Ain Anger
Bass

"One of the great Wagner basses of our time." (Tim Ashley, The Guardian)

Contacts

Shirley Thomson +44 (0)20 3725 9173
Clare Erskine +44 (0)20 3725 9145

Biography

Undeniably one of the great Wagner basses of our time and equally in demand internationally in Italian, German and Russian repertoire, Estonian-born Ain Anger now makes his home in Vienna where he has sung over forty roles on the stage of the Wiener Staatsoper.

Opera highlights in the current season include company debuts at both the Royal Opera House as Pimen in Richard Jones’ new production of Boris Godunov and San Francisco Opera as Pogner (Die Meistersinger von Nürnberg) under Mark Elder, as well as Ain’s role debut as Cardinal Brogni in Calixto Bieito’s new production of La Juive under Bertrand de Billy for the Bayerische Staatsoper. 

For the Wiener Staatsoper Ain sings Dossifei

...

Undeniably one of the great Wagner basses of our time and equally in demand internationally in Italian, German and Russian repertoire, Estonian-born Ain Anger now makes his home in Vienna where he has sung over forty roles on the stage of the Wiener Staatsoper.

Opera highlights in the current season include company debuts at both the Royal Opera House as Pimen in Richard Jones’ new production of Boris Godunov and San Francisco Opera as Pogner (Die Meistersinger von Nürnberg) under Mark Elder, as well as Ain’s role debut as Cardinal Brogni in Calixto Bieito’s new production of La Juive under Bertrand de Billy for the Bayerische Staatsoper. 

For the Wiener Staatsoper Ain sings Dossifei (Chowanschtschina), Hunding (Die Walküre) under Adam Fischer and Sparafucile (Rigoletto) under Evelino Pidò; and returns to Munich as Pimen (Boris Godunov) under Vasily Petrenko, and Il Commendatore (Don Giovanni). Concert commitments include Il CommendatoreVasily PetrenkoVasily PetrenkoMussorgsky’s Songs and Dances of Death with the Scottish Chamber Orchestra and Des Jonah Sendung with the Eesti Kontsert under Neeme Järvi.

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Contacts

Shirley Thomson +44 (0)20 3725 9173
Clare Erskine +44 (0)20 3725 9145

Reviews

"The splendid bass Ain Anger excelled as Daphne’s father Peneios" (George Loomis, Financial Times, June 2015)

"As Dosifey, Ain Anger was enormously impressive : a tall, imposing stage presence, he rolled out his phrases in a generous, beautiful bass, mixing dignity and dangerous charisma in his characterization." (Hugo Shirley, Opera Magazine, February 2015)

"Ain Anger, on the hand, offers unfailingly superb vocalism as Hunding, combining toughness with a sexiness one doesn’t often find in this character" (Roger Pines, International Record Review, January 2015)

"The soloists are all of the first rank too. Ain Anger’s youth and gorgeous high-lying voice are unusual for

...

"The splendid bass Ain Anger excelled as Daphne’s father Peneios" (George Loomis, Financial Times, June 2015)

"As Dosifey, Ain Anger was enormously impressive : a tall, imposing stage presence, he rolled out his phrases in a generous, beautiful bass, mixing dignity and dangerous charisma in his characterization." (Hugo Shirley, Opera Magazine, February 2015)

"Ain Anger, on the hand, offers unfailingly superb vocalism as Hunding, combining toughness with a sexiness one doesn’t often find in this character" (Roger Pines, International Record Review, January 2015)

"The soloists are all of the first rank too. Ain Anger’s youth and gorgeous high-lying voice are unusual for the low authoritative bass role of Dossifei, but in combination they create something new, vital, and utterly mesmerising." (Warwick Thompson, Blouin Artinfo, November 2014)

"Anger dominated as Dossifei and now outshines all his colleagues. His bass is strong as a bear yet classy: a delight." (Stefan Ender, Der Standard, November 2014)

"Ain Anger was a superb Gremin, giving an expressive yet dynamic, even conversational account of the aria rather than the sanctimonious grandstanding so often encountered." (George Loomis, Opera Magazine, October 2014)

"One of the highlights was the battle with Fafner, which rightly gained Ain Anger great applause. Vocally as well as dramatically he fully convinced and his dark bass at once blended and contrasted beautifully with Gould’s radiant tenor: probably the best Fafner I have so far heard from Anger." (Susanne Kosesnik-Wehrle, Der neue Merker, June 2014)

"... the excellent dark, serious and lifelike Sparafucile of Ain Anger." (Michèle Friche, Le Soir, May 2014)

"Ain Anger is dark, cavernous and worryingly below the law - a Sparafucile of excellence." (Sébastien Foucart, ConcertoNet, May 2014)

"The real vocal honours, though, go to Ain Anger's superbly characterised Hunding – no bully boy, but a man who masks possessive resentment beneath a chilling mask of politeness. Along with his performance in Tannhäuser at this year's Proms, it marks him out as one of the great Wagner basses of our time." (Tim Ashley, The Guardian, August 2013)

"A striking Estonian bass with the splendid name of Ain Anger made a grand impression as the Landgrave." (Rupert Christiansen, The Telegraph, August 2013)

"The great performances came from Wolfram, Venus and Ain Anger's moralistic Hermann, all of them exceptional." (Tim Ashley, The Guardian, August 2013)

“The Estonian bass Ain Anger was a magnificent Daland, a true Wagner bass, rich and resonant with some potent bottom notes to boot. His acting was entirely convincing as well.” (Limelight Magazine, July 2013)

“Bass Ain Anger displayed superb clarity of articulation and sustained an intensely focused sound. Anger's dark timbre and excellent diction created commanding accounts of the Tuba mirum and Confutatis." (The Australian, July 2013)

"The other parts are also exceptionally well cast, including Ain Anger's Wotan-like Pater Profundis..." (Frankfurter Allgemeine Zeitung, May 2013)
 
" ... the vocally truly profound bass Ain Anger..." (Offenbach Post, May 2013)

"The remaining cast was strong with Ain Anger as a sonorous Landgraf, complemented by Gergely Nemeti (Walter), Alexandru Moisiuc (Biterolf), Peter Jelosits (Heinrich), Marcus Pelz (Reinmar), and Alois Muehlbacher as the Hirte." (The Opera Critic, June 2010)

"Estonian bass Ain Anger unleashed magnificently cavernous tones and was properly sepulchral in his Mors Stupebit solo. Still young, he has not sung very much in New York yet, but he made the Carnegie Hall audience sit up and take notice." (Opera News, August 2008)

"Estonian Ain Anger, making his United States debut, used his deep bass to give a thrilling performance in the role of Ivan." (Classical Source)

 

Discography

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