun

Gala concert

Bad Kissingen Anna Samuil Pavol Breslik

"Fast wie in der Mailänder Scala
Es braucht nicht unbedingt immer ein großes Theater, um echtes Opern-Flair aufkommen zu lassen. Dies bewiesen jetzt Anna Samuil und Pavol Breslik auf der eher kleinen, aber feinen Bühne des Rossini-Saal bei ihrem bestens besuchten Konzert im Kissinger Sommer. Begleitet vom sagenhaft souveränen und ungemein einfühlsamen Pianisten Semion Skigin, boten Samuil und Breslik Belcanto vom Feinsten.
Von der Arie der Gräfin aus Mozarts Figaro bis Puccinis „O mio babbino caro" präsentierte sich die Russin Samuil in bester Verfassung. So bot die 36-Jährige mit ihrem lyrischen und klaren Sopran den Zuhörern einen echten Ohrenschmaus. [...]
Die ganze Bandbreite ihres facettenreich timbrierten Soprans kostete Anna Samuil insbesondere in der Arie der Tatjana aus Tschaikowskys Eugen Onegin aus. Dabei brillierte sie vor allem durch die unglaubliche Intensität ihrer Stimme, die sie in allen Lagen mit großer Energie verströmte. Plastisch in der Höhe, warm gefärbt in der Mitte und berückend in der Tiefe, sorgte sie hier für Gänsehaut-Feeling.
[...] nicht erst bei den beiden Zugaben aus Verdis La Traviata herrschte eine Stimmung fast wie in der Mailänder Scala."


Opera Gala Concert, July 2012


Anna Samuil[...] hatte das Konzert mit der Arie der Gräfin aus Mozarts „Figaros Hochzeit“ mit glockenhell aufstrahlendem Sopran und eigens eingebrachten Fiorituren viel verheißend eröffnet. In der Arie der Margarethe aus Gounods „Faust“ zeigte sie sich als sattelfester lyrischer Koloratursopran, der sich auch bei der passioniert und packend gestalteten Briefszene aus Tschaikowskys „Eugen Onegin“ dem jugendlich-dramatischen Rollenfach exzellent zu öffnen wusste. Richard Hörnicke for Wiesbadener Kurier

La Traviata

Pittsburgh Opera

Russian-born Anna Samuil, who scored in Pittsburgh Opera's 2009 "Eugene Onegin," has the makings of a first-rate Violetta. Her voice is a lyric soprano, focused and straight-toned, with the flexibility to negotiate the high coloratura required in the opening act; sufficient weight to carry the dramatic moments of Act 2; and the delicacy to make her death scene poignant if not exactly a tear-jerker. She is also a glamorous woman and a proficient if cool actress."

Robert Croan for Pittsburg Post-Gazette

"Anna Samuil, who played the role of Violetta, was a delight. Her pleasant voice and articulate body language enhanced the production, drawing the audience in."

Juan Acosta for the Tartan

"As the hypnotically beautiful courtesan Violetta Valéry, Russian soprano Anna Samuil returned to the Pittsburgh Opera (her debut performance was in 2009 as Tatiana in Eugene Onegin) and commanded the stage with a wonderful instrument. ......... the demanding role of Violetta seemed a perfect match for Samuil’s voice as she transformed in each of the three acts from a versatile coloratura to spinto and finally lyric as she sings nearly the entire finale from her death bed."

Christian Kriegeskotte for Operapulse

Don Giovanni, November 2010

Bayerische Staatsoper Munich

"Wunderbar Anna Samuil, die ihre Rolle als Donna Anna mit glockenreinem Sopran beglückte." Udo Pacolt for Der Neue Merkur

Opening Gala concert of Berlin State Opera, September 2010


"Es folgen die Solisten des Ensembles (...) Am meisten Eindruck macht Anna Samuil, als sie mit ihrem Diven-Sopran Slawisch-Leidenschaftliches zu Gehör bringt."

Frederik Hanssen for Der Tagesspiegel

Don Giovanni, July 2010

Glyndebourne Festival Opera

"The singers perform with vigour and Anna Samuil as Donna Anna almost steals the show with her beautifully clear and powerful voice."

William Hartston for the Daily Express
"...and the best singing of the night from Anna Samuil's luscious Donna Anna"

David Gillard for the Daily Mail
"Anna Samuil possesses a rich, substantial tone, well deployed in Donna Anna’s arias"

George Hall for The Stage
"Anna Samuil – a touch of wildness in the vocal temperament - made quite a fist of Donna Anna’s challenging 'Non mi dir'".

Edward Seckerson for the Independent
"Anna Samuil's Donna Anna saved up everything for her final aria, which paid off in her solid coloratura passages"

Paul Levy for the Wall Street Journal
"Entre las intérpretes [...] brillan sobre todo las rusas Anna Samuil y Anna Virovlansky en sus respectivos roles de Doña Ana y Zerlina, respectivamente"
"Anna Samuil (Donna Anna) was considerably more gutsy, with a voice that carried much better than the others"

Jonathan Wikeley for

Don Giovanni, January 2010

Hamburg State Opera

"Anna Samuil, der einzige und erst am gleichen Tag eingesprungene Gast, die sich dennoch nahtlos ins Ensemble fügte, lief zu keiner Sekunde Gefahr, aus ihrer Namensschwester eine Trauerweide zu machen. Da befand sich eine entschlossene Frau auf der Bühne, die weiß, was sie will. Sie ist den Koloraturen mehr als gewachsen und schafft es, auch noch dem virtuosesten Lauf mit Leben zu füllen, anstatt ihn nur technisch zu bewältigen." Michaela Koch for

Eugene Onegin, October 2009


Singers triumph in Pittsburgh Opera's 'Onegin'
"From the moment soprano Anna Samuil began singing, the performance hit its groove. She was a wonderful Tatiana. Samuil offered a brilliant, dramatically fluent performance of the Letter Scene, in which she professes her love to Onegin. Samuil's mixture of vocal acting and body language was complete, while her vocal line was so clear and clean it was breathtaking. She fully conveyed the distance Tatiana travels to overcome fear and find the excitement of romantic
Samuil and Croft achieved great intensity in their final scene, . Samuil's triumph in the role was completed in this scene, in which she was not a tower of strength but rather was strong in the face of real temptation.  Pittsburgh Opera's production of "Eugene Onegin" is not to be missed, issues with the sets fade quickly in the presence of great singing."

Mark Kanny for Pittsburg Tribune
"A Russian delegation of one held her own summit at the Benedum Center Saturday night as soprano Anna Samuil put on a remarkable performance in Pittsburgh Opera's production of Pyotr Illyich Tchaikovsky's "Eugene Onegin."  Samuil was brilliant in her debut, moving from a girlish to a regal Tatiana while always singing with an elegant energy to the notes. And what commitment to her role! She was almost more convincing when not singing, from downward-cast shyness to barely held back tears when Onegin first rejects her."

Andrew Druckenbrod for Pittsburgh Post-Gazette

Don Giovanni, July 2009

Verbier Festival

"In any case, the evening offered little if any cause for regret, thanks both to dramatically charged performances from Anna Samuil (Anna) and Annette Dasch (Elvira), each in compelling voice, and to the superb quality of the rest of the cast."

George Loomis, MusicalAmerica George
"En ce qui concerne la partie féminine de la distribution, notre coup de cœur va à la jeune Sylvia Schwartz qui incarne une Zerlina à croquer. Les Donna Anna et Elvira d’Anna Samuil et d’Annette Dasch exercent un pouvoir de séduction vocal incomparable. Une plateau de grands chanteurs qui se déplacent avec aisance dans leurs rôles respectifs. Du pur plaisir. La longue standing ovation qui conclut le concert et les acclamations du public pour chaque chanteur montrent à quel point l’assistance est comblée. A juste titre."

Nicolas Derny, Forum Opera
"Engagées il y a deux ans, les stars Edita Gruberova et Susan Graham avaient annulé quatre jours avant le concert, mais qu'à cela ne tienne : Martin Engstroem, fondateur de la manifestation suisse, ne panique jamais, la soirée fut sauvée par Anna Samuil, Donna Anna percutante et dramatique, d'une densité vocale très physique, et Annette Dasch, Elvire plus discrète."

Le Figaro


Don Giovanni

Glyndebourne 2010
Vladimir Jurowski
Finley, Pisaroni, Samuil, Royal, Burden, Virovlansky, Loconsolo, Sherratt

Don Giovanni

Israel Philharmonic Orchestra
Samuil, Ulivieri, Korchak, Spotti, Borsi, Muraro, Reiss, Orfila