Fletcher Artist Management represents the artist in North America.
A former member of the Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden, the Britten-Pears YAP and the National Opera Studio, Irish soprano Anna Devin is fast becoming established as one of today’s brightest young sopranos, highly praised for her strong stage presence and vocal versatility.
The 2017/18 season will see her debut at Madrid’s Teatro Real as Cecila in Lucio Silla, debut the role of Fiordiligi in Così fan Tutte for Northern Ireland Opera, sing the title role in Semele at the Karlsruhe Handel Festival, bow as Tsunelda in Arminio at the International Handel Festival in Göttingen, essay Cleopatra in Giulio Cesare with Early Opera Company, and appear as Michal in Saul at the 2018 Glyndebourne Festival Opera.
The 2016-17 season saw performances of Susanna in Scottish Opera’s production of Le Nozze di Figaro and Helena in Britten’s A Midsummer Night’s Dream at The Aldeburgh Festival.
During the 2015-2016 season, Anna Devin made her debut with La Scala in a double bill of L’heure espagnole/L’enfant et les sortileges, appeared with the Glyndebourne Festival Touring Company as Michal in Saul, Irish Youth Opera as Poppea in Agrippina, Welsh National Opera as Susanna in Le nozze di Figaro, and Classical Opera (London) as Zerlina in Don Giovanni. On the concert stage, the soprano’s engagements included: the Brighton Early Music Festival, Seattle Symphony (Messiah), Charlotte Symphony (Carmina Burana), and Les Musiciens du Louvre (Stabat Mater).
In the 2014-2015 season, Ms. Devin joined the English Concert as Oberto (Alcina) under Harry Bicket on tour in London, Vienna, Madrid, Paris and New York and also sang Morgana, from the same work, with the Russian National Orchestra under Chris Moulds. She also returned to Covent Garden as Nanetta in Robert Carsen’s production of Falstaff under Michael Schønwandt. In concert she joined the Houston Symphony Orchestra and Minnesota Orchestra for Messiah and the Charlotte Symphony Orchestra for Brahms’ Ein deutsches Requiem, all conducted by Christopher Warren Green.
Spanning a diverse repertoire, recent highlights have included Clotilde (Faramondo) under Lawrence Cummings at the Handel Festival Göttingen and ‘A’ in Luke Bedford’s new commission for the ROH Linbury Studio, Through His Teeth, for which Anna received substantial critical acclaim. Further appearances have included Zerlina (Don Giovanni) for Scottish Opera under Speranza Scappucci, Gretel (Hänsel und Gretel) at Garsington Opera under Martin André, Susanna (Le nozze di Figaro) with Glyndebourne Touring Opera under Jonathan Cohen and Silvia (L’isola Disabitata) with the Royal Opera House at the Hobart Festival in Tasmania conducted by Oliver Gooch.
A frequent concert performer, Anna’s repertoire encompasses a vast range of both sacred and secular works, and she has appeared as part of the BBC Proms with the Hallé Orchestra under Sir Mark Elder in Parsifal, the London Handel Festival, Brighton Early Music Festival, Belfast Festival as well as with the RTÉ NSO and Ulster Orchestra. This season Anna returns to the RTÉ NSO Dublin for New Year’s Eve Galas and returns to the Wigmore Hall with Classical Opera under Ian Page.
An alumna of the Royal Irish Academy of Music and Guildhall School of Music and Drama, Anna Devin has garnered awards including the Maggie Teyte and Miriam Licette Scholarship, Stuart Burrows International Voice Award, Singers’ Prize at the Gerald Moore Awards and the Audience Prize in the London Handel Singing Competition. She is an Associate Artist with Classical Opera.
For inquiries outside North America: IMG Artists
Falstaff- Covent Garden
Anna Devin’s bright-eyed, bright-voiced Nannetta […] became the centre of this virtuoso piece.
Devin shone like the star she is surely destined to become, for she not only has a distinctive, lovely and virtuoso voice, she is also a winning and captivating actress.”
Classical Music Source
Alcina – The English Concert (Carnegie Hall)
The other principals […] each had moments to shine […] Devin in “Barbara!” [was an] outstanding moment among many highlights.”
What’s on Stage
Farramondo – Göttingen Handel Festival
Anna Devin is an outstanding Clotilde, her singing of ‘Combattura da due venti’ particularly delicious.”
Catriona Graham, Opera Critic
In the role of Clotilde, whether as an object of desire, as a love interest or as a brave sister, the Irish soprano Anna Devin, winner of the Audience Prize in the London Handel Singing Competition, is excellent in voice and life. Brilliant and elegant, she succeeds in the shipwreck aria in the second act, rewarded through economies of scale and coloratura cascades.”
Evi Baumeister, TLZ
Anna Devin is visually perfect as Clotilde and convinces with great coloratura and dramatic outbursts.”
Online Musik Magazin
Through His Teeth – ROH Linbury Studio
Anna Devin was excellent as ‘A’, managing to convey the character’s conflicting desires to maintain independence and stability and to give in to the seductive promises and believe the lies of ‘R’.”
Hugo Shirley, Opera
Anna Devin sings with compelling beauty as the woman known only as A.” Richard Fairman, Financial Times
Anna Devin gives a fantastic performance as A, with an even tone throughout the voice, and a particularly impressive, ringing upper register. Her acting is convincing too, effectively conveying the psychological state of her character in each scene.”
Levi White, Bachtrack
The three singers are perfect for their roles: clearly much thought went into casting. Anna Devin is absolutely convincing as the manipulated young woman at the heart of the drama. To bring this off takes real acting skill, and Devin is superb in projecting her character’s fragile vulnerability. She rises to each and every of Bedford’s musical challenges; we feel her excitement, and her anguish.”
Colin Clarke, Seen and Heard International
Hänsel und Gretel – Garsington Opera
Pack tissues if you’re going [to Garsington Opera’s production of Hänsel und Gretel], for an Evening Prayer more exquisite than that sung by Anna Devin (Gretel) and Claudia Huckle (Hänsel) is hard to imagine.”
Anna Picard, The Independent
The vocal ingredients here are particularly good. In the title roles of the two starving children who discover danger and resilience in the depths of the dark forest, Anna Devin and Claudia Huckle, are note-perfect and a near ideal match: Devin’s sharpwitted Gretel complements Huckle’s convincingly boyish Hansel, whose elegant contralto sets off the charm of her stage-sister’s pristine soprano.”
George Hall, The Guardian
Anna Devin and Claudia Huckle both put in outstanding performances as the leading pair. From their perfectly believable childish dancing in the first scene to their sincere terror when figures in creepy animal masks prowl at night, they capture the sense of helplessness that face two babes lost in the woods. Devin’s Gretel was beautifully sung, with a control that always hinted she was singing nowhere near the limits of her vocal power. She treated us to a wonderfully tender moment in Act III’s “Wo bin ich?” when she awakes after a night in the woods.”
Kate Mason, Bachtrack
L’isola disabitata – Hobart Baroque
Irish soprano Anna Devin’s giggly, delightfully inelegant Silvia steals the show – a zesty, youthful foil for Constanza’s world-weari/wariness. Her hopelessly naive reactions to seeing a man for the first time since infancy and falling in love with Enrico – all delivered in light, flexible voice – are the most captivating moments of the production.”
Melissa Lesnie, Limelight Australia
Click here to hear more audio on Anna’s Soundcloud page.