Intermusica Artists' Management



Intermusica represents Sam Furness worldwide.

Director, Vocal & Opera:
Simon Goldstone

Associate Manager, Vocal & Opera:
Olivia Marshall

Sam Furness


“The vocal honours of the evening went unequivocally to Samuel Furness, whose performance of Lensky’s aria before the duel, a piece that can sound maudlin, was so pure in tone, so full of useless regret, that I wonder if I have ever heard it sung so finely in the theatre.”
The Spectator

Described as having “all the makings of a star” in the Guardian, and hailed as “a lyric tenor clearly going places” in Opera magazine, young tenor Sam Furness was winner of the prestigious Royal Academy of Music Club Prize in 2012. Since graduating, he has sung major roles for Scottish Opera and in Santiago and Toulouse, always earning praise for his compelling acting and innate musicality.

Operatic roles to date include the title role of Albert Herring (Opera Holland Park and a new production at the Théâtre du Capitole Toulouse); the Novice Billy Budd at the Teatro Municipal, Santiago; Jaquino Fidelio for Garsington Opera; Frederic The Pirates of Penzance for Scottish Opera; Vašek The Bartered Bride for British Youth Opera; the title role of L’Orfeo; Rinnucio Gianni Schicchi; Don Ottavio Don Giovanni; Lensky Eugene Onegin (directed by his brother Jack at the Ryedale Festival and with the Royal Academy Opera); Lysander A Midsummer Night’s Dream and Tamino Die Zauberflöte (both at the Edinburgh Fringe Festival); and Bénédict Béatrice et Bénédict with the Royal Academy Opera, conducted by Sir Colin Davis.

Engagements in the 2014/15 season include his English National Opera debut as Joe La fanciulla del West and role debuts as Števa Jenůfa (Scottish Opera) and Baron Lummer Intermezzo, as well as a recital at the Wigmore Hall.

Oratorio repertoire includes Mozart Requiem, Bach St Matthew Passion and St John Passion, Mendelssohn Elijah, Handel Messiah and Samson, Britten St Nicholas, Verdi Requiem and Dyson Canterbury Pilgrims.

Sam Furness is represented by Intermusica.
September 2014 / 246 words. Not to be altered without permission. Please destroy all previous biographical material.

Jaquino Fidelio / Garsington Opera
Cond. Douglas Boyd / dir. John Cox

“For me there were two standout performances. Jennifer France, and especially Sam Furness, in the usually boring roles of Marzelline and Jaquino, acted and sang impeccably and in such a way as to make you care about characters most productions scarcely bother with.”
Paul Levy, Arts Journal, June 2014

“Making more than is on the page of the somewhat inconsequential Jaquino was Sam Furness, very much the handsome chap who wants his girl.”
Kevin Rogers, Classical Source, June 2014

“Jennifer France (Marzelline) and Sam Furness (Jaquino) open the opera with spirited acting and singing.”
Ilana Walder-Biesanz, Bachtrack, June 2014

“Sam Furness made you feel his plight as Jaquino”
Melanie Eskenazi, musicOMH, June 2014

“Sam Furness… demonstrated excellent comic timing without ever playing to the gallery.”
Katherine Cooper, What’s on Stage, June 2014

Frederic The Pirates of Penzance / Scottish Opera and D’Oyly Carte
Dir. Martin Lloyd-Evans

“I’m pleased to say that Frederic was performed by Sam Furness from Cardiff (with a fair few more from Wales as well). At 26, I can see him going far as a tenor. His dashing good looks, great robust sound and comic timing will confirm this.”
The Sprout, July 2013

“Among a strong cast the leggiero tenor of Sam Furness as Frederic perfectly encapsulates the light touch of G&S as well as indicating where the music threatens to exhibit serious intent, especially in his main duet with Mabel”
South Wales Argus, July 2013

Lensky in Tchaikovsky Eugene Onegin / Royal Academy of Music
cond. Jane Glover / dir. John Ramster

“Samuel Furness (Lensky) stood out for his bright, commanding tenor and confident acting.”
Intermezzo, March 2013

“…Samuel Furness's Lensky [was] outstanding...with exceptional singing… Furness held on to his top-note farewell with a cheeky persistence that had you gasping. But this was the last night of the run and he could do it, so why not? In a work suffused with poignancy, it was nice to smile.”
Fiona Maddocks, The Guardian, March 2013

“However, the vocal honours of the evening went unequivocally to Samuel Furness, whose performance of Lensky’s aria before the duel, a piece that can sound maudlin, was so pure in tone, so full of useless regret, that I wonder if I have ever heard it sung so finely in the theatre.”
Michael Tanner, The Spectator, March 2013

“Samuel Furness (Lensky) stood out for his bright, commanding tenor and confident acting.”
Intermezzo, March 2013

“Samuel Furness is also brilliant as Lensky, the best I have heard him sing - the technique is now quite excellent - his piano singing very controlled, and his top splendidly ringing and beautiful…. he will have a very formidable career.”
Capriccio Music, March 2013

Albert in Britten Albert Herring
cond. David Syrus / Théâtre du Capitole Toulouse

"From a vocal perspective, the young British tenor is beyond reproach…"
Catherine Scholler, Pera Magazine, March 2013

“In the role of the “May King”…Sam Furness is perfect. His monologues are delivered with a touching spontaneity… His beautiful tenor voice is moving…as an actor he is excellent.”
Jean Jordy, ODB, January 2013

“The tenor Sam Furness was a remarkable interpreter of Albert Herring. Herring is a character who needs a convincing actor-singer rather than just a brilliant singer and this British tenor lives up to the challenge remarkably well”.
Jose M. Irurzun, Beckmesser, January 2013

“In the title role, Sam Furness paints a captivating character development of a simpleton in who the teaching of the fable resides”.
Gilles Charlassier,, January 2013

“And last but not least, the hero of the day: Albert. The first ever May King at the Théâtre du Capitole is sung by young Sam Furness. This lyric tenor, who will turn 27 this year, already shows pretty amazing qualities of timbre, evenness throughout his whole vocal range and an innate musicality. Of course, at this age, he is not the finished product, but my goodness, what great promise”.
Robert Pénavayre, Classic, January 2013

“Singing the role of Albert, young British tenor Sam Furness is a revelation. A natural on stage, his Albert is genuine and touching. Here is a singer who knows how to negotiate the pitfalls of the score. Not to be missed.”
Anne-Marie Chouchan, Ladépê, January 2013

Vaŝek in Smetana The Bartered Bride
British Youth Opera / cond. Peter Robinson / dir. Rodula Gaitanou

“Yet even [Kecal] was outshone by the remarkable Vašek of Samuel Furness, a lyric tenor clearly going places (this season alone he has Albert Herring in Toulouse, and Frederick in Scottish Opera’s The Pirates of Panzance in the bag). With Gaitanou’s help, Furness created one of the most complete, funny and touching impersonations of this tricky role that I have seen. There is little a director can do to make Vašek’s stammering amusing these days, but the director and singer avoided the village-dimwit approach, creating a compelling portrait of adolescent neurosis”.
Hugh Canning, Opera Magazine, October 2012

“Sam Furness, a fine tenor who can also act, commanded the stage as the poor, shy, tongue-tied boy who eventually finds his inner grizzly bear by joining a circus.”
Fiona Maddocks, The Observer, September 2012

“All the principals are singers one would like to hear again. Particularly outstanding [is] Samuel Furness, whose portrayal of the socially maladjusted Vasek — a stuttering victim of maternal oppression who finds his vocation in a circus bearskin — is a tour de force.”
Barry Millington, London Evening Standard, September 2012

“Samuel Furness’s stammering nerd, Vasek [was] pointed and vigorous from the start, though his real blossoming comes in Act III, when this dolt bridegroom advances beyond caricature into a genuinely sympathetic character.”
Geoff Brown, The Times, September 2012

“There was no need to make allowances for tonight’s cast. The stuttering, twitching, and completely hilarious Vašek (Samuel Furness)… provided some moments of pure comedic genius.”
Emily Owen,, September 2012

Bénédict in Berlioz Béatrice et Bénédict / Royal Academy Opera
cond. Sir Colin Davis / dir. John Copley

“Samuel Furness made Bénédict the most three-dimensional character. As early as his Act One spat with Béatrice, there was a charge between the two of them, and his short aria (‘Ah! Je vais l‘aimer’) flew along with fine, chest-out ardour. His tenor is very sweet and lyrical throughout his range, and he was the only singer to produce that typically French, slightly nasal twang in his voice.”
Peter Reed, Classical Source, November 2011

“I hope this is one of the operas which the RAM has recorded and will release; the Bénédict of Samuel Furness made a strong impression.”
Michael Tanner, Arts & Culture, December 2011

Tamino in Mozart Die Zauberflöte / Rosslyn Chapel
The Shadwell Opera / dir. Jack Furness

“Secondly, the words are sung by Sam Furness, a superb student tenor who gives a magnificent impression of being on the run from a terrifying dragon. Looks, voice, dramatic charisma; his Prince Tamino has star power in spades, and in our case, from a distance of about two yards.”
Tim Cornwell, Edinburgh Festivals, August 2009

Odoardo in Handel Ariodante / Il Complesso Barocco
Barbican / cond. Alan Curtis

“Sam Furness sang the small, but important part of Odoardo; a role with no aria, but one which requires the singer to expedite some of the drama in the recitative. Furness was a credit to his training and displayed an attractive, unforced lyric voice.”
Robert Hugill, Planet Hugill, May 2011

“With first-rate support from Sam Furness, this was a feast of bel canto so delicious as to melt the prejudices of even the most hardened Handel opera sceptics.”
Rupert Christiansen, The Telegraph, May 2011

“Sam Furness was excellent.”
Barry Millington, The London Evening Standard, May 2011

Albert in Britten Albert Herring / Shadwell Opera
Opera Holland Park / cond. Christopher Stark

“Sam Furness's gawky, sad-eyed Albert sings sweetly and is convincing both as laughing-stock and thoughtful innocent.”
Kieron Quirke, The London Evening Standard, July 2011

“Britten's 1947 opera is an ideal vehicle for the light-voiced Sam Furness, who sang Herring and has all the makings of a star … Aptly endowed with a Fishmonger's Trust Fund scholarship for studies at the Royal Academy of Music, he is a natural comic actor, capable of inspiring pathos. With his brother as director and his sister, Pollyanna, singing the cameo role of Harry, this is quite some family.”
Fiona Maddocks, The Guardian, July 2011

“The best performance was Sam Furness's of the title role: his look of perplexed misery at his May King crowning ceremony, dressed in shining white suit, was delightful; and his drunken awakening monologue was well-delivered, managing to be both funny and poignant.”
Graham Rogers, Classical Source, July 2011

Stravinsky Les Noces / Arte Corale of Moscow / Bath International Music Fest
Bath Camerata / cond. Diego Masson

“(...) tenor Sam Furness flung himself into his various roles with amazing fervour.”
Ivan Hewett, The Telegraph, October 2011

Lensky In Tchaikovsky Eugene Onegin / CUOS Opera
West Road Concert Hall / cond. Carlos del Cueto / dir. Rosalind Parker

“In act 2, the highlight was Lenskys' (Sam Furness) solo and then duet with Gareth John before their duel, where first Sam Furness treated us to a superb tenor voice.”
Fran Smith, The Cambridge Student, February 2009

Opera Gala / BBC Hoddinott Hall / Cardiff Music Festival / Cardiff Sinfonietta
cond. Jonathan Mann

“…young tenor Sam Furness and baritone Christopher Jacklin were a revelation as they sang songs they had learned in a matter of hours. Their rendition of the famous duet from Bizet’s The Pearl Fishers was a highlight.”
Karen Price,, September 2011


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