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Andrea Molino
Molino conducting the premiere of Requiem by Maderna

Andrea Molino

ART_CATEGORY: Conductors

Andrea Molino's work as a conductor is virtuosic, full of energy and vitality. His programming is exciting and highly original.

 

ART_BIOGRAPHY

Andrea Molino has established a reputation as a conductor in great demand on the international scene.

 

He is equally at ease in 20th and 21st century music (with numerous world premieres) and in the traditional operatic and symphonic repertoire: he has conducted, among other, Verdi's ‘popular trilogy’ (Rigoletto, Il Trovatore, and La Traviata), Macbeth and A Masked Ball as well as Alban Berg's Lulu and Shostakovich's Lady Macbeth of Mzensk, Mozart and Haydn as well as Mahler, and Richard Strauss, Rossini as well as Schönberg, Webern and Stravinsky.

 

He opened Opera Australia‘s 2013 season with Verdi's A Masked Ball (directed by La Fura dels Baus) at the Sydney Opera House where he had made his debut in 2011 with Carlisle Floyd's Of Mice and Men and Verdi's Macbeth; the production was subsequently presented in Melbourne. Recently he returned to Sydney with the Australian Premiere of Rossini's Il Turco in Italia.

 

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BIOGRAPHY

He opened the 2010 concert season of Teatro La Fenice in Venice with the world premiere of Maderna’s Requiem; in La Fenice in 2005 he had opened the Music Biennale with Heiner Goebbels’ Surrogate Cities and conducted the world premiere productions of Mosca’s Signor Goldoni and Ambrosini's Il Killer di Parole. He conducted among others the Orchestra del Maggio Musicale Fiorentino, the Orchestra del Teatro Comunale di Bologna, the Bochumer Symphoniker, the Badische Staatskapelle Karlsruhe, the Dresdner Sinfoniker (including the Palestine Tour, 2013), the BBC SSO Glasgow, the OSL Nancy, The Queensland Orchestra at the Edinburgh International Festival, Vienna Konzerthaus, Sydney Festival, Berliner Festspiele in the Philharmonie in Berlin, Queensland Music Festival, Brisbane Festival, Teatro Comunale in Bologna, Teatro dell'Opera in Rome, Opéra national de Nancy, Staatstheater Darmstadt, RomaEuropa Festival, 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), Naïve (Paris), ECM (Munich) and Dynamic (Genoa). His performances and recordings have been programmed by the major international broadcasting companies.

 

 

Reviews

Andrea Molino conducts Il turco in Italia, Opera Australia, Sydney Opera House, 2014

 

It is musically superb. The Australian Opera and Ballet Orchestra under the wickedly delightful and exuberant conducting of maestro Andrea Molino is in fine form and the singing is superb. Emma Matthews as Fiorilla sings divinely, is a fantastic comic actress, and has us enthralled from her first appearance singing of the joy of love.

 

Lynne Lancaster, Sydney Arts Guide, 2.2.2014

 

The Australian Opera and Ballet Orchestra carry it all off with aplomb in the experienced and enthusiastic hands of Italian conductor Andrea Molino. A production to cherish, then, and by the end even an old Turco sceptic like me was cheering and stamping along with the rest.

 

Clive Paget, Limelight, 23.1.2014

 

Simon Phillips promised his new production of  The Turk in Italy would offer about as much fun as you can have in an opera house. The good news: he's delivered. Conductor Andrea Molino and the orchestra's brisk, rhythmically alert accompaniments complement the production's lightness of touch.

 

Murray Black, The Australian, 24.01.2014

 

Director Simon Phillips has directed his sublime cast of principals to a place of such effortless confidence and awareness that seemingly no challenge became too great and no risk whatsoever unworthy of bold pursuit. Conductor Andrea Molino keeps the peerless Opera and Ballet orchestra completely in synch with the energy and the passion on stage. Though a seemingly unlikely candidate, this is an opera ready to delight and inspire.

 

David Allen, Aussie Theatre, 23.1.2014

 

Andrea Molino, who conducted this as he did Masked Ball last year without a score, is a real live wire.

 

Stumbling on Melons, 14.02.2014

 

The visual feast is underpinned by the presence of the Australian Opera and Ballet Orchestra conducted lovingly by the fine-fingered, balletic hands of Andrea Molino.

 

Lloyd Bradford Syke, Crikey, 23.1.2014

 

Conductor Andrea Molino also gets the best out of the always reliable AOBO and Rossini's runaway score is bright and sharp in their hands.

 

Diana Simmonds, Stage Noise, 23.1.2014

 

Despite all the hectic comedic business, the singing is never compromised, and conductor Andrea Molino made sure it was beautifully supported by the excellent Australian Opera and Ballet Orchestra

 

Bill Stephens, Canberra Critics Circle, 7.2.2014

 

Conductor Andrea Molino's Australian Opera and Ballet Orchestra is masterfully handled.

 

Grant Jones, The Telegraph, 23.1.2014

 

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REVIEWS

Andrea 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

 

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


As conductor, Molino's fidelity to Verdi and instinct for pace drove to the heart of the dramatic tension within scenes…

Peter McCallum, The Sydney Morning Herald 12 Sept 2011


It's also an opera where the chorus is given an excellent opportunity to do what a chorus is supposed to do. And under the baton of conductor Andrea Molino it does that and more, especially in the final act. In the end - and it is a bloody and terrible one - this Macbeth is a tremendous evening of theatre and music with Elizabeth Whitehouse and Peter Coleman-Wright at its forefront. Wonderful stuff.

Diana Simmonds, Stage Noise 12 Sept 2011


Here, under conductor Andrea Molino, every soloist could be heard distinctly over the perfectly articulated choral parts.

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

 

 


OF FLOWERS AND FLAMES - World Premiere, Venice October 2009



[...] The most moving part of the performance was “Of Flowers And Flames”, the audiovisual score, which was conceived by Andrea Molino, touched the audience through the strength by which sounds, images and movements communicated the forgotten tragedy of Bhopal. [...] Molino kept his promises, he succeeded in creating an organic work where the different expressive forms did not "accompany" each other but on the contrary became integrated and melted into an independent and coherent creation.

L.M., VeneziaMusica, December 2009

 

 

 

Andrea Molino Conducts new opera by Claudio Ambrosini at La Fenice



Claudio Ambrosini's music is most remarkable. It is full of instrumental invention, it is written and orchestrated with a highly handcrafted attention to detail. Everything appears clear and transparent to the audience because the Choir and the Orchestra of the Fenice, as well as the solo singers, are prepared and conducted magnificently by Andrea Molino.

Enrico Girardi, Corriere della Sera, 12.12.2010


The new Opera by Claudio Ambrosini features a breathtakingly contrapuntal orchestration, showing an admirable expressive variety. Andrea Molino's conducting is detailed and astounding.

Dino Villatico, Repubblica, 18.12.2010


Andrea Molino confirms himself once more as the conductor with the magic wand, the magic baton of modern and contemporary music. Molino's conducting was fully convincing, it focussed on rigorous tempo choices and highly developed dynamics and colour which underlined the sound richness and the many concepts of Ambrosini's score.

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


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

Adolfo Andrighetti, Asterisconet, 12.2010

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

Mario Messinis, Il Gazzettino, 12.12.2010


Andrea Molino was a precise and inspired conductor...

Cesare Gallo, Il Giornale di Vicenza, 12.12.10


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

Massimo Contiero, Il Mattino, 12.12.2010


Excellent conducting by Andrea Molino.

Maristella Tagliaferro, Leggo, 14.12.2010

 

 

 

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

 

 

 

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