Reviews

Reviews

Annina, The Saint of Bleecker Street
Dicapo Opera Theatre- 2011 “Kristin Sampson…managed to enact
girlish faith, with as reasonable conviction as the material permitted.
With her imposing, red-blooded spinto, at times sounded
ready to launch into Manon Lescaut…”
— David Shengold, Opera News

Dicapo Opera Theatre- 2011 “In Kristin Sampson, Dicapo had an
Annina who delivered potently at climactic moments…”
— Steve Smith, New York Times

Dicapo Opera Theatre- 2011 “Cast as the frail, otherworldly, oh-so-
saintly Annina, Kristin Sampson exuded robust earthiness and
sounded like a misplaced Tosca.”
— Martin Bernheimer, Financial Times

Dicapo Opera Theatre- 2011 “The cast has the requisite big voices.
Kristin Sampson’s dramatic soprano…sang with fervor. She was
especially telling in the scenes with Michele when Annina rhapsodizes
about taking the veil, her gleaming proving a fine match for the
soaring melodies that characterize the girl’s religious ardor.”—
George Loomis, Musical America

Dicapo Opera Theatre- 2011 “Kristin Sampson was astounding, her
singing effectively booming and subdued, and her crystal-clear top
notes so wonderfully conveyed Annina’s religious rapture. Her middle-
and low-range were handled with great command and exultation.
She was definitely a woman in the throes of religious fervour.”
— Victor Wheeler, Classicalsource.com

Dicapo Opera Theatre- 2011 “Heading a topnotch cast, soprano
Kristin Sampson, as Annina, the eponymous saint, is riveting as she
recounts her vision of the Crucifixion in “Oh sweet Jesus, spare me
this agony,” a monologue as monumental as “To this we’ve come,”
from the composer’s “The Consul” (1950). Sampson touches us with
her sweet “Be good to her, be kind,” advice for Salvatore (baritone
Stephen Lavonier), who is marrying her dearest friend Carmela
(soprano Molly Mustonen), and is hypnotic in the final scene in which,
on the brink of death, Annina takes the veil.”
— Bruce-Michael Gelbert, [Q]OnStage

Masha, The Seagull
Szeged National Theatre 2010- “Kristin Sampson in the role of Masha
was the most outstanding artist of the production. She returned to
Szeged after having been the winner of last year’s competition. She
was fantastic once again, her voice filled the theatre, in spite of the
fact that the role is a very difficult one.”
— Balázs Csák, Opera Portál

Szeged National Theatre 2010- “The company of the Dicapo Opera
Theatre showed itself at its best. Even in the smaller roles we could
see real talents. Kristin Sampson (who sang Adriana and Emmeline in
the previous years) could make a leading role from that of Masha.”
— László Ferenc, REVIZOR

Dicapo Opera Theatre 2010- “After an agitated orchestral prelude,
Act I begins with an involving love spat between Medvedenko (the
appealing tenor David Gagnon), an earnest teacher, and Masha (the
plush-voiced soprano Kristin Sampson)…”
— Anthony Tommasini, New York Times

Dicapo Opera Theatre 2010- “Kristin Sampson (Masha, the daughter
of Shamrayeff, the estate manager – the opera takes place at the
estate – and his wife Pauline) sang with such authority, vigor and
pliancy that I wondered how she would sound at the Met.”
— Victor Wheeler, Classicalsource.com

Dicapo Opera Theatre 2010- “Kristin Sampson managed to take the
rather one-dimensional character of Masha and present her as a
woman of complexity and depth.”
— Arlo McKinnon, Opera News

Dicapo Opera Theatre 2010- “A mostly intelligent production by Maria
Harangi utilized talented young singers who brought fresh voices and
eager dramatic identification to their parts. Beverly O’Regan Thiele’s
commanding Mme. Arkadina, a radiant Molly Mustonen as Nina, and
the darkly brilliant Kristin Sampson as the unhappy Masha brought
Chekhov’s women to life.”
— Eli Jacobson, Gay City News

Nedda, Pagliacci
Santiago de Chile- 2010 “Kristin Samson was specially ingratiating as
Nedda: she possesses a high register that she calibrates from a
sensual morbidezza to a more brutal sound. Her Nedda is
voluptuous and aggressive, which can be considered as resulting
very true to the style“
—TIEMPO DE MUSICA – Cristobal Astorga Sepulveda

Santiago de Chile- 2010 “The American Kristin Sampson displayed a
timbre of pleasant color and body as she delineated her role with
special and mature tints of passion”
—TIEMPO LIBRE – Mario Cordova

Santiago de Chile- 2010 “The Mexican-American Kristin Sampson was
very good in her role of Nedda”
—MUNDOCLASICO – Johnny Teperman

Santiago de Chile- 2010 “The American Kristin Sampson sang with a
beautiful voice and stupendous acting in I Pagliacci portraying a very
credible Nedda”
—EMOL – Gilberto Ponce

Santiago de Chile- 2010 “The sought after Mexican-American
soprano, Kristin Sampson, stood out as Nedda”
—UPI.com

Cio Cio San, Madama Butterly
Dicapo Opera Theatre- 2010 "The title role was impeccably executed
by the magnanimously gifted Sampson, whose brilliant vocals were at
times mighty as a raging torrent; and at others, soft and tender like
the gentle Butterfly she played. A soprano of high quality, she was
more than deserving of her overwhelming applause."
—Olga Privman - Reviewfix.com

Dicapo Opera Theatre- 2010 "Sampson emitted such kindness as the
tragic heroine that one could not help but feel emphatic sadness for
her child (Isabelle Gendron) at the loss of such a pure soul for a
mother."
—Olga Privman - Reviewfix.com

Emmeline, Emmeline
Szeged National Theatre 2009- “The one we should mention at first
place is Kristin Sampson among the singers who added a lot to the
success of the opera. We saw her last year in the final (she sang
Adriana Lecouvreur) and she had a very good impression on me.
Emmeline’s part is extremely difficult: it calls for a big voice with
heights and expressive power. (I have to mention that the director
did not make it easier at all for Ms Sampson: she had to sing lying on
her back with her head dropped down…) Ms Sampson not only
managed to carry out the instructions she did a lot more: she formed
her character with a perfect vocal performance and a strong,
expressive presence on stage. (She was crying at the end of the
show. After such a performance I must say her tears were
more than honest.)”
— Balázs Csák, Opera Portál

Szeged National Theatre 2009- “We know Kristin Sampson, who is
singing the title-role, from last year’s Adriana Lecouvreur. The fact is
that Emmeline’s role is a killer of the vocal chords so there are not
too many sopranos who would willingly sing it. Ms Sampson,
however, sang it brilliantly: the young American soprano has a great
voice and a personality: we should pay attention to her. And we will
definitely have the chance to see her again since the jury – quite
rightly – made her the winner!”
— Tamás Jászay, REVIZOR

Szeged National Theatre 2009- “Kristin Sampson, who according to
the Hungarian members of the jury should have been the winner last
year, sang brillianly in 2009, too. She played the character of the 14
year old Emmeline very impressively: she was naive and vulnerable in
her shabby clothes. Then in act two she has become a beautiful
young woman. Moreover, she is a fantastic singer.”
— Csilla Gyémánt, Szegedi Opera Klub Fötéma

Dicapo Opera Theatre- 2009 “As Emmeline, Kristin Sampson, seen
last season as Šárka, was stunning dramatically as well as vocally.
She was utterly convincing all the way through her journey from a
naïve thirteen-year-old child to a scorned outcast, weighed down by
a life of sorrow. She has a beautiful resonant voice with great
intonation and enunciation. She had the power when she needed it
and the delicacy for the beautiful lyrical melodies that Picker gave the
character. Her facial expressions (visible in a small house) and every
gesture gave depth and pathos to the character. For me the musical
highpoint of the opera came in the second act when Emmeline
fantasized about her baby who must now be twenty years old – she
had named her Maryanne. “All I have left is the pain,” she sang, and
sang beautifully.”
—Arlene Judith Klotzko, ConcertoNet.com

Dicapo Opera Theatre- 2009 “Kristin Sampson shone as Emmeline,
handling not only the transition from 13 to 34 with convincing physical
aplomb, but traversing an incredibly challenging vocal part with
evenness and beauty. The rangy, powerful singing required of her
lyric voice seemed natural and never forced, and her dramatic focus
drew the audience in throughout the story.”
—Whitney Scott, Operaticus

Dicapo Opera Theatre- 2009 “…American soprano Kristin Sampson
had a dark, full lyric soprano…sturdy and unfazed by the role’s length
and high tessitura.”
—Eli Jacobson, Chelsea Now

Dicapo Opera Theatre- 2009 “With her big, gleaming dramatic
soprano, Kristin Sampson brought authority to the tour-de-force role
of Emmeline”
—Heidi Waleson, The Wall Street Journal

Dicapo Opera Theatre- 2009 “In the title role Kristin Sampson ably
enacted a progression from innocent girl to outcast woman and sang
with a light, appealing tone…”
—Steven Smith, New York Times

Adriana, Adriana Lecouvreur
Szeged National Theatre- 2008-2009 "Kristin Sampson, who sang
Adriana is simply a star. She is perfect in voice, in appearance, in
characterization and in presence. And most importantly she will
remain so for a very long time, since after hours of singing she was
able to sing heartbreakingly beautiful pianissimos."
—Dauner Nagy, Cafe Momus(HU)

Szeged National Theatre- 2008-2009 “In the title-role, Kristin
Sampson, the winner of a number of competitions, steps forth from
among a row of actors preparing their make-up. Her faultless
technique, sensitivity, and magnificent singing enthralled the public.
The prima donna role is a fruitful role for one who possesses such an
exceptional voice—particularly evident in the lyrical arias. Her duet
with the amorous Count fascinated the public with the emotional
acting and vocal perfection.”
—Metz Katalin, Culture.HU

Szeged National Theatre- 2008-2009 “Kristin Sampson’s voice is
beautiful, powerful, and smooth. Moreover, the artist possesses the
prima donna-consciousness necessary for the role of Adriana. All in
all, Ms. Sampson is a real talent.”
—László Ferenc, REVIZOR

Szeged National Theatre- 2008-2009 “In Act IV, the two sides unite .
. . This is the point where Kristin Sampson is the greatest. She
overcomes the vocal demands with incredible professionalism; her
voice is young, fresh, and full of delicate shades. She deserved the
immense success she had.”
—Ádám Tünde, Opera-vilag

Szeged National Theatre- 2008-2009 “Kristin Sampson, in the role of
Adriana, sings clearly. She is an immense talent . . . her acting is light
and spontaneous . . . she is very fresh.”
—Izsó Tímea, Kultissimo-Kalandozas

Šárka, Šárka
Dicapo Opera Theatre- 2009 “In difficult, high B-flat-laden music,
Kristin Sampson (Šárka) wielded an impressive, darkly gleaming
spinto and acted with resolution and power.”
—David Shengold, Opera (UK)

Dicapo Opera Theatre- 2009 Dicapo's production was strongly cast,
with Kristin Sampson's powerful, dark soprano sounding every bit the
patriotic warrior, yet softening remarkably when Šárka inadvertently
falls in love with her enemy.
—Judith Malafronte, Opera News

Dicapo Opera Theatre- 2009 " Kristin Sampson — in a red dress and
heeled boots — was a fiery Sarka. Her bright soprano, almost shrill as
she urged her punkishly dressed Amazonian colleagues to battle,
softened as she fell in love with Ctirad..."
—Vivien Schweitzer, New York Times

Dicapo Opera Theatre- 2009
"Kristin Sampson sang and acted the role powerfully...All four solo
singers were extraordinary ...There is a visceral pleasure in hearing
so many healthy sets of young lungs tearing into this music, and they
sing, they do not bellow..."
—John Yohalem, Opera Today

Dicapo Opera Theatre- 2009 " In the title role, soprano Kristin
Sampson offered a rounded, impassioned performance, especially in
her Act II seduction of Ctirad."
—Heidi Waleson, The Wall Street Journal

Dicapo Opera Theatre- 2009 "The quality and robustness of the
singing was impressive. Kristin Sampson, as Sárka, has a lovely voice.
She sang with primal force and excellent control..."
—Arlene Judith Klotzko, ConcertoNet.com

Juliette, Roméo et Juliette
National Lyric Opera- 2007 “Soprano Kristin Sampson’s Juliette was a
real treat: strong in vocal delivery with good range and an open,
rounded sound at the high end that had a pleasant warm edge to it.
Ms. Sampson, from start to finish, delivered a superb performance,
demonstrating, besides considerable vocal talent, a solid, even
sensuous, stage presence. Brava!”
—Paul Joseph Walkowski, Opera Online.US

National Lyric Opera- 2007 “Vibrant-voiced and spirited in her
delivery, Sampson especially excelled in the dramatic, vocally
demanding ‘Potion Aria’ as Juliet struggles to over come her fears…”
—Anna Crebo, Cape Cod Times

Dicapo Opera Theatre- 2007 “… Sampson was able brilliantly to find
that mild comic ingratiation in her projected ambivalence over
whether to take the death-fabricating potion Friar Laurence (Matthew
Lau) provided. Her voice took on a gorgeous, biting resonance. At the
end of the opera, amazingly, she and Karn had managed to mesh so
perfectly that they made the wildly improbable final love and death
duet of “Romeo et Juliette” convincingly poignant. ”
—John Zeugner, Worcester Telegram & Gazette

Dicapo Opera Theatre- 2007 “…it was delivered by a promising young
cast led by a bright-toned and eloquent Kristin Sampson as Juliette…”
—Clive Barnes, New York Post

Dicapo Opera Theatre- 2007 “Kristin Sampson contributed a strong,
lustily sung Juliette that was at its best in her passionate delivery of
the Potion Aria. I also liked the way she seemed almost to berate
Friar Lawrence when enlisting his aid in her hour of need. ”
—George Loomis, New York Sun

Micaëla, Carmen
Hudson Opera Theatre- 2007 "Playing Micaela, the other woman in
Don Jose's life, is Kristin Sampson. Her velvet-toned and expressive
voice serves well the home-town girl who prevails upon the deserted
soldier to hurry to his dying mother.”
—Marcus Kalipolites, Times Herald-Record

Mimì, La Bohème
Opera of The Hamptons- 2007 "Kristin Sampson as the ailing Mimi
and John Tsotsoros as her lover Rodolfo had all of the charisma and
synergy required for these demanding roles and their performances...
made this an evening to remember."
—Roy Bradbrook, Dan's Papers

The Little Opera Company of New Jersey- 2006 "As Mimi, Ms.
Sampson was in a class by herself. Her voice was rich, full and singing
from bottom to top. She had the means to convey whatever mood or
motion the libretto demanded. No matter how high or how softly she
sang, the sound was supported, the vibrato spinning, the timbre
consistent and the phrasing perfectly shaped. Beyond the technique,
carry and expressiveness of her voice was an irresistibly gorgeous
sound. Last, but not least, she actually coughed like someone who
was gravely ill.”
—Brad Tinfow, The Westfield Ledger

Suzanne Michaud, Thérèse Raquin
Dicapo Opera Theatre- 2007 "With her fresh, naturally produced lyric
soprano, Kristin Sampson, cast in the small part of Suzanne, made
the most positive vocal contribution in the show."
—Oussama Zahr, Opera News

Anna Glawari, The Merry Widow
Dicapo Opera Theatre- 2006 "There's still plenty of merriment and
musical pizazz in that turn of the last century's waltzing operetta The
Merry Widow by Austro-Hungarian composer Franz Lehár and
librettists Viktor Léon and Leo Stein. That is provided it's blessed with
a widow whose charm and voice match her fortune... Kristin Sampson
brought a superb soprano and great presence to Anna Glawari..."
—Elyse Sommer, CurtainUp

Cleopatra, Julius Caesar
Hudson Opera Theater/Delaware Valley Opera- 2006 "He came, he
saw, he conquered. Yes, Julius Caesar, of course, but also Ron DeFesi
in his role of artistic director of the combined forces of the Delaware
Valley Opera and Hudson Opera Theater. Under his direction,
productions in the recent past have proved so noteworthy that the
site has become a mecca for rising opera singers. And clearly evident
in this trend is Kristin Sampson who is starring as Cleopatra in the
current production of Handel's "Julius Caesar." In Sunday afternoon's
presentation at the Tusten Theatre, this young woman who has
earned rave reviews elsewhere exhibited top-drawer quality. She not
only sings with purity of tone and intensity enough to fill the
auditorium twice over, but also her florid passages soar with grace
and her sustained tones turn into dramatic moments."
—Marcus Kalipolites, Times Herald-Record

Violetta Valéry, La Traviata
Opera of the Hamptons- 2005 "Next step stardom...the voices were
those of the most accomplished opera singers..."
—Julia C. Meade, New York Times

"A couple of weeks ago, at the Vail Leavitt Music Hall in Riverhead, a
large audience was thrilled to behold another of the great works, this
time Verdi's passionate La Traviata. This production, incidentally, was
hailed by the owner of a very well known and respected New York
based artists management company as 'The most credible production
of this opera that I have ever seen' –high praise indeed! The lead
role of the courtesan, Violetta, was sung and acted beautifully by a
newcomer to the company, Kristin Elena Sampson..."
—Roy Bradbrook, Dan's Papers

Hudson Opera Theater/Delaware Valley Opera- 2005 "At the heart of
this tragic story is the would-be heroine, brilliantly performed by
Kristin Sampson. With a beautiful vibrant voice and emotion-filled
acting, she creates a character who captures a whole range of
emotions."
—Marcus Kalipolites, Times Herald-Record

Anne Egerman, A Little Night Music
Shaker Mountain Opera- 2003 "Marcus Auger as Henrik (Fredrik's
son), and Kristin Elena Sampson as Anne (Fredrik's wife) both added
strong voices to the production..."
—Bill Rice, Gazette Reporter

Monica, The Medium
Whitman College Guest Artist Recital Series- 2001 "Sampson's strong,
clear- beautiful voice filled the auditorium as she immersed herself in
the role of Monica..."
—Maggie Ross, The Pioneer