Fletcher Artist Management represents the artist in North America.

www.annadevin.com

Irish soprano Anna Devin is widely admired for her “impeccable Baroque style” (Bachtrack), “vocal control…artistry and musico-dramatic intelligence,” (Opera News).  An alumna of the Royal Opera House’s Jette Parker Young Artist program, the Royal Irish Academy of Music, Guildhall School of Music and Drama, and the National Opera Studio, Ms Devin is ‘an ideal interpreter of Handel’s ‘sex-kitten’ roles’ (Opera Magazine) and has gained recognition across the world for her work in the Baroque and Classical repertoire.

Anna Devin’s original engagements for the COVID-19 shortened 2019/2020 season see her perform Almirena in Rinaldo with Glyndebourne on tour and Michal in Saul in Paris at the Théâtre du Châtelet, as well as Iphis in Jephta at the Komische Oper Berlin. Invited by conductor Laurence Cummings she will sing in Handel’s Gloria in Excelsis Deo with the Bournemouth Symphony Orchestra. She will also make her debut with La Scintilla, singing Zelenka’s arias at the Zurich Opernhaus as well as concerts with the Irish Chamber Orchestra and Fazil Say, a concert with Peter Whelan at the Wigmore Hall and a recital as part of NCH Chamber Music series in Dublin.

The 2018/19 season marked Ms Devin’s Opernhaus Zurich debut as Rosane La Verita in cimento, followed by her return to Teatro Real, Madrid to perform the title role in La Calisto and Pamina in Die Zauberflöte for Irish National Opera. Her concert appearances included Mahler’s Fourth Symphony with the St Petersburg Philharmonic, Handel’s Messiah with the Royal Northern Sinfonia and at the Albert Hall with the Royal Philharmonic Orchestra and the RTE Concert Orchestra in Halle, Mendelssohn’s Lobgesang Symphony with the Irish Chamber Orchestra, Handel’s Esther with Irish Baroque Orchestra and Handel’s Athalia at the London Handel Festival. She also made her recital debut at the West Cork Chamber Music Festival with Joseph Middleton.

Recent operatic successes have included her 2017/18 debuts at Madrid’s Teatro Real as Celia Lucio Silla and the Händel-Festspiele Karlsruhe as the title role in Semele­; Tusnelda Arminio at the International Handel Festival in Göttingen; Michal Saul at the 2018 Glyndebourne Festival and Cleopatra Giulio Cesare for the Early Opera Company, in which her Cleopatra was described by Hugh Canning as: ‘one of the finest London has heard’ (Opera Magazine). She has sung Galatea Acis and Galatea for Mozartwoche Salzburg; Nannetta Falstaff  and Lauretta Gianni Schicci for the Royal Opera House, Covent Garden; Susanna Le Nozze di Figaro for Welsh National Opera, Glyndebourne Tour and Scottish Opera; la bergère Louis XV/La chauve-souris L’enfant et les sortilèges for La Scala, Milan; Poppea Agrippina for Opera Collective, Ireland; and Clotilde, Faramondo for Brisbane Baroque, which earned her the Best Supporting Singer in an Opera at the 2015 Helpmann Awards, Australia.  Other roles have included Governess Turn of the Screw, Countess Adele Le Comte Ory, Marie Fille du Regiment, Morgana Alcina, Gretel Hänsel und Gretel and Ilia Idomeneo. 

A frequent concert performer throughout Europe and the USA, Ms Devin’s repertoire encompasses a vast range of sacred and secular works and she has appeared at the London Handel, Göttingen Handel, Lausanne Bach, Brighton Early Music and Belfast festivals, the BBC Proms and Carnegie Hall.  She has worked with the Vienna Philharmonic, Hallé, RTÉ NSO, Ulster and Minnesota orchestras and Houston, Charlotte and Seattle symphonies, among others. Recent season highlights include Bach’s Christmas Oratorio with the Royal Northern Sinfonia at Sage Gateshead, a program of Mozart Concert Arias with the RTÉ National Symphony Orchestra conducted by Harry Bicket; and a concert tour performing Pergolesi’s Stabat Mater and Mozart’s Exsultate Jubilate with frequent collaborator Marc Minkowski and Les Musiciens du Louvre.  Other conductors she has worked with include Sir William Christie, Laurence Cummings, Christian Curnyn, Ottavio Dantone, Ivor Bolton, Sir Colin Davis, Yannick Nézet-Séguin and Sir Antonio Pappano.

Anna Devin’s recordings include Arminio and Faramondo for Accent from the International Händel Festspiele Gottingen;  Mozart in London, Il re Pastore and Mitridate, Re di Ponto with Classical Opera for Signum Classics; and ‘Arias for Benucci’ with Arcangelo for Hyperion. She was also an Associate Artist with Classical Opera, with whom she records and performs regularly.

An alumna of the Royal Opera House’s Jette Parker Young Artist Program, 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 honors 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.

In addition to her work on stage, Ms Devin is proud to be an Ambassador for the British Dyslexia Association. She has also been open with the public through the media and events about growing up with dyslexia, saying: “Being different is not a bad thing. Not fitting in with the crowd is a blessing as we all have our own journey and being forced to find your own path brings originality.” She is passionate about nurturing new talent and gives masterclasses at the Royal Irish Academy of Music, Dublin, as well as coaching at the Royal Academy Opera Course, London.

When not on stage, Ms Devin is a keen runner and enjoys keeping fit and relaxing with her husband, young daughter and Norwegian Forest Cat in their Bedfordshire, UK home.

For inquiries outside North America: IMG Artists

Giulio Cesare – Early Opera Company

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
“The soloist who really maximised on the opportunity provided by this was Anna Devin as Cleopatra. Her soprano was full, rounded and sumptuous and she met the most soaring lines and difficult phrases with a sound that felt as smooth as it was accurate. In this way, her performance of ‘Se pietà di me non senti’ entirely captured the sense of one totally lost in her love for Cesare, and was so sensitive that it nearly reduced the audience to tears. However, her voice, while demonstrating the same underlying attributes, proved equally adept at revealing assertive defiance towards Tolomeo and a total sense of joy in ‘Da tempeste il legno infranto’.”
Sam Smith, MusicOMH

Semele – International Handel Festival

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
Luc Roger, MunichandCo

Idomeneo – Kilkenny Arts Festival

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

Falstaff- Covent Garden

Anna Devin’s bright-eyed, bright-voiced Nannetta […] became the centre of this virtuoso piece.

Opera

Linbury Showcase

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.