Samuel Pantcheff studied with Glenville Hargreaves and Audrey Hyland at Royal Academy Opera, after graduating with Distinction from the Masters in Vocal Performance. In his first year of study, he was awarded the Blythe-Buesst Opera Prize. He was supported by the Mills Williams Award and the Norman McCann Prize.
Opera engagements includes Sharpless at the King’s Head Theatre, Papageno for Pavilion Opera, Baron Zeta The Merry Widow for Ryedale Festival Opera, Guglielmo for Pop-Up Opera, The Younger Gentleman in Exposition of a Picture by Stephen Oliver, conducted by Stephen Barlow for the Buxton Festival, Eight Songs for a Mad King with the Melos Sinfonia at the Grimeborn Festival and St Petersburg (Russian premiere), Aeneas (RAO), Zareskty/Captain Eugene Onegin (RAO) , L’horloge comtoise/Le chat L’enfant et les sortileges at the Barbican with Stéphane Denève and the BBCSO. Last summer he sang with Grange Park Festival Opera, and he recently sang the baritone roles in Alexander Goehr’s Tryptich on tour in Russia, and Ligeti’s Nouvelles Aventures and Aventures at the St Petersburg Philharmonia.
Other operatic experience includes Masino La vera costanza (RAO), Nardo (cover) La finta giardiniera, Storm Wind (cover) in Rimksy-Korsakov’s Kaschei the Deathless, and Commercial/Legal Councillors (covers) Intermezzo all for Buxton Festival Opera; Schaunard La Bohème, and Cadmus Semele. Roles in RAO scenes include Spencer Coyle Owen Wingrave, Ping Turandot, Don Giovanni, Harlekin and Simeon L’enfant prodigue.
Oratorio highlights include bass solos in Bach’s Cantata BW74 for the RAM/Kohn Foundation Bach Cantata Series, Bach’s St John Passion in Ely Cathedral and Handel’s Messiah at the Linder Auditorium in Johannesburg with the Johannesburg Concert Orchestra. Samuel was a soloist on a tour of Israel with the Israel Camerata and Avner Biron, performing Bach’s St Matthew Passion. Recital highlights include Schubert songs at St Martin-in-the-fields, London for the Royal Academy’s prestigious Song Circle, Schubert’s Winterreise, a recital of Beethoven Songs, and a French Song recital at the Institut Français.
Recent engagements include Lumaca La scuola de gelosi for Bampton Classical Opera and Leporello for Head First Productions at the Pleasance Theatre. He was a Britten-Pears Young Artist in 2017.
“There are inspired comic performances from Samuel Pantcheff as Lumaca, the lanky servant with a beguiling baritone.” School of Jealousy/Bampton Classical Opera, The Stage, September 2017
“Samuel Pantcheff acted with bluff insouciance and sang with an elegant baritone as the servant, Lucama.” School of Jealousy/Bampton Classical Opera, Opera Magazine, September 2017
“I enjoyed the self-assured eye-brow raising and elegant phrasing of Samuel Pantcheff’s Lumaca (Blasio’s servant) at Bampton and have recently praised Pantcheff’s performances with The Opera Box : here, again, he stood out as a singer-actor who is never switched off, who is constantly seeking to interact with his fellow cast.” School of Jealousy/Bampton Classical Opera, Opera Today, September 2017
“…Samuel Pantcheff’s performance as Lumaca was one of the highlights of the opera for me. Pantcheff not only had a powerful voice…..but wonderful comic timing and an expressive face which captured all the absurdities of the plot. He also tackled some tongue-twistlingly quickfire delivery with nonchalant aplomb. He’d make a marvellous Figaro.” School of Jealousy/Bampton Classical Opera, The Idle Woman, September 2017
“Pantcheff’s incarnation of the protagonist was mesmerising.” Eight Songs for a Mad King/Grimeborn Festival, Planet Hugill, September 2014
“Samuel Pantcheff puts in a startling, full-force performance as the Mad King. His perfectly controlled voice slides from growls to screeches, screams and yelps as he prances around a bathtub in a pool of white feathers.” Eight Songs for a Mad King/Grimeborn Festival, Everythings Theatre, September 2014
“Samuel Pantcheff, tall and English-handsome, gave a bluff, consistently well-acted Guglielmo, with focussed, unaffected singing to match.”
Opera Magazine, August 2014
|Britten||The Rape of Lucretia||Tarquinius|
|Donizetti||Don Pasqale||Dr Malatesta|
|Haydn||La vera costanza||Masino|
|Lehar||The Merry Widow||Baron Zeta|
|Maxwell-Davies||Eight Songs for a Mad King||King|
|Mozart||Così fan tutte||Guglielmo|
|Mozart||La finta giardiniera||Nardo|
|Rossini||Il barbiere di Siviglia||Figaro|
|Strauss (Richard)||Ariadne auf Naxos||Harlekin|