Andrea Molino
Artist Details Molino conducting the premiere of Requiem by Maderna Andrea MolinoCategory: ConductorsAndrea Molino's work as a conductor is virtuosic, full of energy and vitality. His programming is exciting and highly original. BiographyAndrea Molino, composer and conductor, was born in Turin and studied in Turin, Milan, Venice, Paris and Freiburg. He lives in Zurich.
1996 to 2007 he was Musical Director of the Pocket Opera Company in Nuremberg. His own projects the smiling carcass (1999) and Those Who Speak In A Faint Voice (2001), about the death penalty (both in collaboration with Oliviero Toscani), are examples of his commitment towards innovative, multimedia-oriented music theatre. He conducted the death penalty project in Basel and Nuremberg with the Phoenix Ensemble Basel and in New York and Milan with the Klangforum Wien. 2000 to 2006 Andrea Molino was Artistic Director of Fabrica Musica. His multimedia music theatre CREDO, on ethnic and religious conflicts, was premiered in April 2004 at the Badisches Staatstheater Karlsruhe (DVD Naïve, Paris, 2006) and then performed at the Stazione Termini in Rome with the Orchestra del Maggio Musicale Fiorentino for the World Summit of Nobel Peace Laureates. In 2005 it opened the Queensland Music Festival in Brisbane, Australia. WINNERS, on “winners and losers”, was premiered in 2006 at the Brisbane Festival; the European Premiere followed at the Grande Salle of the Centre Pompidou in Paris. BIOGRAPHY
The multimedia staged concert un Temps vécu, ou qui pourrait l’être was premiered in 2008 at Le Fresnoy, in Lille, where he was “Invited Artist” for the season 2007-2008. In 2009, as Artistic Director of the World Venice Forum, he curated the Festival The Garden of Forking Paths. In the closing concert at the Basilica dei Frari he conducted the Orchestra del Teatro La Fenice in his multimedia concert Of Flowers and Flames, for the 25th anniversary of the Bhopal disaster, in India. His latest project, Three Mile Island, on the nuclear accident in Pennsylvania in 1979, was first performed in 2012 at the ZKM in Karlsruhe; the Italian Premiere followed at the Teatro India in Rome. The project received the Music Theatre Now Award 2012.
As a conductor, he opened the 2013 season of Opera Australia at the Sydney Opera House with Verdi's A Masked Ball with the direction of La Fura dels Baus. In Sydney in 2011 he had conducted Carlisle Floyd's Of Mice and Men and Verdi's Macbeth. He opened the 2010 concert season of the Teatro La Fenice in Venice with the world premiere of Maderna’sRequiem; in Venice he had opened the Music Biennale 2005 with Goebbels’ Surrogate Cities and conducted the world premieres of Mosca’s Signor Goldoni and Ambrosini's Il Killer di Parole. He conducted among others the Orchestra del Maggio Musicale Fiorentino, the Bochumer Symphoniker, the Badische Staatskapelle Karlsruhe, the Dresdner Sinfoniker, the BBC SSO in Glasgow, the OSL in Nancy, The Queensland Orchestra at the Edinburgh Festival, Vienna Konzerthaus, Queensland Music Festival, Brisbane Festival, Teatro Comunale in Bologna, Teatro dell'Opera in Rome, Opéra national de Nancy, Staatstheater Darmstadt, RomaEuropa Festival, Settembre Musica Turin, Schauspielhaus Zurich (with Goebbels' Industry and Idleness), Musik der Jahrhunderte Stuttgart, Zagreb Biennale, Hellerau Dresden. His recordings are published in CD and DVD by Stradivarius, Milan (since 1992), Naïve, Paris and Dynamic (Genoa). His compositions are published by RAI Trade, Nuova Stradivarius and Ricordi.
Andrea Molino’s work Three Mile Island has been nominated for the prestigious 2013 Prix Ars Electronica. ReviewsAndrea Molino conducts Un Ballo in Maschera, Opera Australia, 2013
Musically, this is a night to remember with stand-out performances from all concerned... Andrea Molino's thoroughly idiomatic readin of Verdi's score is electric, fully alert to the musical moments that prefigure later works like Don Carlo and Aida. his visceral interpretation packs a real dramatic punch yet he pulls back and supports his singers with sensitive rubato when required. ... A magnificent start to the 2013 season for Opera Australia. Clive Paget, Limelight Read the full review here
Verdi understood the tensions of contemporaneity, concerned always with the conflict between the identity we create for ourselves and the identity society creates for us. Alex Ollé uses the metaphor of the mask to generalise this tension, and they are worn by all except the dead, the loved and the disempowered, while Alfons Flores' set is a modern surveillance-obsessed building of austere and sinister grandeur. The most dehumanised moments come at the opening and disturbing close, while in between the warmth of human passion flairs beneath the masks, and conductor Andrea Molino creates grace and beauty from the shapes in the air that are Verdi's music. ...Molino's sense of style in this music is irresistible. Peter McCallum, Sydney Morning Herald
Perhaps it’s Andrea Molino’s Italian birth that gives him what sounds like an extraordinary affinity with Verdi; he seems to know the vernacular of his music much as an intimate, confidante or contemporary might. However he achieves it, he achieves it: he leads the Australian Opera and Ballet Orchestra in a meticulous, lustrous reading, informed by a warmth, fluidity and sense of spontaneity that are inextricably characteristic of the composer’s style. Better yet, there seemed to be a palpable rapport between conductor and singers, with Molino intuiting when to push forward, when to pause for an extra beat and when to pull back. Lloyd Bradford Syke, Curtain Call, 21.2.2013 REVIEWS
Andrea Molino Conducts Macbeth: Opera Australia, Sydney Opera House
…the performers’ talents are remarkable, Verdi’s soaring music is rendered with spirit and passion under conductor Andrea Molino, the Opera Australia chorus is in as fine a voice as we’ve heard it and Shakespeare’s tragedy gains a slightly different perspective in this co-production between Opera Australia and Opera de Montreal. Tom Pillans, Rouse Hill Times 12 Sep 2011
Peter McCallum, The Sydney Morning Herald 12 Sept 2011
Diana Simmonds, Stage Noise 12 Sept 2011
Time Out Sydney 12 September 2011
Conductor: Andrea Molino. Sydney Opera House. July 23. Of Mice and Men, Carlisle Floyd.
In his 1970 operatic version of Steinbeck's book, American composer Carlisle Floyd's aim was to capture the novella's tautness and "spareness" in his music. He has succeeded admirably. Astringent dissonances, arresting woodwind and brass figures and passages of haunting, sparse textures spice up his melodic inspirations to create a score that cleverly blends poignant lyricism and dramatic intensity. Conductor Andrea Molino and the orchestra's well-judged tempos, crystalline textures, polished sonorities and sinuous phrasing realised both aspects of the music. Murray Black, The Australian, July 26, 2011
Andrea Molino and my beloved AO&BO ensure the score is read in a spritely, bright way, too. And, while accessible, it’s one that’s not without its challenges for audience and orchestra … The long and the short of it is it succeeds, admirably, on all levels: design; drama; musicality; meaning. Lloyd Bradford Syke, Curtain Call, August 1, 2011
World première of Bruno Maderna’s ‘Requiem’, la Fenice Orchestra and Chorus, La Fenice, Venice, November 2009
Andrea Molino is confirmed, or, better, consecrated as one of the most refined and sensitive interpreters of the modern and contemporary repertoire. His reading of Maderna's score is lucidly analytic and harrowingly passionate at the same time. The tempo choices are tight, the dynamics are pressing, the perfect cohesion between orchestra, choir and soloists is constant and successful. The Orchestra of the Fenice is sensational... Alessandro Cammarano, Opera Clic, 11.2009
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. Sandro Cappelletto, La Stampa, 1.12.2009
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. ***** Dino Villatico, Repubblica, 21.11.2009
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. Mario Messinis, Il Gazzettino, 21.11.2009
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. Paolo Isotta, Il Corriere della Sera, 21.11.2009
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. Carla Moreni, Il Sole 24 Ore, 22.11.2009
Andrea Molino realizes the miracle of approaching with total confidence such a new and demanding score and at the end the success is extraordinary. Massimo Contiero, La Nuova Venezia, 22.11.2009
Effective and incisive interpretation by the solo voices and Andrea Molino... Fabio Zannoni, Il Giornale della Musica, 11.2009
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. Stefano Pagliantini, Musica, 12.2009
L.M., VeneziaMusica, December 2009
Andrea Molino Conducts new opera by Claudio Ambrosini at La Fenice Enrico Girardi, Corriere della Sera, 12.12.2010
Dino Villatico, Repubblica, 18.12.2010
Alessandro Cammarano, Opera Click, 10.12.2010
Andrea Molino conducts with extreme clarity and attention a score which requires a maximum amount of performing precision, he underlines the beauty of its sound quality. Ilaria Bellini, Teatro, 12.12.2010
Adolfo Andrighetti, Asterisconet, 12.2010
The Orchestra plays with great engagement, under Andrea Molino's firm hands. Mario Messinis, Il Gazzettino, 12.12.2010
Cesare Gallo, Il Giornale di Vicenza, 12.12.10
Massimo Contiero, Il Mattino, 12.12.2010
Maristella Tagliaferro, Leggo, 14.12.2010
World première of Bruno Maderna’s ‘Requiem’, la Fenice Orchestra and Chorus, La Fenice, Venice, November 2009
Alessandro Cammarano, Opera Clic, 11.2009
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. Sandro Cappelletto, La Stampa, 1.12.2009
Dino Villatico, Repubblica, 21.11.2009
Mario Messinis, Il Gazzettino, 21.11.2009
Paolo Isotta, Il Corriere della Sera, 21.11.2009
Carla Moreni, Il Sole 24 Ore, 22.11.2009
Massimo Contiero, La Nuova Venezia, 22.11.2009
Fabio Zannoni, Il Giornale della Musica, 11.2009
Stefano Pagliantini, Musica, 12.2009
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
World Premiere of Mosca's Signor Goldoni opera, Teatro La Fenice, 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
Premiere stage production of Heiner Goebbel's Surrogate Cities, Pocket Opera Company/Hofer Symphoniker, Nuremberg, July 2000 ... 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)
Heiner Goebbels' Surrogate Cities, BBC Scottish Symphony Orchestra, Edinburgh Festival 2002 ....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
Goebbel's Surrogate Cities, Jocelyn B. Smith/David Moss/Queensland Orchestra, Classical Music Brisbane: opening of the Queensland Biennial Festival of Music 2003 ...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
Goebbel's Surrogate Cities, Inauguration evening at Venice Biennale Music Festival, Venice, September 2005 ...Splendid: the conducting by Andrea Molino and the performance of the Orchestra della Fenice. ... Mario Messinis, Il Gazzettino
World Premiere: CREDO, Badische Staatskapelle, Badisches Staatstheater, Karlsruhe, April 2004 ... 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
CREDO, Queensland Biennial Music Festival, July 2005 ....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 Upcoming EventsAndrea Molino conducts Symphony for Palestine
Dresdner Sinfoniker
East Jerusalem, Ramallah, Jenin May/June 2013
Kayhan Kalhor's Symphony for Palestine is dedicated to two Palestinians: Juliano Mer-Khamis, the murdered director of Jenin's Freedom Theatre, and eleven-year-old boy Ahmed Khatib, shot in 2005 by an Israeli soldier who mistook Ahmed's water pistol for a weapon. The work combines elements of Arabic folk music, with traditional instruments such as the Arabic violin, oud, Kamancheh, Darbuka and Qanun as well as a European string orchestra. It uses classical Persian melodies with European orchestral textures. The work was premiered by Dresdner Sinfoniker, conducted by Andrea Molino, at the Tonlagen festival at the Festspielhaus Hellerau in Dresden in 2011. This is the first time since that date that the symphony has been brought to Palestine: a May/June tour will see it performed in Jerusalem, Ramallah and Jenin with the Dresdner Sinfoniker again conducted by Andrea Molino. Watch a video about the piece, with extracts from its first performance here: |
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