Christopher Maltman

Introduction

Winner of the Lieder Prize at the 1997 Cardiff Singer of the World Competition, Christopher Maltman read biochemistry at Warwick University before studying singing at the Royal Academy of Music.

On the opera stage, his recent appearances include the title role of Gawain at the Salzburg Festival, the title role of Don Giovanni at the Deutsche Staatsoper, Berlin, Salzburg Festival, the Bayerische Staatsoper, Munich, and the Cologne Opera; Posa / Don Carlo at the Netherlands Opera; Papageno /Die Zauberflöte, Guglielmo / Così fan tutte, Forester / The Cunning Little Vixen, Marcello La bohème and Ramiro / L’heure espagnole at the Royal Opera House Covent Garden. His roles at the Glyndebourne Festival have included Papageno, Figaro/ Le nozze di Figaro and Sid / Albert Herring. At the Bayerische Staatsoper, Munich, he has sung Tarquinius / The Rape of Lucretia, Guglielmo, Marcello and Albert / Werther. Other opera appearances in Europe include Šiškov / From the House of the Dead at the Vienna State Opera; Il Conte / Le nozze di Figaro at the Opéra National de Paris and for Zurich Opera; Il Conte and Aeneas / Dido & Aeneas at the Theater an der Wien; Figaro / Il barbiere di Siviglia at the Deutsche Staatsoper, Berlin; Marcello at the Liceu, Barcelona;  Tarquinius at the Aldeburgh Festival and the English National Opera. An acclaimed Billy Budd, he has sung the role at Welsh National Opera, in Turin, Seattle, Frankfurt and in Munich.  

In the U.S. he has appeared at the Metropolitan Opera, New York as Papageno, Harlekin / Ariadne auf Naxos and Silvio / I Pagliacci; in San Francisco as Papageno; in Seattle as Guglielmo and in San Diego as Figaro / Il barbiere di Siviglia and Laurent / Therese Raquin by Tobias Picker.

Future engagements include Don Giovanni at the Bayerische Staatsoper, and at the Théâtre du Capitole in Toulouse; Il Conte at the Royal Opera House, Covent Garden and in concert performances with the Los Angeles Philharmonic Orchestra / Gustavo Dudamel; Posa for Frankfurt Opera, and returns to the Bayerischer Staatsoper and the Metropolitan Opera, New York.  

His concert engagements have included the Cleveland Orchestra / Franz Welser-Möst, Philharmonia Orchestra / Christoph von Dohnanyi, BBC Symphony Orchestra / John Adams, Orchestra of the Age of Enlightenment /Sir Roger Norrington, London Symphony Orchestra / Sir Simon Rattle, Tadaaki Otaka and Sir Colin Davis, Concentus Musicus Wien / Nikolaus Harnoncourt, Swedish Radio Symphony Orchestra and Orchestra Filarmonica della Scala / Daniel Harding, Dresden Staatskapelle / Sir John Eliot Gardiner, Boston Symphony Orchestra / James Conlon and Sir Colin Davis, Los Angeles Philharmonic Orchestra / Esa-Pekka Salonen and the New York Philharmonic Orchestra / Kurt Masur.

A renowned recitalist, he has appeared at the Vienna Konzerthaus; Amsterdam Concertgebouw; Salzburg Mozarteum; Alte Oper in Frankfurt; Philharmonie in Cologne, La Scala, Milan; in New York at both Carnegie Hall and at the Lincoln Center; and at the Aldeburgh, Edinburgh, Cheltenham and the Schwarzenberg Schubertiade Festivals.  He is a regular guest at the Wigmore Hall.

For an up-to-date biography, please contact Henry Lindsay

Read More >

News & Features

Media Player

Video


  • 'Juan' Trailer

Press

Hollywood Bowl - Cavalleria Rusticana & Pagliacci

Los Angeles Philharmonic

Maltman is a versatile baritone and sophisticated actor, ideal for Mozart and Strauss and outstanding in modern operas by Britten, John Adams and, especially Thomas Adès. It was his turn to be the jilted husband, Alfio, in "Cav." In "Pag," he was the nasty hunchback clown, Canio, with a perverse crush on Nedda. Maltman, throughout, was a mesmerizing presence, especially in his revelatory approach to the prologue of "Pagliacci," which he treated like proto-Postmodernism. Mark Swed, Los Angeles Times, 29th July 2014

Recital 25th June 2014

Gregynog Festival

Maltman's sensitivity to words is fundamental to his acclaimed lieder singing, and the thoughtful narrative of this programme, together with his compassion in delivering it, was affecting. Rian Evans, The Guardian, 27th June 2014

Puccini

Manon Lescaut

The Royal Opera House, Covent Garden

'..will take advice from Christopher Maltman’s superb, pimpish Lescaut'  Richard Morrison, The Times, 18th June 2014
'Geronte (Maurizio Muraro) and Lescaut (Christopher Maltman) radiate a very modern sleaziness' Michael Church, The Independent, 18th June 2014
'Christopher Maltman’s subtly sleazy Lescaut and Maurizio Muraro’s commanding Geronte are also admirable' Barry Millington, The Evening Standard, 18th June 2014
'Christopher Maltman turns Lescaut into a bullish young pup' Richard Fairman, The Financial Times, 18th June 2014
Christopher Maltman was a convincing Lescaut Keith Clarke, Musical America, 25th June 2014

Brahms

German Requiem

London Symphony Orchestra, Gergiev, LSO Live

Baritone Christopher Maltman is entirely effective in Herr, lehre doch mich, but even better in Denn wir haben nie keine bleibende Statt. In both movements his voice floats above the orchestra and chorus, giving the text its full due.  Richard Todd, Classical Music Sentinel, May 2014
Sally Matthews (soprano) and Christopher Maltman (bass-baritone), are both excellent. Steven Whitehead, Cross Rhythms, 7th July 2014

Donizetti

Rita (Deux hommes et une femme)

Opera Rara

Christopher Maltman, as always wonderfully mellifluous and warm, both [Barry Banks and Christopher Maltman] sing and speak French perfectly.  Michael Tanner, BBC Music Magazine, June 2014

Recital 18th May 2014

Chipping Campden Music Festival

An Exceptional Recital in the Cotswolds from Christopher Maltman and Julius Drake Seen and Heard, 22nd May 2014

Recital 19th March 2014

Nourse Theatre, San Francisco

"Maltman's renditions - tonally vibrant, crystalline in diction and elegantly phrased - gave each of them a full measure of pity and terror...Maltman was at his best in this repertoire - singing with fluid grace backed by a vein of steely heroism." Joshua Kosman, The San Francisco Chronicle, 18th March 2014
“Maltman masterfully negotiating the risky high, soft, caressing entrance of George Butterworth’s song “Loveliest of Trees” with astounding security…” Jason Victor Serinus, San Francisco Classical Voice, 16th March 2014

Strauss

Die Fledermaus

The Metropolitan Opera, New York

[Christopher Maltman] was thoroughly engaged and engaging when singing. He has a thunderous, dark voice that was particularly effective... Eric C. Simpson, New Classical Review, January 1st 2014

Wagner

Tristan und Isolde

Toyama Aubade Hall

[Christopher Maltman] offering a rich-toned, spirited performance, subtler than what one usually hears in this role. I Hear Voices, November 2013

Mozart

Le Nozze di Figaro

Royal Opera House, Covent Garden

The upper-class couple is finely represented by Christopher Maltman’s volatile Count Almaviva George Hall, The Arts Desk,17th September 2013
The shifting sands in the relationship between their master and mistress are charted in detail by Christopher Maltman’s bullying Count Richard Fairman, Financial Times, 17th September 2013
Christopher Maltman made a splenetic and saturnine Count, who sang with exemplary clarity and attack. Rupert Christiansen, The Telegraph, 18th September 2013

Harrison Birtwistle

Gawain - August 2013

Salzburg Festival

'The brilliant cast, convened at short notice when Gawain replaced an unfinished opera by György Kurtág, was led by Christopher Maltman in the title role, with John Tomlinson reprising the part of the mythical Green Knight. Both baritone and bass, each on peak form, are masters in the art of acting as well as singing. In the event this was more of a godsend than usual.' Fiona Maddocks, The Observer Sunday 4th August 2013
‘As with Wagner, the centre of Birtwistle's interest is the orchestra, but Birtwistle is a much less singer-friendly composer and no praise for the cast can be too high. Christopher Maltman is a powerfully questing Gawain’ John Allison,The Telegraph 27th July 2013
‘Christopher Maltman swaggered as a cowboy, his singing still more than his bathing offering ample reason for Gawain’s charismatic following. His journey towards ‘Why do you ask for someone who isn’t here? Who do you want me to be? I’m not a hero’ was not merely plausible, but immensely moving, and increasingly so.’ Mark Berry, Seen and Heard 2nd August 2013
‘This is the best line-up of the Salzburg Festival so far. Christopher Maltman is the ideal embodiment of Birtwistle’s baritone anti-hero’ Shirley Apthorp, Financial Times 11th August
‘Chris Maltman the lead singer was vocally almost superhuman, singing with rough, expressive and flying colours.’ Helmut Christian Mayer, Opernetz 2nd August 2013
‘The singers are perfect in this rusty ambiance; Chris Maltman is an intense Gawain despite the announced cold he was suffering.’ Ljubiša Tošic, Der Standard 26th July 2013

Recital - June 2013

Wigmore Hall, London

Maltman's wide expressive range allowed him to embrace the Songbook's power as well as its subtlety. This is music that needs to go beyond ideas of beauty if it is to have any meaning, and the touches of grit in Maltman's tone suggested an anger never far from the surface. Tim Ashley, The Guardian
Maltman’s tone superbly evoked the paradox of the song, just as it suggested the grim despair as well as detachment of ‘Über den Selbstmord’ (On Suicide) with its mordant reflections on an ‘unerträgliche’ (unbearable) life culminating in an explosive fff appropriately on ‘fort’. Melanie Eskenazi, Music OMH
'Maltman’s excellent German diction and fine communicative skills proved just what was required, very different from Matthias Goerne (whose recording offers an inevitable frame of reference): less dark, in a sense, but finely attuned to the shifting moods of both Brecht and Eisler. The second ‘Sohn’ song thus offered a well-judged balance between the helpless and the defiant, the latter characteristic undeniably present but never exaggerated; words and music did the job largely for themselves, or so it seemed. A sardonic approach, for instance in ‘In den Weiden’, works so much better than caricature. ‘Little’ touches, such as the eloquently spoken ‘das Hoffen’ (hope) with which ‘Frühling 1942’ concluded, proved splendidly telling, followed as it was a postlude somehow both nonchalant and felt. The richness of Maltman’s description of beer, goat’s cheese, fresh bread and berries in ‘Speisekammer 1942’ was such that one could almost taste the goods so cruelly denied the emigrant across the seas.' Mark Berry, Seen and Heard

Mozart

DIE ZAUBERFLOTE - April 2013

Royal Opera House, Covent Garden

Christopher Maltman’s Papageno, with his mallard beanie, is irresistibly simple-minded, quick to take hurt and quick to wrath — and everywhere beautifully sung. Hilary Finch, The Times, 17 April 2013
Maltman, vaulting gleefully into bed with Susana Gaspar's Papagena at the end, is funny, sad, sexy and one of the best Papagenos you will ever hear. Tim Ashley, The Guardian, 17 April 2013
Christopher Maltman was a loveable teddy-bear as Papageno... Hannah Sander, Classical Source, 16 April 2013

Recital - January 2013

Wigmore Hall

Maltman, in prime vocal form, presented his shy, callow teenager with tender wit. His bashful hesitation at "A seize ans, on est farouche" (At sixteen one is shy) was a delight. Mark Valencia, classicalsource.com, 4 January 2013

Mozart

Don Giovanni – June 2012

Deutsche Staatsoper Berlin

Played with haunted, haunting sensitivity by the baritone Christopher Maltman, this Giovanni seemed disarmingly sincere in his interactions, a man more sinned against than sinner… I will most remember Mr. Maltman’s genuinely brave performance, courageous not because of its histrionics but because of its restraint. He and Mr. Guth dispense with much of the part’s traditional macho swagger and winking seducer clichés, ending up with a character — and a production — as puzzling and fascinating as Mozart and Da Ponte intended. Zachary Woolfe, New York Times, 8 July 2012
As in Salzburg, the double-act of Christopher Maltman and Erwin Schrott, striking sparks of each other as Giovanni and Leporello, made for fascinating theatre. Bot act wonderfully with their voices. Maltman produced honeyed tones in both ‘Là ci darem la mano’ and the Serenade, and capped his night’s work with a knock-out high A. Carlos Maria Solare, Opera , October 2012

Verdi

Don Carlo - May 2012

Netherlands Opera

A beautiful and impressive role debut from Christopher Maltman as Posa NRC Handeslblad, 08 May 2012
Christopher Maltman’s Posa was distinguished by beautiful legato, warm, flowing tone and real emotion. Erna Metdepenninghen, Opera, August 2012
Singer of the evening was Christopher Maltman. The British baritone gave life as Maquis of Posa such a beautiful farewell, that we will never again ridicule the genre of the prolonged death-scene. Guido van Oorschot, De Volkskrant, 09 May 2012
[Saving] the best for last: Christopher Maltman... here is a 'Posa' drawn from a firm, well projected voice. In style, length, nuance and stamina, strong enough to carry his 'Carlo ascolta' unflinchingly to the end. Christophe Rizoud, Forum Opera, 10 May 2012
Christopher Maltman (Rodrigo) is his [Petrenko's] measure in volume and robustness and has an admirable top register. His death scene is a real highlight. Jordi Kooiman, Opera Magazine, May 2012

Janáček

From the House of the Dead

Vienna State Opera

Christopher Maltman, making his house debut in velvet-smooth voice, deservedly won the evening’s loudest ovation as the demented Shishkov, whose tale of murdering his lover brings the opera to its emotional climax. Rupert Christiansen, Telegraph, 13 December 2011

Mozart

Cosí fan tutte - August 2011

Salzburg Festival

Christopher Maltman as a powerful Guglielmo... Salzburger Nachtrichten, 8 August 2011
Christopher Maltman, 2008 und 2010 noch der Don Giovanni, ist in die Rolle des Guglielmo geschlüpft, dem er seinen kernigen Stimmklang und seine große Bandbreite an Ausdrucksnuancen verleiht. Dreh Punkt Kultur, 8 August 2011
Christopher Maltman is a profound Guglielmo Der Standard, 5 August 2011

Mozart

Die Zauberflöte - February 2011

Royal Opera House, Covent Garden

Christopher Maltman’s ebulliently physical Papageno is as earthy as ever, and his sound has become luminous Michael Church, The Independent, 3 February 2011
Two marvellous artists make particularly outstanding contributions to the evening. One is baritone Christopher Maltman, whose Papageno is impeccably sung and both genuinely funny and deeply touching in his humanity. The other is the Royal Opera’s former music director, Colin Davis, who conducts George Hall, The Stage, 3 February 2011
Christopher Maltman's Papageno had a nice rough edge and a twinkle Rupert Christiansen, The Telegraph, 3 February 2011
Christopher Maltman combines zaniness and pathos as a warmly sympathetic Papageno. Mark Valencia, Classical Source, 3 February 2011
Christopher Maltman as the bird-catcher Papageno was the real star. His comic acting and timing were wonderful, his baritone voice assured and his duck hat delightfully ludicrous.Most impressive of all, he did not allow the comic nature of his part to intrude on the serious business of singing. A perfect balance. William Hartston , Daily Express, 4 February 2011

Recordings

BRITTEN: The Rape of Lucretia

Christopher Maltman, Sarah Connolly, Orla Boylan, John Mark Ainsley, Catherine Wyn-Rogers, Leigh Melrose, Clive Bayley, Mary Nelson.

English National Opera at the Aldeburgh Festival.
Orchestra of English National Opera.
Conductor, Paul Daniel
Director, David McVicar

Opus Arte (DVD)