Christopher Moulds : Reviews

CONDUCTOR

Opéra National du Rhin, Strasbourg: Ariodante (November 2024)

“In the pit of the Strasbourg Opera, there are no period instruments, but the Mulhouse Symphony Orchestra that has continued to progress over the past ten years, and which here finds the right accents under the baton of Christopher Moulds, accustomed to conducting modern orchestras in the 18th century repertoire. Unlike some of his baroque colleagues, the British conductor does not feel the need to stretch the tempos or to rush them, and his balanced reading makes the removal of all the ballets more acceptable. He is all the more to be congratulated if it is to him that we must attribute the inventiveness with which the reprises of the arias are decorated.”

Laurent Bury, Concert Classic

“guided by Christopher Moulds with triumphant musicality, always letting Handel’s lines breathe”

Philippe Venturini, Les Echo

Essen Theater: Die Zauberflöte (September 2024)

“Christopher Moulds, as musical director and specialist in Baroque and Classical operas, was able to enjoy plenty of applause for his work – together with the Essen Philharmonic Orchestra”

Frank Blum, Essen Süd

“The most positive thing about the new production: It sounds wonderful. Christopher Moulds allows the Essen Philharmonic to play robustly and pointedly.”

Klaus Stübler, Ruhrnachrichten

“Fortunately, Christopher Moulds, a specialist in Baroque and Classical operas, is at the podium. In his sixth “Zauberflöte” in 30 years as a conductor, he avoids the pitfalls of directorial ideas”

Pitt Herrman

San Francisco Opera: Partenope (June 2024)

“Conductor Christopher Moulds led a taut, propulsive account of the score, such that the Opera Orchestra’s brilliant phrasing and conscious use of vibrato made them sound as though they play Baroque music all day, every day.”

Lisa Hirsch, SF Chronicle

“It was given a first-rate account by conductor Christopher Moulds. He led from a harpsichord”

Stephen Smoliar. The Rehearsal Studio

Bayerische Staatsoper, Munich: Il Ritorno d’Ulisse in Patria (2023)

“The Bavarian State Orchestra and the Monteverdi Continuo Ensemble conjured up a sound full of tender feelings in Christopher Mould’s contoured interpretation, with percussive sharpness and rhythmic furor in the emotional struggle”

Michael Vieth, Bachtrack

“Members of the Bavarian State Orchestra under Christopher Moulds ensure a Monteverdi sound that is as lush as it is varied”

Stephan Mösch, Frankfurter Allgemeine

Theater an der Wien: Saul (2021)

“Kudos, too, to the Freiburger Barockorchester under Christopher Moulds for its finely textured balance between powerful ensemble and delicate solo passages of Handel’s score”

George Jahn, Bachtrack

Staatsoper, Berlin: Dido & Aeneas (2019)

“Noteworthy in such an outré production was the sincere and tasteful treatment of the music, which provided an enjoyable and fitting counterbalance to the outlandishness of the spectacles onstage. The Akademie für Alte Musik Berlin, under the direction of Christopher Moulds, rendered the music at times with unflashy subtlety and at times with a zest that set one’s toes tapping…The interpretation was sensitive, fresh, dramatically engaging, and never overwrought.”

Elyse Lyon, Opera Wire

Teatro Real, Madrid: Dido & Aeneas (2019)

“Maestro Christopher Moulds gave an extraordinary reading alongside the Akademie für Alte Musik Berlin. His music-making was tremendously sensitive to the singers, never overpowering them and always intent on letting them lead the line. There was joy and energy in the orchestral playing throughout, giving the dance numbers greater vitality.”

Mauricio Villa, Opera Wire