2000 to 2006 Andrea Molino was Artistic Director of Fabrica Musica. His multimedia music theatre CREDO, on ethnic and religious conflicts, was premiered under his musical direction in April 2004 at the Staatstheater Karlsruhe (DVD Naïve, Paris, 2006) and then performed at the Stazione Termini in Rome with the Orchestra del Maggio Musicale Fiorentino, at the World Summit of Nobel Peace Laureates. In July 2005 it opened the Queensland Music Festival in Brisbane, Australia. His last project with Fabrica, WINNERS, on “winners and losers”, was premiered in July 2006 at the Brisbane Festival; the European Premiere followed in October 2006 at the Grande Salle of the Centre Pompidou in Paris.

The multimedia staged concert un Temps vécu, ou qui pourrait l’être had its world premiere on June 6th, 2008 at Le Fresnoy, in Lille, where Molino was “Invited Artist” for the season 2007-2008.

Since 2008 Andrea Molino is Music Curator at the Fondazione Claudio Buziol in Venice.

As a conductor, he opened the 2005 edition of the Venice Music Biennale at the Teatro La Fenice with Heiner Goebbels’ Surrogate Cities. In September 2007, again at Teatro La Fenice, he conducted the world premiere production of Luca Mosca’s opera Signor Goldoni. After his debuts at the Edinburgh International Festival with the BBC Scottish Symphony Orchestra and at the Wiener Konzerthaus with the Klangforum Wien, he conducted  The Queensland Orchestra in 2003 and 2005 at the Queensland Music Festival and in 2006 at the Brisbane Festival, in Australia. He conducted a.o. the Orchestra del Maggio Musicale Fiorentino, the Bochumer Symphoniker, the Badische Staatskapelle Karlsruhe, the Dresdner Sinfoniker, the Norddeutsche Philharmonie, the Klangforum Wien, the Phoenix Ensemble Basel, the Orchestra della Svizzera Italiana; performing a.o. at the Teatro Comunale in Bologna, Teatro dell'Opera in Rome, Staatstheater Darmstadt, Teatro Regio in Turin, Teatro Lirico in Spoleto, RomaEuropa Festival, Settembre Musica in Turin, Musik der Jahrhunderte in Stuttgart, Zagreb Biennale, European Centre for the Arts in Dresden.

His recordings are published in CD and DVD by Stradivarius, Milan (since 1992), Naïve, Paris and Dynamic (Genoa). His performances and recordings have been programmed by a number of major international broadcasting companies. His compositions are published by RAI Trade, Nuova Stradivarius and Ricordi.

(8.3.2009)

Large orchestra, double choir, four soloists and three pianos. The hushed singing of the choir (directed by Claudio Marino Moretti) pleads for peace and salvation, while accompanied by an anguished bell toll from the timpani. Orchestra and Choir of the Fenice performed at their best, conducted by a truly admirable Andrea Molino.

Penetrating interpretation by Andrea Molino. Splendid Soloists Carmela Remigio, Veronica Simeoni, Mario Zeffiri and Simone Alberghini. Precise and intense performance by the Orchestra and Choir of Teatro La Fenice. *****

Energetic and well coordinated conducting by Andrea Molino, with a magisterial contribution of the Choir directed by Claudio Marino Moretti; the female voices and the bass were wonderful. An outstanding success.

The recovery of a vast symphonic and choral composition by Maderna, which was composed in 1946 and believed lost. Its profound value becomes a feast of music, on the occasion of its world premiere, comparable, for example, to the exhibition of a recovered Caravaggio. This feast happened the day before yesterday at the opening of the Fenice's concert season; a full house, a jubilant success. The young Maestro Andrea Molino took over with admirable readiness, taking advantage of the solid work of the Choirmaster Claudio Marino Moretti.

The Fenice's audience remains silent for a moment, at the end of the performance of Bruno Maderna's Requiem, with the Choir and Orchestra of the Teatro La Fenice conducted by Andrea Molino. Then, moved, patriotically proud, the applause begins. [...] The Requiem is alive; and Andrea Molino has total control of the whole, often musically fragmented work, featuring three pianos and the brass section in the foreground.

Andrea Molino realizes the miracle of approaching with total confidence such a new and  demanding score and at the end the success is extraordinary.

Effective and incisive interpretation by the solo voices and Andrea Molino...

The score, in which earthy passages alternate with suspended lyric islands and which finds in the choral parts the most precious moments, found valid interpreters in the Choir of Venice’s Theatre, prepared by Claudio Marino Moretti, and in the Orchestra guided with a firm hand by Andrea Molino. An indisputable success.

DRESDEN, FESTIVAL OF CONTEMPORARY MUSIC – CLOSING CONCERT, OCTOBER 12, 2008

The conductor was the Italian Andrea Molino […] whose extensive experience with contemporary music and experimental projects allowed him to conduct Louis Andriessen's highly speculative composition "De Stijl" with great understanding and control.

Peter Zacher, Dresdner Neueste Nachrichten

VENICE, TEATRO LA FENICE: SIGNOR GOLDONI – OPERA WORLD PREMIERE, SEPTEMBER 21, 2007

Luca Mosca\'s music, directed by a marvellous conductor, Andrea Molino…Lorenzo Arruga, Il Giornale Andrea Molino conducts with perfect rhythmic virtuosity …the Orchestra of La Fenice is brilliant and transparent at once …the choir is impeccable. The audience is particularly warm for a contemporary opera…

Mario Messinis, Il Gazzettino

NUREMBERG, POCKET OPERA COMPANY, HOFER SYMPHONIKER, JULY 2000: FIRST STAGE PRODUCTION OF HEINER GOEBBELS\' SURROGATE CITIES

... Andrea Molino controls even the heavier parts of the orchestral Suite \"Surrogate Cities\" with dance-like lightness....

Frieder Reininghaus, Frankfurter Allgemeine Zeitung

... The conductor Andrea Molino with his enormous sound apparatus fully enjoyed the emotional ferocity of Heiner Goebbels\' score … From today on, Surrogate Cities. Nürnberg is a legend. ...

Dieter Stoll, Abendzeitung (München)

EDINBURGH FESTIVAL 2002 WITH THE BBC SCOTTISH SYMPHONY ORCHESTRA: HEINER GOEBBELS, SURROGATE CITIES

....The previous evening\'s concert featured a very different sort of epic, Surrogate Cities by the multidisciplinary composer Heiner Goebbels. More impressive than the unclassifiable yet visionary work was the performance itself, directed with authority and ease flow by a stand-in-conductor, Andrea Molino. ...

John Allison, The Times

...In between came one of the riskier events, Heiner Goebbels\' Surrogate Cities. ... Andrea Molino was a late substitute conductor, but you would never have guessed it from the way he galvanised the BBC Scottish into the punch and drive that are de rigueur for this kind of piece. ...

David Fanning, The Daily Telegraph

CLASSICAL MUSICBRISBANE, OPENING OF THE QUEENSLAND BIENNIAL FESTIVAL OF MUSIC 2003, WITH JOCELYN B. SMITH, DAVID MOSS, AND THE QUEENSLAND ORCHESTRA: HEINER GOEBBELS SURROGATE CITIES

...The audience ... admired the intense concentration of Italian conductor Andrea Molino and the 87-strong Queensland Orchestra...Elizabeth Silsbury, The Advertiser...the youthful athleticism of Italian maestro Andrea Molino brought authority and order to what could have been a perilously unruly exercise. ... another triumph, which will be vigorously debated for years to come...

Vincent Plush, Australian Monday

VENICE, INAUGURATION EVENING AT THE THE VENICE BIENNALE\'S MUSIC FESTIVAL, SEPTEMBER 28, 2005: HEINER GOEBBELS: SURROGATE CITIES_VENICE

...Splendid: the conducting by Andrea Molino and the performance of the Orchestra della Fenice. ...

Mario Messinis, Il Gazzettino

KARLSRUHE, BADISCHES STAATSTHEATER, BADISCHE STAATSKAPELLE, APRIL 30, 2004: ANDREA MOLINO: CREDO – WORLD PREMIERE

... the almost endless, euphoric final applause was well deserved by Molino and the brilliantly prepared Badische Staatskapelle...Badische Neueste Nachrichten... he [Andrea Molino] motivated the Staatskapelle to a highly concentrated, powerful sound and he was an excellent coordinator of the different musical sequences...

Pforzheimer Zeitung

...Andrea Molino conducts his own demanding score full of energy and vitality...

Frankfurter Allgemeine Zeitung

BRISBANE, QUEENSLAND BIENNIAL MUSIC FESTIVAL, JULY 19, 2005: ANDREA MOLINO CREDO

....The sheer scale and logistics of Andrea Molino\'s Credo: The Innocence of God would give any music producer an ulcer. With full, amplified symphony orchestra, more than a dozen solo musicians, vocalists and actors onstage, extensive audio-visual projections on three large screens, plus three traditional bands beamed in live by satellite from Istanbul, Belfast and Jerusalem, the capacity for the whole production to fall apart was ever-present. Extraordinarily, with the composer himself calmly conducting in the middle of it all, and a full house looking on in wonder, nothing went awry. Notch up another production triumph for Terracini, who surely now must rank as the most virtuosic of Australian festival directors. ... Through bringing together musicians located around the world to play the same piece in real time, Credo is as convincing technically as it is musically or politically. ...

Martin Buzacott, The Australian