Cristian Orosanu exhibits a mixture of passionate exuberance, fiery determination, elegant clarity of expression and huge personal charm. However, what chiefly distinguishes him from his peers is his extensive repertoire, he has already conducted more than 30 operas and over 500 symphonic works.
“Cristian Orosanu conducted … with a beautiful sense of phrase and architecture. … Orosanu's direction was infallible with a rare accuracy of style, more elegant and concise than is customary...”.
Le Monde de la Musique
The Romanian conductor Cristian Orosanu, has made several important debuts in recent seasons and is rapidly establishing his professional reputation beyond the borders of his native country. He has conducted the Orchestre de Paris and the Orchestre National de Bordeaux of which Le Monde de la Musique wrote, “Cristian Orosanu conducted … with a beautiful sense of phrase and architecture. … Orosanu's direction was infallible with a rare accuracy of style, more elegant and concise than is customary...”. He recently made his very successful debuts with the Tonhalle Orchestra and the Deutsches Symphonie Orchester Berlin. He was assistant conductor in the DSO Berlin for the season 2007-2008.
Orosanu has also worked with the BBC Scottish Orchestra, Ensemble orchestral de Paris, Orchestre Lamoureux, Porto National Orchestra, "George Enescu" Philharmonic Orchestra Bucharest and the Danish Radio Symphony Orchestra, conducting the latter at the Malko Competition in 2005, where he was awarded Second Prize.
In 2003, Orosanu was engaged to conduct the Orchestre de Paris at the Aix en Provence festival.
In Japan, Orosanu has developed a close collaboration with a new, young and dynamic orchestra, the Hyogo Performing Arts Centre Orchestra where he conducted
Stravinsky’s Rite of Spring.
During the last years, he also had the opportunity to work as assistant conductor to Yutaka Sado, Mstislav Rostropovich and Ingo Metzmacher.
Orosanu continues to conduct extensively in his native Bucharest where he has built up an extensive repertoire in both the symphonic and operatic field. He has a close relationship with the Bucharest National Radio Orchestra and has held positions with the National Opera in Bucharest and the Romanian Opera in Cluj. He has an operatic repertoire of more than 30 titles.
He now holds the title of Chief Conductor of the Brasov Philharmonic and is a past recipient of the nationally acknowledged Romanian Prix de la Critique Musicale. He has recently been appointed music director of Opera Națională Română Iași.
Prior to his conducting career, Orosanu was a highly respected horn player and played for five years with the Bucharest National Radio Orchestra. He studied horn and orchestral conducting at the High Academy of Music in Bucharest and at the same time attended courses with Maestro Constantin Bugeanu. Following this, he was awarded a scholarship to study at the Internationale Bachakademie in Stuttgart with Helmuth Rilling.
Orosanu's pedagogic activity as an orchestra professor began in 1999 at the High Academy of Music in Cluj, where he taught 250 students. Between 1999 and 2002 he performed many concerts across Romania and abroad with his three student orchestras.
In 2010 he began to teach conducting at the High Academy of Music in Iasi.
In 2011, 2012 and 2013 Orosanu lead very successful conducting master-classes with the Iasi Philharmonic Orchestra, Iasi National Opera and Brasov Philharmonic Orchestra.
Orosanu is an accomplished linguist and speaks fluent French, English, Italian, German, Spanish and he's learning Russian
Cristian Oroșanu – debut la Filarmonica „George Enescu”
The end of this season [2012/2013] has presented an unusual conducting debut. Cristian Oroșanu is already well known in Romania and internationally as a conductor of symphonic and opera performances.
The Radio Symphonic Orchestra has invited him several times, so we don’t know why the Philharmonic Orchestra “George Enescu” waited so long to do the same. The public response to the performances on June 13th and 14th were spontaneous and enthusiastic, as was feedback from the ensemble. How can we describe this first meeting? Cristian Oroșanu relates to the players by bringing them with him along the route that he wants, not always adhering to the usual patterns. Yes, we heard the musical choices that he made and were convinced by the sonority, the phrasing, and the expressivity of sound as well as the conductor’s opinions. This is about the conflict and the lyricism, the colours and the styles that support the personality of the conductor and explain why music fans and orchestras love Cristian. I’ve known it for some time and I saw it more closely on this occasion, as it’s the first time I’ve experienced his performance at a debut. His surprise may not be as big as mine, as the results of his meticulously rehearsed performances always produce similar results.
Preludiul Simfonic by Ion Dumitrescu was prepared especially for the anniversary of the centenary of the Romanian composer. Oroșanu has vigorously revived this lively Romanian music. For Tchaikovsky’s Concerto no 1, we have to admit that greater satisfaction came from the accompaniment than from the soloist Lilian Akopova, a leading pianist whose communication lacked variety*. Two short works apparently brought musical surprises in Scherzo Fantastique by Stravinsky—a music that needs prior listening, which was not the case — and L’apprenti sorcier by Paul Dukas, an interpretation of Goethe’s text through highly effective rhythmic constructions, harmonies and orchestration.
With this latter piece, the applause asserted Critian Oroșanu’s success, leaving an echo after the performance — the hope of future meetings.
Grigore Constantinescu – 16 iunie 2013
* Orosanu does not concur with this opinion.
Debussy/Poulenc, Mihaela Mingheraş-Couture/National Radio Orchestra of Romania, Radio Hall Bucharest, February 2013
“French Music at the Radio Hall”
Conductor Cristian Oroşanu is regularly invited to the Radio Hall (Bucharest) to conduct the National Radio Orchestra. On this occasion, the programme was French impressionistic music (Debussy). In this repertoire he proved himself to be a sensitive interpreter of two difficult works, generating a mysterious and refined pictorial atmosphere.
This was clearly a mature reading - he conducted both scores from memory allowing him to concentrate on the sound. In his rapport with the players, Cristian Oroşanu is an artist of finesse and elegance of gesture. The efficiency of his directing is excellent and the results are marvellous, especially in his creation of the pictorial images that are so necessary in Debussy’s music.
Costin POPA, Actualitatea Muzicala
Cristian Oroșanu has found the secret of communicating his interpretation to the players, which has given the National Radio Orchestra indisputable qualities with respect to tempo, style, and individuality of tone.
Grigore Constantinescu, CIMEC
Read the article here
„Muzică franceză la Sala Radio”
Dirijorul Cristian Oroşanu este des invitat la Sala Radio. De data aceasta, în teritoriul muzicii franceze de inspiraţie impresionistă (Debussy), s-a arătat un tălmăcitor în profunzime a două lucrării complicate prin nevoia inducerii unei atmosfere picturale, în care unda de mister, rafinamentul, să nu lipsească.
Evident un gânditor matur, dezbărat de contactul vizual cu partitura (dirijează pe dinafară) şi concentrat asupra efluviilor sonore, asupra relaţionărilor cu instrumentiştii, Cristian Oroşanu este artistul de fineţe şi eleganţă a gestului cu care conduce chiar şi pasajele tăioase, de forţă. Eficienţa direcţionării energiilor este maximă şi rezultatele apar admirabile, ca încadrare stilistică, mai ales prin crearea imaginilor de şevalet, atât de necesare redării muzicii lui Debussy.
Costin POPA, Actualitatea Muzicala
Cristian Oroșanu a găsit secretul unei antante interpretative ce a conferit Orchestrei Naționale Radio merite incontestabile ca tempo, stil și particularitate sonoră.
"An entire program of masterpieces bearing the signature of Johannes Brahms reveals the creative scope of an emerging musician, capable of interpreting the complexities of Romantic music.
Standing at the conductor’s desk of the Radio National Orchestra, with whom he has collaborated for some years now, the artist is explaining to his listeners—in the concert hall, but also by direct broadcasting to the national radio stations, Radio Romania Muzical, Radio Romania Cultural, his view of the works with which he is currently engrossed. By choosing Brahms' 4th Symphony he certainly proves an ability to prepare complex works which involve meditation, study, and experience – works by which his performance can be compared to the prestigious accounts provided by successive generations of masters.
So what is the image of Cristian Oroşanu today? We already know his artistic temperament and his ability to give spectacular performances. However, his career to date has taught him deep stylistic understanding, efficiency of movement and an ability to communicate his wishes to the orchestral players. The preparation time for a “guest” conductor, expressed in the number of rehearsals, is known to be limited. Oroşanu proves strict and at the same time effective in reshaping possible negligent or unresponsive moments of the players. Brahms' 4th Symphony has been a proof in this respect by bringing us the pure joy of music.
His communication with the soloist, violinist Gabriel Croitoru, who replaced Mihai Abramovici at the last moment, was exemplary. In Brahms’s Violin Concerto, both artists on the stage were fully appreciated.
It has been some time since Cristian Oroşanu has been invited to our first radio orchestra and this concert has been a fantastic event; therefore we hope to see him more regularly conducting performances in Bucharest at the Philharmonic Orchestra and—why not?—at the National Opera House."
Grigore Constantinescu, 13/11/12
Cristian Orosanu carries out an admirable performance with the National orchestra Bordeaux Aquitaine. The orchestra sounds with a creditable plenitude and coherence, and the Romanian conductor can balance the desks to excite the wood winds, to make vibrate the cords and to contain the glare of the brass section.This sence of balance serves the singers as well, helping them not to force their voices.
Gilles Charlassier, Anaclase.com - September 2010
Cristian Orosanu succeds to rule the orchestra through a perfect knowledge of the score.
Marcel Frandes, Agenda LiterNet, February 2009
Cristian Orosanu inspires the orchestra provocking the enthusiastic applause of the audience, for a masterpiece with plenty of discographic references, such us Stravinsky's Fire Bird.
Oltea Serban-Parau, Ziarul Financiar, February 2009
The firmness and the depths are the pluses that recommand Cristian Orosanu
Adevarul Literar&Artistic, February 2009