Fletcher Artist Management represents the artist in North America.
Irish soprano Anna Devin is widely admired for her “vivid sense of bel canto style,” (The Arts Desk), “vocal control…artistry and musico-dramatic intelligence,” (Opera News).
The 2017-2018 season saw her debut at Madrid’s Teatro Real as Celia in Lucio Silla, the title role in Semele at the Karlsruhe Handel Festival, Tusnelda in Arminio at the International Handel Festival in Göttingen, Cleopatra in Giulio Cesare with Early Opera Company, and Michal in Saul at the 2018 Glyndebourne Festival.
In concert, Anna performed in a 20th anniversary concert for Classical Opera at the Barbican, Bach’s Christmas Oratorio with the Royal Northern Sinfonia at Sage Gateshead, Handel’s Messiah in Dublin and a programme of Mozart and Rameau in concert with the RTE National Symphony Orchestra conducted by Harry Bicket.
Anna has performed on the operatic and concert stages throughout Europe and the US. Recent highlights include her debuts with La Scala and the Vienna Philharmonic; role and festival debut as Galatea in Handel’s Acis and Galatea at Mozartwoche Salzburg; role debut as Nannetta at Covent Garden; Susanna with the Welsh National Opera and Scottish Opera; Michal in Glyndebourne Touring Opera’s production of Saul; Poppea in Handel’s Agrippina with Opera Collective, Ireland; appearances at the Lausanne Bach Festival and with the Seattle Symphony; and a concert tour performing Pergolesei’s Stabat Mater and Mozart’s Exsultate Jubilate with frequent collaborator Marc Minkowski and Le Musiciens du Louvre. Her performance with Brisbane Baroque earned her the Best Supporting Singer in an Opera at the 2015 Helpmann Awards Australia.
She has earned acclaim for her performances as the Governess in Turn of the Screw, Countess Adele in Rossini’s Le Comte Ory, Marie in Fille du Regiment, Morgana, Gretel, Ilia and Semele, of which Geoff Brown writes in The Times that she sings, “with a voice as liquid and sparkling as the best champagne.”
A frequent concert performer, Ms Devin’s repertoire encompasses a vast range of sacred and secular works and she has appeared at the BBC Proms; Carnegie Hall; London Handel, Göttingen Handel, Brighton Early Music and Belfast festivals; and with the Hallé, RTÉ NSO, Ulster and Minnesota orchestras and Houston and Charlotte symphonies. She has worked with the following conductors; William Christie, Harry Bicket, Laurence Cummings, Christian Curnyn, Marc Minkowski, Sir Antonio Pappano, Sir Colin Davis, Yannick Nezet-seguin.
An alumna of the Royal Opera House’s Jette Parker Young Artist programme, Royal Irish Academy of Music, Guildhall School of Music and Drama, the Britten-Pears YAP and the National Opera Studio, Ms Devin’s awards and honours include the Maggie Teyte and Miriam Licette Scholarships, Stuart Burrows International Voice Award, Singers’ Prize at the Gerald Moore Awards and the Audience Prize in the London Handel Singing Competition. She is also an Associate Artist with Classical Opera, with whom she records and performs regularly.
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.