Giacomo Puccini — La Boheme
Teatro Verdi in Trieste
December, 2022
Read full Opera Click review here (Italian), excerpt below:
"Christopher Franklin ha dato una lettura…. molto attenta all’accompagnamento ai cantanti e alle dinamiche…. efficace e coinvolgente. Nell’ambito di una narrazione coerente, mi è piaciuto molto il finale, una di quelle pagine in cui il genio di Puccini è abbagliante, con l’orchestra che riprende le note del primo incontro tra Mimì e Rodolfo in un contesto drammaticamente diverso. Inoltre Franklin ha ottenuto dalla brillante Orchestra del Verdi un suono caldo e limpido al contempo, in cui anche quando gli archi spingono i legni si sentono distintamente…."
Kurt Weill — Aufstieg und Fall der Stadt Mahagonny
Teatro Regio di Parma
April, 2022
Read full Opera Click review here (Italian), excerpt below:
"Il direttore Christopher Franklin imprime al racconto sonoro dinamiche solide e coerenti che legano con efficacia le venti singole scene. Non perde di vista per un solo istante gli interpreti dando loro gli attacchi con gesti decisi e sorride incoraggiante quando i protagonisti cantano sulla ribalta a poche decine di centimetri da lui. Ottima la prestazione dell'Orchestra dell'Emilia Romagna Arturo Toscanini che affronta con disinvoltura e appropriatezza stilistica la grande varietà di generi e situazioni musicali di questa poliedrica e brillante partitura….”
Read full review L'Ape Musicale review here (Italian), excerpt below:
"L’orchestra dell’Emilia Romagna Arturo Toscanini guidata da Christopher Franklin si disimpegna con disinvoltura nella partitura eclettica e dai toni accesi; il direttore americano Cristopher Franklin mostra una comprensione profonda dello stile eclettico della partitura di Weill, con gli echi di Richard Strauss e della musica jazz e cabaret. Al Teatro Regio di Parma un evento musicale e teatrale di sicuro interesse e grande spessore, da rivedere e riascoltare."
Read full Ggiornale del la Musica review here (Italian), excerpt below:
"Efficace anche la lettura di Christopher Franklin che ha diretto l’opera per la prima volta gestendo con asciutto dinamismo le variegate transizioni stilistiche che Weill innesta nella sua partitura, passando dalle marcette oblique al fugato che descrive l’uragano e arrivando al perentorio finale con passo solido alla guida dell’Orchestra dell’Emilia-Romagna “Arturo Toscanini” e del Coro del Teatro Regio di Parma, preparato da Martino Faggiani."
Joseph Bologne- L’amant anonyme
Minnesota Opera
January, 2022
Excerpt from Opera News, April 27 2022:
“Those ambitions were more than fully realized by the imaginative…. and the discreet work of maestro Christopher Franklin to prepare a more robust performing score. With beefed-up instrumentation, two arias cobbled in from other Bologne works and some rearrangement of material, Franklin and the orchestra made this a piece with surprising depth and finish…”
Tosca I
Teatro Verdi Trieste
March 2022
Read full Opera Click review here (Italian). Excerpt below:
“..La direzione di Christopher Franklin si è rivelata in perfetta simbiosi con la regia: accurata, precisa, armoniosa, poderosa nelle dinamiche ma forse un po’ pigra nelle agogiche. Ottima la gestione della complessa partitura pucciniana, che prevede tra le altre cose interventi del coro fuori scena, voci bianche e un uso importante di percussioni. Amorevole l’accompagnamento ai cantanti, molto esposti nelle loro celeberrime arie. I momenti più riusciti mi sono sembrati la liquida bellezza del suono orchestrale che introduce l’aria di sortita di Cavaradossi, il magmatico "Te Deum" e la dolcezza presaga di catastrofe della scena che precede la fucilazione.
Splendida in tutte le sezioni la prestazione dell’Orchestra del Verdi e brillante anche il rendimento del Coro della fondazione e delle voci bianche….”
Read full Trieste Prima review here (Italian). Excerpt below:
“...L’orchestra, ormai da tempo “a vista” e sconfinante verso la platea causa disposizioni Covid, è stata protagonista della serata con una grande esecuzione concertata dal maestro Christopher Franklin, originario di San Francisco e già “di casa” al Verdi con acclamate produzioni….."
Read full Opera Online review here (German). Excerpt below:
“...Souverän leitet Christopher Franklin das Orchester des Teatro Verdi. Schlüsselszenen werden mit spannendem Zupack herausgearbeitet, zahlreiche gefühlvolle Momente klingen einnehmend gut. Viele Bravi im restlos begeisterten Publikum!….."
L’Amant Anonyme
Minnesota Opera
January 2022
‘….And Bologne's music is treated with tender care. As music director of two very popular Parisian orchestras, it's no surprise that orchestral writing was his strong suit, and conductor Christopher Franklin and the Minnesota Opera Orchestra bring out all of its vivacity and beauty….”
Attila de Verdi
Ópera de Tenerife
November 2021
Read full review here (in Spanish)
“...American Christopher Franklin proved to be an effective rehearser, with extreme care for detail. Many of his qualities stood out in the interludes (especially the stormy ones), full of expressive power and allowing us to feel the emotions required by Verdi. But above all, Franklin was a wonderful collaborator of the singers: he allowed them to express themselves comfortably and he followed them with mastery. The Tenerife Symphony was at a very good level in all aspects, as was the Tenerife Opera Choir...which easily overcame the challenge of having a very important role in this work…."
Hansel and Gretel
San Francisco Opera, Nov./Dec. 2019
"The key to the whole production remained with the Orchestra, under the baton of Christopher Franklin, an American conductor based in Italy. A large, “Wagnerian”-style orchestra with its multiple bands of strings, rows of brass, and winds, gave the appeal the music has long enjoyed….The opening “Evening Prayer,” repeated in motif and harmonic bands throughout the first Act and in places in the Third, and the kick-your-feet up dance of the children all have taken their place in the musical lexicon. Franklin’s orchestral interpretations gave them their due... the audience savored their presence and familiarity…”. — Lois Silverstein in Operawire
"Maestro Christopher Franklin conducted the San Francisco Opera Orchestra with passion, evoking from the opera orchestra a richly textured sound. Of special note was the virtuosic performance by concertmaster Kay Stern of the violin accompaniment of Gretel’s awakening in the forest….” — William Burnett in Operawarhorses
Nabucco
Teatro Verdi Trieste, January 2019
“...La direzione di Christopher Franklin si è distinta per sensibilità, finezza ed eleganza, seguita con convinzione dall’Orchestra…” — Paola Pini in Corrieredellospettacolo.net
“..Sul podio, il maestro Christopher Franklin sin dall'Ouverture fa capire che intende leggere la partitura, sotto ogni punto di vista, con puntuale esattezza e fedeltà, buon gusto e misura. Il suo gesto netto e risoluto è un saldissimo punto di riferimento per tutti gli interpreti in scena che scrupolosamente asseconda senza mai sovrastarli con ingombranti sonorità orchestrali, nonché per il golfo mistico dove ottiene dall'organico una risposta precisa ed ispirata, costellata di assolo squisiti. Il coro, altrettanto, si palesa in ottima forma, potente e sensibile, la cosa ancora più mirabile se considerato il fatto che è costituito da solo quarantacinque cantanti. “ — Dejan Bozovic in Circuitomusic.it
A Christopher Franklin va il merito di avere ridato compattezza all’Orchestra del Teatro Verdi che nelle precedenti prove della Stagione era risultata non pienamente convincente; la sua bacchetta….sceglie ritmi piuttosto serrati e a tratti ottiene un felice colore orchestrale…. è attento alle esigenze del palco e delle voci...” — Stefano Bisacchi in Connessiallopera.it
"L’orchestra dimostra una indiscutibile professionalità accompagnando i cantanti senza mai coprirli, grazie anche all’indispensabile opera di raccordo del direttore Christopher Franklin. Inoltre, le parti di “solo” delle prime parti dell’orchestra (penso al solo del flauto in Va’ pensiero, ma ce n’è molti altri e per tutti gli strumenti) sono sempre contraddistinte da precisione, intonazione e bel suono.” — Sergio Zolli in Instart.info
“…Il Maestro Christopher Franklin riesce a gestire con uguale cura e dedizione il coro, i solisti, la banda in palcoscenico e la sua orchestra, rendendo ugualmente chiare le zone impetuose, ardimentose di questa opera, cosi come quelle piu’ melodiche e romantiche. Ottima la prestazione del Coro del massimo triestino…” — Corrado Canulli in Blogspot.com
Peter Grimes
Valencia—Palau de les Arts, February, 2018
Won ‘Best Musical Direction’ for the season in Valencia
“Christopher Franklin led a revelatory reading of the work. He was alive to the lyricism in the piece yet also brought out its angularity, precisely that simmering violence that lays beneath the surface. There was a rhythmic incisiveness to his reading that I found utterly compelling. What he also succeeded in doing was making Britten’s sound world feel even more modern than it often does, through exploiting the kaleidoscopic range of instrumental color at his disposal with this superb orchestra, in shimmering strings or raucous trumpets….took their artistry to the next level….the sheer precision that they brought to even the most complicated syncopated writing was absolutely staggering.…a thrilling, moving thought-provoking piece of music theatre…well cast, marvelously conducted….this was an evening that showed this estimable theatre at its very best." — In Operatraveler, February 10, 2018
“Des de l’Orquesta a la batuta, tots ratllaren a la mateixa important altura. El mestre Christopher Franklin, al que ja haviem sentit en anteriors produccions, ens va confirmar l’excellent impression’ que ja teniem. Intens, precis, intencional en una obra amb molt caracteri que te’ moments molt diversos de sensibiltat i entrellat, va saber tant acompanyar als cantants (i cura que la metrica i la afinacio son complicades) com concedir una sonoritat pletorica a l’excellent orquestra.” — Antonio Gasco’ in Quanderns/el Periodico Mediterraneo , February 4, 2018
"la orquesta volvo' a evidenciar que sigue estando en un nivel superior...Christopher Franklin demostro' una gran capacidad musical haciendo gala de una gran precision. Condujo con diligencia y atencion tanto a orquesta como a cantantes. Ahora bien, en un opera asi se echa de menos una batuta algo mas capaz para plasmar con mas delicadeza las atmosferas.” — Cesar Rus in Las Provincias February 3, 2018
— Alberto Gonzales LaPuente in ABCCultura February 8, 2018
Turandot
San Francisco Opera, Nov./Dec. 2017
"The evening’s conductor, making his San Francisco Opera debut, was Maestro Christopher Franklin, who showed a command of the rich sonorities of Puccini’s opulent score, eliciting a brilliant performance from the San Francisco Opera Orchestra…” — William Burnett in Operawarhorses
“...we can still savor the instrumental and harmonic brilliance of Puccini’s score in San Francisco, even after all these years, the vertiginous sweep and eerie crimson-and-green palette of David Hockney’s nightmarish and recently refurbished sets. On Saturday, those virtues shone forth with particular clarity in a performance led with finesse....by debuting conductor Christopher Franklin. This was a rendition that emphasized just how close to the edge all of the characters in this drama are operating."- Joshua Kosman in SF Gate
“In his debut at the San Francisco Opera, conductor Christopher Franklin tried to confer, as Hockney did, three-dimensionality of the work... Using the standard Alfano ending, he didn't push the bombastic moments and accentuated avant-garde sonorities. The orchestra and chorus responded well to his demands.” — Edward Sava-Segal in Bachtrack.com
Rossini Otello
Gran Teatre del Liceu, Barcelona
"A Splendid Concert Version of Rossini’s Rarely Performed Otello"
"The musical direction was in the hands of Christopher Franklin, who offered a compelling reading of the opera. He’s a conductor who is very familiar with Rossini, and he showed a great knowledge of this score. His reading was attentive to the orchestra and to the singers, whom he supported with great care. The orchestra performed well, as did the chorus."
- Seen and Heard International, 9 February 2016
"Allen ein wohlgesonnener Begleiter ist Christopher Franklin. Nicht nur seine wilde Mähne scheint er mit Gel geglättet zu haben, sondern auch sein Dirigat. Frisch und lebhaft im Tempo, nuancenreich im Volumen klebt er den Sängern an den Fersen. Besonders gelungen bleiben die intimen Momente der solistischen Begleitung durch Harfe oder Horn. So gelingt ein packender, musikalisch berückend schöner Abend, der in keinster Weise in der Spannung die szenische Inszenierung vermissen lässt. Einmal mehr zeigt das zu Unrecht in Vergessenheit geratene Werk Rossinis seine kompositorische Qualität. Das Publikum bringt offenherzig seine Begeisterung zum Ausdruck und applaudiert laut und eifrig."
- Opernnetz, 6 Februar 2016
"La dirección musical ha estado en manos del americano Christopher Franklin, que nos ha ofrecido una convincente lectura de la obra de Rossini. Estamos ante un director muy familiarizado con el compositor de Pésaro y que demostrado un gran conocimiento de la partitura que ahora nos ocupa. Su lectura ha sido buena, muy atento a la orquesta y también a los cantantes, a los que ha apoyado siempre con mucho mimo. Ya desde la obertura las cosas rodaron de manera plenamente satisfactoria y todo funcionó bien. La prestación de laOrquesta Sinfónica del Liceu fue buena, si obviamos las pifias de algunos instrumentos de viento. El Coro del Liceu estuvo bien, aunque eché en falta mayor consistencia en las voces graves."
- Beckmesser.com, Febrero 2016
Wagner Tristan und Isolde
Teatro Verdi Trieste
"L'ha dimostrato Christopher Franklin che come prima cosa ha preso le misure dell'orchestra di taglia numerica ordinaria: facendo leva sulla duttilità dei leggii, sulle ottime prime parti dei legni (tromba e corno inglese se li è portati in palcoscenico alla fine tra i protagonisti del successo), e inducendoli a suonare con naturalezza; sfruttando la sala raccolta, acusticamente espansiva.
Così l'enigmatico Preludio iniziale, dipanato con chiarezza e forza, "respirava" con naturalezza presaga fin dall'avvio dei violoncelli scaturito come dal nulla ma già vibrante di funesta passione. In generale, l'immensa cattedrale musicale di Tristan und Isolde è stata miniaturizzata dalla concertazione senza risultare depotenziata o ingrigita. Suonata senza sforzi (in apparenza almeno), con uno spirito "cameristico" accentuato in progressione, dal secondo atto in poi, l'inesauribile partitura era soppesata nei dettagli e allo stesso tempo rassicurava le voci, indotte a dialogare con la buca; a fidarsi e farsi guidare dall'orchestra non a mettersi in competizione"
- Angelo Foletto, La Repubblica, 9 April 2017
"Forse, però, negli ultimi decenni, un simile equilibrio tra l'impatto emotivo e quello poetico-filosofico non è stato conseguito con la compiutezza determinata dalla bacchetta di Christopher Franklin. Il maestro si abbandona con dottrina e con anima alla sublime partitura, raccogliendone i molteplici fili in un'unica trama cangiante, pulsante, a momenti deflagrante, eppure sempre solida, compatta, priva di sfaldature e benché minime crepe.
Esemplare è la sua attenzione ai cantanti nonché la sicurezza nel coordinare il golfo mistico e il palcoscenico, in cui si distingue l'Isolde di Allison Oakes, vocalmente possente e risoluta come una macchina da guerra, ma altrettanto sensibile ad ogni sfumatura, sinuosa e genuina, la regina offesa, la donna innamorata, la guaritrice il cui sguardo varca le soglie dell'ultraterreno. Un perpetuo e crescente brivido è il grande duetto nel secondo atto, grazie, evidentemente, anche al sentito e raffinato canto del Tristan di Bryan Register, il quale risulta eroico e incondizionatamente arreso all'assolutezza dell'amore senza essere squillante né ridondante. Di bel timbro e ben controllata, la sua voce si arrende consapevolmente all'eros e al thanatos."
- Dejan Bozovic, Circuitomusic.it, April 2017
"Ma lo spettacolo funziona molto bene nel suo complesso e si dimostra tanto attento al libretto quanto impostato su una coerente idea interpretativa, a cui corrisponde, sul piano musicale, quella di Christopher Franklin capace anch’essa di liberarsi di ogni tentazione psicanalitica e di ritrovare quello che è necessario all’esecuzione nella partitura e nel libretto di Wagner. In tal senso va riconosciuto a tutti gli artisti di avere saputo creare uno spettacolo unitario. Quella di Franklin è una direzione pulita e limpida, tesa a un fine ben preciso come l’agognata risoluzione dell’accordo di Tristano. Riporta l’orchestra a essere la vera deuteragonista dell’opera, la voce interiore dei protagonisti, quella che ci svela quanto le loro parole non possono dire. L’equilibrio fra i settori della concentratissima Orchestra del Verdi e fra quest’ultima e solisti è perfetto: il golfo mistico non prevarica mai le voci, né una famiglia di strumenti predomina sugli altri. Incisi, singole figurazioni e leitmotive sono nettamente distinguibili e mai isolati in sé."
- Stefano Bisacchi, connessiallopera.it, 8 April 2017
"La direzione è stata affidata a Christopher Franklin che nonostante debuttassi in questo titolo è riuscito a cogliere tutte le sfumature di questa meravigliosa partitura riuscendo a rendere al meglio tutto l’erotismo che Wagner ha voluto emanare con le sue note. Ottima in questo la resa dell’orchestra triestina che alle prese con uno spartito non semplice ha dimostrato di essere di alto livello."
- Operaworld.es
"Christopher Franklin ha interpretato la gigantesca partitura con intelligenza, senza suonarsi addosso e con grande attenzione e cura per i solisti. La direzione è parsa spedita e di buon passo teatrale, le dinamiche controllate mi sono sembrate mirate a privilegiare l’armonia sonora e il respiro del mondo più che la rovente sensualità terrena della vicenda. Un Tristan und Isolde, quello di Franklin, cerebrale ma al contempo liricamente caloroso e accattivante.
Buono il rendimento dell’Orchestra del Verdi, con legni e fiati in particolare evidenza."
- Paolo Bullo, Operaclick, 8 April 2017
"Chi ha le idee molto chiare sull’opera e riesce a metterle in pratica senza cedimenti è Christopher Franklin che, spalleggiato da un’orchestra in forma smagliante, firma una prova in cui la pulizia della concertazione si fa essa stessa cifra interpretativa. È un Wagner sgrassato e limpido, a tratti quasi cameristico per la levità del suono e la delicatezza degli equilibri.
Che Tristan und Isolde sia una partitura assai più “leggera”, in termini di sonorità e impasti, rispetto ad altro Wagner non è certo una scoperta, ma riuscire a evitare il turgore e la densità senza perdere di contenuto, o peggio riuscire esangui o secchi nel suono, è un bel traguardo, e Franklin lo centra a meraviglia. La tinta orchestrale è cupa senza mai risultare pesante né confusa, il “balancing” impeccabile così come il sostegno al palco. I tempi tendenzialmente spediti aiutano la scorrevolezza della narrazione, pur senza eccessi di frenesia. Certo si tratta di una lettura che scontenterà i cultori della magniloquenza, al pari di chi si aspetti un’epicità poderosa. Franklin guarda in direzione opposta, verso un lirismo intimo e raccolto fatto di sfumature e mezzetinte.
Come accennato l’Orchestra del Verdi suona benissimo per qualità timbrica e precisione, al netto di qualche piccola sbavatura incidentale. Eccellenti gli archi per pasta e colore, sugli scudi i legni."
- Operaclick, Paolo Locatelli
"Il merito di questo successo è da attribuire innanzitutto alla direzione, affidata al maestro americano Christopher Franklyn. Energico, profondo conoscitore del compositore tedesco. Instancabile e ben visibile al pubblico in ogni sua evoluzione, Franklyn ha dato nuova luce all'orchestra del teatro lirico triestino, essa infatti ha davvero superato se stessa in questa difficile partitura rendendola fluida e travolgente."
- Alessandra Ressa, triesteprima.it, 11 April 2017
Offenbach Les contes d'Hoffmann
Piacenza / Modena / Reggio Emilia
"...ma la proposta vale, e l’esecuzione...non fa una grinza. Christopher Franklin...ha concertato con acume, cercando colori levigati e una nitidezza aspra che appagano la raffinata e sarcastica scrittura d’autore..."
- Angelo Foletto, La Repubblica
"...conductor Christopher Franklin, at the helm of the Orchestra Regionale dell’Emilia Romagna, gave us a reading full of brilliant colors, energy, which gave unity and coherence to the evenings performance..."
- Patrizia Monteverdi, Operaclick
"...bravissimo il Maestro Christopher Franklin che ha condotto con maestria l’orchestra regionale dell’Emilia Romagna riuscendo a fondere insieme il suono con le voci sulla palcoscenico..."
- Patrizia Zamboni, Liberta’, 19 January 2015
"...lode anche, ed incondizionata, all’ottima Orchestra Regionale dell’Emilia Romagna che ha trovato nel direttore Christopher Franklin una bacchetta ispirata e sicura, nel garantire un ottimo rapport buca-palcoscenico, con dinamiche misurate ad ottenere sempre il perfetto sostegno alle voci che sono corse sempre in vanti e senza probelmi…straordinario pure il ritmo incalzante e sostenuto nel procedure teatrale, apprezzato specie nell’atto di Antonia, quello piu drammatico. Nostalgico e ed evocante, pero’ nei brani piu lirici e soave, la barcarola tra gli altri..."
- Horacio Castiglione, Operaworld, January 2015
Mozart Die Zauberflöte
Teatro Lirico di Cagliari
"The Mozart of conductor Christopher Franklin, well accompanied by orchestra and chorus of the Teatro Lirico di Cagliari, is decidedly dynamic....Franklin, a Mozart specialist, who returns to Cagliari after the successful Cosi fan tutte of last year, is clearly at ease balancing the various elements of this multi-faceted score to underly the drama....clearly able to caibrate the various styles of this work- popular Lied, strains of opera buffa, hints of opera seria and viennese singspiel...as well as tragedie lyrique of the Marsch der Priester. Fluid and fleet also his ouverture, considered an instrumental synthesis of the entire opera...where Franklin played with the contrapuntal structure of this piece, without losing sight of the fantastical nature of the orchestration....after this auspicious start, the american conductor favoured brisk tempi and brilliant sonorities.....a vital contribution fo the success of the evening..." — GB Opera, June 2014
Verdi Rigoletto
Boston Lyric Opera
"Christopher Franklin, making his BLO debut, conducted the orchestra in a sparkling account of Verdi's dramatic score. Franklin led with fleet tempi, but took time to carefully sculpt the phrases for the opera's arias and duets."
- Boston Classical Review, 15 March 2014
"...down in the pit, guest conductor Christopher Franklin knew how to draw the passionate lustre from Verdi's famous score...inspiring the chorus to give Verdi's masculine anthems a muscular thrust..."
- The Hub Review, 20 March 2014
"...Christopher Franklin played the ouverture slowly and deliberately, holding back until the cymbal crash announced the start of the melodrama....throughout he was always attentive to the happenings on stage- accomodating the needs of his singers....an auspicious company debut."
- March 2015
Mozart Così fan tutte
Teatro Lirico di Cagliari
"...on the podium was Christopher Franklin, who from the opening chords of the ouverture underlined the natural and transparent lightness that is Mozart's style...keeping the drama flowing...particular attention was paid by this American conductor to the narrative of the recitativi, authentic backbone of Mozart's operas, and of special strategic import to the complex plot of Cosi fan tutte. Franklin proved himself to be precise and reactive, in his element in this 18th century repertoire...marshalling the forces of Chorus and Orchestra of the Teatro Lirico di Cagliari, here in fine form....in the various ensemble numbers and concertati finales, which represent the impeccable geometric mecchanism of Mozart, is where the careful musical preparation and direction of Franklin bear their fruit..."
- Myriam Quaquero, GB Opera, October 2013
"...at the final curtain of Cosi fan tutte, as part of the 2013 Liric Season at the Teatro Comunale di Cagliari...the audience delivered especially intense applause for conductor Christopher Franklin...who maintained fresh pacing and conducted with youthful brio throughout the evening."
- Unionesarda, 19 October 2013
Teatro Regio di Torino
"...from the very first notes of the ouverture one felt the drive of conductor Christopher Franklin, who brought a fresh sparkle to the score, especially drawing out brilliant solo playing in the winds; the whole orchestra took possission of that lightness and trasparency which is so inherent in Mozart's style, and has been sadly lacking in recent memory..."
- Giorgio Pestelli, La Stampa, Torino, 12 April 2012
"...in the pit Christopher Franklin embodied the essense of musicality and precision....clearly at home in this 18th century repertoire, able to realize the effervescient transparence of this elegant score, full of bubbling melodies like water from a spring, clearly followed by the Orchestra of the Teatro Regio, here in rare form. Franklin- convinced us from the first notes of the ouverture- also knew how to engage his singers during the recitatives (which is quite rare), to keep the performance flowing with enticing rhythm."
- Attilio Piovano, Il Corriere Musicale, 16 April 2012
"...the young American conductor Christopher Franklin conducted with a keen theatrical instinct, opting for sustained pacing and brilliant sonorities, but without sacrificing the relishing of cantabile moments, for example the intimate orchestral palette of the Act 2 Duet "Fra gli amplessi in pochi istanti"..."
- Giordano Cavagnino, Operaclick, 15 April 2012
Teatro Piccolo — Accademia alla Scala di Milano
"... the conducting of Christopher Franklin was in perfect harmony with the music of Mozart- Franklin was able to find that special graceful touch which solves the difficult balances in this sublime score….a conductor of great class also for the way in which he accompanied his singers, here also aided by the Orchestra and Chorus of the Accademia della Scala….a special Mozart in honor of Strehler’s last staging...and also an occasion to hear music-making of high caliber..."
- Il Cittadino, 20 December 2007
"...the score is full of freshness- here fully realized by the young forces in orchestra and chorus, and from the podium, led energetically by conductor Christopher Franklin...a success for Milano..."
- Avvenire, 15 December 2007
"...orchestra and chorus conducted by Christopher Franklin....breathed life into this production, creating emotive tension….fresh tempi and original phrasing turned this opera into a thoroughly modern work..."
- Aprile Online, 17 December 2007
Teatro Carlo Felice di Genova
"...the decision to entrust the musical direction of this production of Mozart’s Cosi fan tutte to the american conductor Christopher Franklin this was a fortunate one, especially seeing the particular nature of this piece.....this young conductor, in perfect harmony with his orchestra, knew exactly how to translate this enigmatic work into an essential and balance performance."
- Il Secolo XIX, 14 November 2005
"...musically a satisfying production, due to the precise and particularly brisk execution of Christopher Franklin, who did a great service to Mozart thanks also to the orchestra… together they gave us moments of intense and sensitive musicality."
- Il Giornale Genova, 15 November 2005
"....of the operas presented this fall in the Mozart-da Ponte trilogy, Cosi fan tutte convinced us the most, thanks to the presence on the podium of Christopher Franklin, a young conductor already of indisputable artistic personality; his reading was pleasingly organic and controlled, and always in good balance with the action on stage."
- La Repubblica, 17 November 2005
Minnesota Opera
"...Conductor Christopher Franklin led a shrewdly paced reading of the score, probing emotional depths while encouraging excellent articulation from the orchestra and a strong sense of ensemble from everyone involved, which is the main clue to success in this opera..."
M. Anthony, MinnPost.com, 27 September 2011
"...making light work of the work's challenges...conductor Christopher Franklin melds romantic expressivity with elements of period style. Orchestra ensemble is tight, even in the breathless finale of Act 1..."
Attilio Piovano, Il Corriere Musicale, 16 April 2012
"...the young American conductor Christopher Franklin conducted with a keen theatrical instinct, opting for sustained pacing and brilliant sonorities, but without sacrificing the relishing of cantabile moments, for example the intimate orchestral palette of the Act 2 Duet "Fra gli amplessi in pochi istanti"..."
L. Fuchsberg, Minnesota Star Tribune, 26 September 2011
Thomas Hamlet
Minnesota Opera
"...conductor Christopher Franklin and the Minnesota Opera orchestra make a convincing case...with a performance as deeply involving as the rest of this immaginative production..."
- Ron Hubbard, Pioneer Press, 3 March 2013
Douglas J. Cuomo Doubt (world première)
Minnesota Opera
"...Christopher Franklin conducted, drawing excellent performances from the orchestra and the choruses of parishioners and children."
- James R.Oestreich, New York Times, 3 February 2013
"...conductor Christopher Franklin maintains the evenings theatrical momentum and brings out the subleties of Mr. Cuomo's restrained orchestration"
- Heidi Waleson, Wall Street Journal, 29 January 2013
"...conductor Christopher Franklin and the Minnesota Opera Orchestra do an outstanding job with Cuomo's complex music..."
- Ron Hubbard, Pioneer Press, 27 January 2013
"...conductor Christopher Franklin leads the orchestra in a persuasive account of the score...making for a gripping 2 1/2 hours of theater..."
- Mike Silverman, Huffington Post, 27 January 2013
Rossini La Cenerentola
Minnesota Opera
"As for the orchestra, the musicians played beautifully Saturday night under the direction of Christopher Franklin, who easily captured Rossini’s special ebullience. The woodwind solos were especially well-shaped."
- Michael Anthony, Minnesota Post, 1 November 2010
"Conducted by Christopher Franklin, Rossini's playful score is rousing and rambunctious, a spiraling tribute to the hysterically harried comedy."
- Brad Richason, Examiner, 1 November 2010
Lehár The Merry Widow
Teatro San Carlo di Napoli
"...in tune with this 'mediterranean' Lehar production at the Teatro San Carlo di Napoli, was the conductor Christopher Franklin- he was in his element in the exhuberant orchestral moments, and provided a sensuous phrasing, accompanying the captivating melodies and timbres of this refined score..."
- Giovanni Carli Ballola, Il Mattino, 16 May 2010
Teatro Carlo Felice di Genova
"...Conductor Christopher Franklin realized this splendid score with refined elegance, not only in the many orchestral moments, but also in accompanying his singers..."
- La Repubblica, 4 December 2009
"...Bravo Christopher Franklin, leading the Orchestra of the Teatro Carlo Felice with strong orchestral interludes, and refined musical moments..."
- Il Giornale Genova, 1 December 2009
"... of special interest in this production was the musical preparation by conductor Christopher Franklin..."
- Michelangelo Zurletti, La Repubblica, National Edition, 5 December 2009
Britten Death in Venice
Teatro de Belles Artes-Mexico City
"... the musical direction of this new production of Death in Venice, was entrusted to the young north American Christopher Franklin, who drew a precice, irreproachable, yet deeply colourful performance from the orchestra pit..."
- Vladimiro Rivas Iturralde, Milenio Online, 7 July 2009
"... to start with is to be praised the intense rehearsal work realized by the conductor Christopher Franklin..."
- Lázaro Azar Boldo, Reforma.com, 7 July 2009
"...the Chorus and Orchestra of the Palacio de Bellas Artes, prepared and conducted here by the North American maestro Christopher Franklin- an extreme and irreproachable effort, this being the premiere of this opera here..."
- Rogelio Macías Sánchez, Algo de música, 6 July 2009
Chabrier Une éducation manquée
ROSSINI La cambiale di matrimonio
Wexford Festival
"... Relishing their respective mercurial natures, Christopher Franklin conducts both with engaging momentum in streams of stylish phrasing..."
- Pat O’Kelly, Irish Independent, 24 October 2009
"... The main pleasure in both pieces was Christopher Franklin’s stylish relaxed conducting..."
- Tom Sutcliffe, The Spectator, 28 October 2009
Verdi Atilla
Lima, Peru
"... the conducting of Christopher Franklin was impeccable, exhibiting great command over his forces in obtaining a perfect balance between stage and pit, with a unity of sound..."
- José Quezada, El Comercio, 27 April 2009
Rossini La gazetta
Wildbad Festival
"...the orchestra sounded like a renewed ensemble....before them stood Christopher Franklin, who delivered an intensely concentrated musical execution….very compact and precise, and full of wit..."
- Opernwelt, September/October 2007
"... Franklin had much empathy for the impulsively romantic communicative qualities of Rossini’s music…..precision and passion became a musical revelation."
- Opernnetz.de, 25 July 2007
"... this production brought out the many-textured flavors and culinary delights in Rossini’s art...the musical performance, led by conductor Christopher Franklin at the rostrum of the Czech Chamber Soloists Brno, was an animated sweep of musical fireworks, celebrating this little performed belcanto gem..."
- Pforzheimer Zeitung, 16 July 2007
Britten Billy Budd
Teatro Regio di Torino
"...Britten’s masterpiece received an exemplary musical reading on the part of the young conductor Christopher Franklin… from the podium he was able to underline the many ambivalances in this complex score, especially in the winds and brass....Franklin gave us a moment of pure emotion during Billy’s “berceuse”….the flute and melancholy strings achieving a heart-wrenching climax, releaved only by the serenity of the aria which follows..."
- Operaclick, 18 November 2004
"...leading the Orchestra of the Teatro Regio di Torino, which played with beautiful sound and extreme concentration, the sensitive baton of the young American Christopher Franklin, always attentive to the balance between stage and pit, achieving perfect equilibrium in the many transparent harmonies and suggestive passages of the score, presenting a myriad of colors of caleidoscopic effect. At the end of the evening there was a rousing ovation, unheard of for an opening night at our Teatro Regio in Torino, but merited for a production which demonstrated how even with cutbacks one can obtain first rate results."
- L’Opera, December 2004
Verdi Falstaff
Fondazione Pergolesi-Spontin-Jesi, Treviso, Fermo
"...the Filarmonica Marchigiana under the experienced baton of the young maestro Christopher Franklin rendered justice to this colorful yet thorny score of Verdi’s last opera..."
- Corriere Adriatico, 15 October 2005
"...the musical side of this production was a revelation, under the direction of the young american conductor Christopher Franklin, who underlined the rich Verdian phrasing with sure yet supple gestures…a tense and dynamic reading, without obscuring the more tender moments between the young lovers Nannetta and Fenton, a beam of hope in the otherwise cynical atmosphere which pervades this final masterpiece of Verdi."
- L’Opera, November 2005
J.S. Mayr L'amor coniugale
Rossini in Wildbad Festival
"...conductor Christopher Franklin, together with his musicians of the Wurttembergischen Philharmonie was able to cut to the heart of this work- at times soft and lyrical, abruptly forceful and dramatic.…all in harmony between stage and pit….also the recitatives were well prepared..."
- Oberbadisches Volksblatt, 19 July 2004
"Conductor Christopher Franklin succeeds with dynamic charisma, to charm the technically adept and sensitive musicians of the Wurttemberg Philharmonie Reutlingen, to bring to life this long-neglected masterpiece of Johann Simon Mayr."
- Kreisnachrichten Calw, 19 July 2004
"...yesterday evening on the podium stood a conductor, who allowed himself to be swept away by the music and to likewise infect the Wurttemberg Philharmonie Reutlingen to deliver a lively and masterful execution, underlining this curious stylistic blending in Mayr’s music of the German and Italian classical tradition ...this proved to be a worthwhile musical excavation of a long neglected score, at a high artistic level, unanimously applauded by the grateful audience..."
- Der Neuer Merer-Redaktion Stuttgart, 30 July 2004
"Mayr’s music is an expressive and eminently dramatic stage work… in Wildbad their Qualitates come through under optimal direction of the young conductor Christopher Franklin."
- Stuttgarter Zeitung, 23 July 2004
"Christopher Franklin is an eloquent advocate for Mayr's moving music...between sentiment and drama. He highlights the dynamic contrasts, carves out rhythmic finesse, and keeps the tempi light and fleeting..."
- Festival Report 2004
"...overwhelming applause for the whole cast, above all for the conductor Christopher Franklin...from the podium of the Wurtembergischen Philharmonie was able to breathe life into this ensemble, and let this rarely heard music bloom."
- Sudkurier Konstanz, 22 July 2004