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

One of the foremost basses of our time, Estonian-born Ain Anger is in international demand for the key roles of the German, Italian and Russian repertoires and makes his home in Vienna where he has sung over forty roles on the Wiener Staatsoper stage. 

One of the foremost basses of our time, Estonian-born Ain Anger is in international demand for the key roles of the German, Italian and Russian repertoires and makes his home in Vienna where he has sung over forty roles on the Wiener Staatsoper stage. 

Recent role debuts as Mussorgsky’s Boris Godunov at Deutsche Oper Berlin and Hagen (Götterdämmerung)at the Canadian Opera Company garnered universal acclaim, further expanding Anger’s already extensive repertoire. The current season features returns to Wiener Staatsoper as Dosifei under Michael Güttler, Bayerische Staatsoper as Fafner and Hunding under Kirill Petrenko, Deutsche Opera Berlin as Koenig Heinrich under Donald Runnicles, and to Opéra national de Paris as Pimen under Vladimir Jurowski. Ain also makes his house debut at Lyric Opera of Chicago in the new David Poutney production of Die Walküre under Sir Andrew Davis. In concert, he joins The Cleveland Orchestra and Franz Welser-Möst as Koenig Marke in their semi-staged performances of Tristan und Isolde, marking his debut in the role, and sings Mahler’s Symphony No.8 with the Dresdner Philharmonie and Michael Sanderling. 

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Contacts

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

Reviews

“Ain Anger graduated from Pimen – his part at Covent Garden – to give a rounded and moving portrait of the title role, both vocally and dramatically. His large, wide-ranging bass accommodated easily the Tsar’s pained outbursts while finding intimate tones for the familial scenes.” (Opera Magazine, October2017) 

“Ain Anger’s noble, stentorian Dosifey” (Opera Magazine, October 2017)

“Towering above all physically, vocally and dramatically, however, was bass Ain Anger as Dosifei. It was a monumental performance of the mystical, fanatical, uncompromising religious zealot that was the bedrock of the production” (Seen and Heard, September 2017) 

“Anger, blessed with a wealth of charisma as the leader of the Old Believers, easily overshadowed Furlanetto in the demonstration of vocal potency, and the Estonian succeeded in miraculously nuanced, thoughtful tones in the first movement” (Der Standard, September 2017)

“Estonian bass Ain Anger was well cast as Dosifey, leader of the Old Believers, impressively rolling out unforced waves of well-founded singing”  (The Financial Times, August 2017)

“Ain Anger graduated from Pimen – his part at Covent Garden – to give a rounded and moving portrait of the title role, both vocally and dramatically. His large, wide-ranging bass accommodated easily the Tsar’s pained outbursts while finding intimate tones for the familial scenes.” (Opera Magazine, October 2017) 

“Ain Anger’s noble, stentorian Dosifey” (Opera Magazine, October 2017)

“Towering above all physically, vocally and dramatically, however, was bass Ain Anger as Dosifei. It was a monumental performance of the mystical, fanatical, uncompromising religious zealot that was the bedrock of the production” (Seen and Heard, September 2017) 

“Anger, blessed with a wealth of charisma as the leader of the Old Believers, easily overshadowed Furlanetto in the demonstration of vocal potency, and the Estonian succeeded in miraculously nuanced, thoughtful tones in the first movement” (Der Standard, September 2017)

“Estonian bass Ain Anger was well cast as Dosifey, leader of the Old Believers, impressively rolling out unforced waves of well-founded singing”  (The Financial Times, August 2017)

“Best were Ain Anger as warmly eloquent Dosifey” (The Independent, August 2017)

“Ain Anger had a massive and minatory dignity as the leader of the Old Believers.” (The Telegraph, August 2017)

“Ain Anger enters the scene as Godunov... The Estonian, who sings this role for the first time, has something Christ-like with his long smoothed hair; his deep, penetrating bass is permeated with honest felt emotions - poetic, desperate, but also powerful. Voice and appearance are of touching fragility and at the same time of Old Testament power…they are all surpassed by Ain Anger, who also makes the dying scene, which is fundamentally ridiculous, into a character study.” (Der Tagesspiegel, June 2017) 

“In the title part, Ain Anger convinces vocally and with dramatic nuance.” (NMZ online, June 2017)

“Ain Anger, a brooding, dark Fafner” (Hugo Shirley, Opera magazine, February 2017)

“Ain Anger [is] a powerful Cardinal Brogni” (Opera magazine, October 2016)

“There was the added bonus that Terfel’s voice contrasted well with the far darker sound of Ain Anger’s Pimen, an assumption that rivaled and at times surpassed that of Terfel. Pimen’s long monologues in Part Two were an example of someone completely inside a part, from the resonant opening (“Just one final tale”) through to the climactic strains of his witnessing of “the bloody sin”.” (Seen and Heard International, July 2016)

“When was the last time you heard a room-filling, well-modulated, magnificent bass as that of Ain Anger? His Brogni captivates from the first note.” (Opernnetz, July 2016)

“[Ain Anger] has all the characteristics of the most profound Russian basses; namely cavernous authority and the narrative articulation to match.  He is utterly commanding in this repertoire, not just in setting the narrative scene – showing that you don’t need an opera stage to tell a story – but especially when he spoke the words of Death himself, booming with authority when, for example, he spoke the words “You are mine!” at the end of the Serenade. His is a voice you don’t argue with and you don’t forget.” (Seen and Heard, April 2016)

“Ain Anger was outstanding as the monk Pimen, relating the tale of the Tsarevich’s murder in a bass voice that came down the centuries” (Bachtrack, March 2016)

“There is real darkness in the rich-toned chronicling of Ain Anger’s Pimen” (The Guardian, March 2016)

“Notable in the strong cast are Ain Anger’s rugged Pimen” (Evening Standard, March 2016)

Ain Anger, as the monk Pimen, has wonderfully sympathetic gravitas – Independent

“… bass Ain Anger as the Pater Profundus evoked scenes of the sublime in nature with a potent, focused delivery.” (Boston Classical Review, September 2015)

“Ain Anger’s mellow, booming bass voice perfectly suited Peneios” (New York Times, July 2015)

“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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