2000 bis 2006 war Andrea Molino künstlerischer Leiter von Fabrica Musica, der musikalischen Abteilung vom italienischen Forschungszentrum für Kommunikation Fabrica. CREDO, ein multimediales Musiktheater über ethnische und religiöse Konflikte, wurde im April 2004 im Staatstheater Karlsruhe uraufgeführt (DVD Naïve, Paris, 2006). Das Werk wurde dann im Hauptbahnhof in Rom, für den Summit der Frieden-Nobelpreisträger 2004, und in Brisbane, Australien, als Eröffnung des Queensland Music Festival 2005 aufgeführt. Die Uraufführung seines letzten Projektes mit Fabrica, WINNERS, über das Thema "Gewinner und Verlierer", hat er im Juli 2006 beim Brisbane Festival, Australien, dirigiert. Zur europäischen Erstaufführung kam es im Oktober 2006 in der Grande Salle des Centre Pompidou in Paris.

Für die Saison 2007-2008 war er als „Invited Professor and Artist“ bei Le Fresnoy – Centre National d’Art Contemporain, dem französischen Kunstzentrum in Lille, tätig; beim dortigen Festival Panorama hat er im Juni 2008 sein neues multimediales Projekt un Temps vécu, ou qui pourrait l’être, präsentiert. Seit 2008 ist er als Kurator bei der Fondazione Claudio Buziol in Venedig für verschiedene interdisziplinäre Projekte verantwortlich.

Als Dirigent hat er in 2005 im Teatro La Fenice in Venedig die Biennale Musica 2005 mit der ersten szenischen und multimedialen Fassung von Heiner Goebbels’ Surrogate Cities eröffnet; 2007 war er wieder im Teatro La Fenice um die Uraufführungsproduktion der Oper Signor Goldoni von Luca Mosca zu dirigieren (DVD Dynamic, 2009). Nach seinen Debuts beim Edinburgh International Festival mit dem BBC Scottish Symphony Orchestra und beim Wiener Konzerthaus mit dem Klangforum Wien hatte er The Queensland Orchestra in 2003 und 2005 beim Queensland Music Festival und 2006 beim Brisbane Festival dirigiert. Ausserdem hat er u.a. das Orchestra del Maggio Musicale Fiorentino, die Bochumer Symphoniker, die Badische Staatskapelle Karlsruhe, die Dresdner Sinfoniker, die Norddeutsche Philharmonie, das Phoenix Ensemble Basel, das Orchestra della Svizzera Italiana dirigiert, u.a. beim Teatro Comunale in Bologna, Teatro dell’Opera in Rom, Teatro Massimo in Palermo, Teatro S.Carlos in Lissabon, Staatstheater Darmstadt, Teatro Regio in Turin, Teatro Lirico in Spoleto, RomaEuropa Festival, bei Settembre Musica in Turin, Musik der Jahrhunderte in Stuttgart,  der Zagreb Biennale und beim Europäischen Zentrum der Künste in Dresden.

Seine Aufnahmen sind bei Stradivarius (Mailand), Naive (Paris) und Dynamic (Genua) in CD und DVD publiziert; seine Einspielungen und Konzerte wurden von zahlreichen internationalen Sendeanstalten ausgestrahlt. Seine Partituren sind bei RAI Trade (Rom), Nuova Stradivarius und Ricordi (Mailand) verlegt.

(8.3.2009)

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.

Andrea Molino is most remarkable in holding everything firmly in his hands, well followed by the Orchestra of the Fenice.

The Orchestra plays with great engagement, under Andrea Molino's firm hands.

Andrea Molino was a precise and inspired conductor...

Andrea Molino's conducting turned out to be ideal, for its precision and fidelity to the score.

Excellent conducting by Andrea Molino.

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.

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