Christopher Maltman


Winner of the Lieder Prize at the 1997 Cardiff Singer of the World Competition he studied singing at the Royal Academy of Music.

A renowned Don Giovanni, he has sung the role at the Salzburg Festival, in Berlin, Munich, Cologne and at the Royal Opera House, Covent Garden, where he has also sung Papageno, Guglielmo, Lescaut, Forester, Marcello, Ramiro. At the Vienna State Opera, his roles include Siskov (Aus einem Totenhaus), Onegin, Figaro and Prospero (The Tempest). Increasingly in demand for Verdi roles, he has sung Simon Boccanegra in Frankfurt, Post (Don Carlos) in Amsterdam and Frankfurt, and this season sings Conte di Luna (Il trovatore) at Covent Garden. Other operatic appearances include Il Conte in Paris, Alfonso in Munich, Friedrich (Das Liebesverbot) in Madrid and Figaro (Il barbiere di Siviglia), Papageno and Silvio at the Metropolitan Opera, New York. 

His concert engagements have included the LSO with Sir Colin Davis, Sir Simon Rattle, Gergiev and Ticciati, Dresden Staatskapelle with Thielemann, Rotterdam Philharmonic with Nézet-Séguin, Filarmonica della Scala with Harding, Los Angeles Philharmonic with Salonen and Dudamel, New York Philharmonic Orchestra with Masur and the Boston Symphony Orchestra with Conlon and Davis.

His recital appearances include the Aldeburgh, Edinburgh, Salzburg, Schwetzingen, and Schwarzenberg Festivals; the Vienna Konzerthaus, Amsterdam Concertgebouw, Cologne Philharmonie, Alte Oper Frankfurt, and New York’s Carnegie Hall. He is a regular guest at London’s Wigmore Hall.

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

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    Il Barbiere di Siviglia in Rehearsal


Royal Albert Hall, LONDON

NORTHCOTT: Concerto for Orchestra
MOZART: Violin Concerto No.5 in A Minor
*** Interval ***
ZEMLINSKY: Lyric Symphony Op. 18

Conductor: Simone Young
Violin: Baiba Skride
Soprano: Siobhan Staff


Berwaldhallen, STOCKHOLM

BERLIOZ: Romeo and Juliet



Swedish Radio Symphony Orchestra and Choir.

Metropolitan Opera Company, NEW YORK

PUCCINI 'Manon Lescaut'

Conductor: Marco Armiliato
Director: Sir Richard Eyre

Manon Lescaut: Anna Netrebko
Des Grieux: Marcelo Álvarez

Orchestra of the Metropolitan Opera

Metropolitan Opera Company, NEW YORK

PUCCINI 'Manon Lescaut'

Conductor: Marco Armiliato
Director: Sir Richard Eyre

Manon Lescaut: Anna Netrebko
Des Grieux: Marcelo Álvarez

Orchestra of the Metropolitan Opera

Metropolitan Opera Company, NEW YORK

PUCCINI 'Manon Lescaut'

Conductor: Marco Armiliato
Director: Sir Richard Eyre

Manon Lescaut: Anna Netrebko
Des Grieux: Marcelo Álvarez

Orchestra of the Metropolitan Opera

Metropolitan Opera Company, NEW YORK

PUCCINI 'Manon Lescaut'

Conductor: Marco Armiliato
Director: Sir Richard Eyre

Manon Lescaut: Anna Netrebko
Des Grieux: Marcelo Álvarez

Orchestra of the Metropolitan Opera

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Recital - 6th January 2016

Wigmore Hall with Graham Johnson

Five Star Review: 'Every second was outstanding'

'Maltman rose to its challenges with the concentrated dramatic artistry he displayed throughout the evening, using creepy whispers to convey Mephistopheles’s utterances and jagged phrases in his upper registers for Gretchen’s mounting guilt. The choir’s pronouncements, meanwhile, had an implacable loftiness.'...'delivered with the sharply characterised fluency of a natural storyteller. Die Bürgschaft, some 18 minutes long and sung from memory, displayed great stamina.'...'Liane was an exquisite study of erotic nostalgia, while Rückweg carried the sinister implications that a return home equates with a loss of personal freedom.'

Tim Ashley, The Guardian, 7th January 2016


Don Giovanni

The Royal Opera House, Covent Garden

Christopher Maltman’s luscious baritone is the aural reflection of his Giovanni, suavely understated but radiating sexual magnetism.  Edward Bhesania, The Stage, 14th June 2015
Maltman’s singing in La ci darem la mano was an object lesson in phrasing as well as the even production of beautiful tone. Melanie Eskenazi, Music OMH, 13th June 2015
The big draw for this first revival is a starry cast, led by Christopher Maltman’s Don...Maltman’s seductions are all about power, control. Cold violence in his actions meets heat in the voice, pouring itself into every crack in this familiar role. Alexandra Coghlan, The Arts Desk, 13th June 2015
Maltman threw heart and soul into his duets with the ladies ("Là ci darem la mano" showed his velvety baritone at its finest) and his confrontation with the Commendatore. David Karlin, Bach Track, 17th June 2015
Christopher Maltman was suave and vigorous Robert Hugill, Planet Hugill, 19th June 2015
Christopher Maltman was an admirable Giovanni, an ageing hipster whose grey hair and world-weary manner helped to explain his entrapment in the realm of the flesh.  Russ McDonald, Opera Magazine, August 2015


Il barbiere di Sivligia

Metropolitan Opera, New York

Few operas can provide an evening of such pure delight as Il barbiere di Siviglia, and few productions of Rossini's comic gem are as much fun as the one now on the boards at the Metropolitan Opera, with a smashing Isabel Leonard as Rosina and a solid Christopher Maltman as Figaro, the titular barber of quality.  Maltman has a commanding baritone that fits the role of Figaro admirably. He has excellent breath control in the demanding opening act aria and has a confident and strong voice that conveys the cleverness of his character.
Wilborn Hampton, Huffinton Post, 12 November 2014

As Figaro, Christopher Maltman exuded the self-assured charm that enables the barber to win the confidence of everyone he encounters, and to manipulate and outwit them. Maltman’s comic timing was terrific, his facial expressions marvelous, and his hands in constant motion as they ran through a gamut of emotions and commentary on everything and everyone. Figaro entered atop his shop, a large cart pulled-on by a complement of beautiful young women assistants and which opened to reveal a stock of wigs and tools of the barbering trade. Introducing his character delightfully with ‘Largo al Factotum’, and throughout the opera, Maltman’s strong, polished voice was equally adept in Rossini’s lyrical and patter-laden passages. Figaro’s scheming to win Rosina’s hand for Count Almaviva was ultimately successful, but at each of the many twists and turns along the way, Maltman conveyed perfectly Figaro’s frustration and exasperation with those less clever than he.

David M. Rice, Classical Source, 18th November 2014
The title role was sung by the charismatic baritone Christopher Maltman, who made a spectacular entrance atop a wagon pulled by adoring citizens. He oozed sex appeal during his opening aria, “Largo al factotum,” wearing a magnificent red Phrygian cap like a royal insignia. Corinna da Fonseca-Wollheim, The New York Times, 20th November 2014
Christopher Maltman sang with a reverberant yet lithe baritone, never sacrificing vocal beauty for buffoonery. In fact, during his cavatina, the famous “Largo al factotum”, I was surprised that he was able to keep the focus so decidedly on himself, despite the busy blocking in this scene – Maltman must style wigs, pull teeth, and do a hundred other things. What’s more, Maltman had wonderful chemistry with Leonard, particularly during their duet, “Dunque io son...tu non m'inganni?” Stephen Raskauskas, Bach Track, 20th November 2014

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


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


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


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


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


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


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



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,, 4 January 2013


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


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


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


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


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



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)