Malin Christensson

Introduction

Born in Sweden, soprano Malin Christensson studied at the Royal College of Music. 

Her most recent engagements have included Susanna in staged performances of Le nozze di Figaro with the Los Angeles Philharmonic Orchestra conducted by Gustavo Dudamel; Zerlina Don Giovanni for the Houston Grand Opera and at the Helsinki Festival; Bach's Weihnachts-Oratorium with the Leipzig Gewandhausorchester and Pinnock, the Matthäus-Passion with the Philadelphia Orchestra and Nézet-Séguin, Mozart's Mass in C Minor with the CBSO and Nelsons and Beethoven's Symphony no. 9 with the Swedish Radio Orchestra and Blomstedt.

Particular highlights in opera have also included Barbarina Le nozze di Figaro at the Salzburg Festival and Susanna at the Aix-en-Provence Festival and in Santiago di Chile; Sophie Werther at the Festspielhaus Baden-Baden; Miss Wordsworth Albert Herring at the Glyndebourne Festival; Marzelline Fidelio at the Beethoven Festival in Warsaw; Flower Maiden Parsifal at Covent Garden; Drusilla L’incoronazione di Poppea at the Drottningholms Slottsteater and Papagena Die Zauberflöte at the Théâtre du Châtalet, in Montpellier and at the Vienna Festival.

She has also appeared at the BBC Proms and at the Lucerne and Daytona Festivals and her recent highlights have included the London Symphony Orchestra with Harding; the BBC Symphony Orchestra with Bělohlávek; the Orchestra of the Age of Enlightenment with Jacobs, Labadie and Leonhardt; the Philharmonia Orchestra with John Wilson, the Gävle Symfoni Orkester with Søndergård; the Royal Scottish National Orchestra with Denève and the Scottish Chamber Orchestra with Ticciati.

In recital she works regularly with Simon Lepper, Malcolm Martineau and Roger Vignoles and her appearances include London’s Wigmore Hall, the Laeiszhalle in Hamburg, the Tonhalle in Zurich and the Innsbruck, Cheltenham, Bath Mozart and Oxford Lieder Festivals.

Please contact Keiron Cooke for an up-to-date biography.

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Repertoire

BACH
Jauchzet Gott in allen Landen! (Cantata No. 51)
Mass in B Minor
Masses (BWV 233, BWV 234, BWV 236)
Christmas Oratorio
St John Passion
St Matthew Passion

BEETHOVEN
Fidelio - Marzelline
Miaa Solemnis
Symphony no. 9 

BERG
Sieben frühe Lieder

BRAHMS
Ein deutsches Requiem   

BRITTEN
A Midsummer Night's Dream - Tytania
Albert Herring - Miss Wordsworth
Peter Grimes - First Niece
The Rape of Lucretia - Lucia

GRIEG
Peer Gynt

HANDEL
L'Allegro, il Penseroso ed il Moderato
Messiah
Saul - Micael
Sileti Venti
Solomon - Solomon's Queen / First Harlot

HAYDN
The Creation
Salve Regina
Stabat Mater

HUMPERDINCK
Hansel und Gretel - Gretel

JANACEK
The Cunning Little Vixen - Fox

MAHLER
Symphony no. 4 

MASSENET
Werther - Sophie

MENDELSSOHN
Ave Maris Stella

MONTEVERDI
L'incoronazione di Poppea - Drusilla

MOZART
La clemenza di Tito - Servillia
Don Giovanni - Zerlina
Die Entfürung aus dem Serail - Blonde
Le nozze di Figaro - Susanna
Die Zauberflote - Pamina
Exsultate Jubilate
Laudate Dominum
Mass in C Minor (Soprano 1)
Requiem
Vesperae solennes de confessore

ORFF
Carmina Burana

PURCELL
Dido & Aeneas - Belinda

SCHUBERT
Mass A flat major (D 678)
Salve Regina (D 676)
Totus in corde langueo

SCHUMANN
Missa Sacra
Das Paradies und di Peri - Jungrfau

JOHANN STRAUSS
Die Fledermaus - Adele

VERDI
Falstaff - Nannetta

WAGNER
Das Rheingold - Freia
Parsifal - Flower Maiden

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Press

Beethoven

Fidelio

Beethoven Festival, Warsaw

...Malin Christensson's glowing Marzelline... John Allison, Opera, July 2014

Johann Strauss

Die Fledermaus

Philharmonia Orchestra/John Wilson

Christensson’s Adele sparkled. She carried off the ‘Laughing Song’ well, with clean coloratura, and in “Sweet country girl is my part”, as Adele comes clean that she’s not an actress after all, she delivered a knock-out punch – literally in this case, accidentally pushing Rebecca Moon’s ‘Ida’ to the floor! Mark Pullinger, Bachtrack, 27 April 2014
[a] particularly notable turn came from Malin Christensson as Adèle... Sam Smith, Music OMH, 27 April 2014

Recital with Simon Lepper (piano)

Tonhalle, Zurich

Wie überwältigend muss das Gefühl sein, wenn nach einem langen Winter die Sonne kaum mehr untergehen will und ihr Licht beinahe endlos über die Landschaft ausgiesst! In den Liedern der schwedischen Komponisten Ture Rangström, Wilhelm Stenhammar, Gösta Nystroem und Hugo Alfvén ist diese Euphorie zu spüren, aber auch beim aus schwedischsprachigem Elternhaus stammenden Finnen Jean Sibelius.

Davon erzählt hat die Sopranistin Malin Christensson, die den zweiten Teil ihres Liedrezitals bei den "Freunden des Liedes" ganz den Kompositionen ihrer Landsleute widmete. Oft stimmen diese zur Feier der weissen Nächte hymnische Töne an und überhöhen deren verführerischen Duft wie Stenhammar in "I skogen"; selbst wenn das Herz zu brechen droht wie in Nystroems "Jag väntar månen", heilt das milde Mondlicht die Wunden. Und bei Sibelius ("Var dat en dröm" op. 37/4) nimmt die Verklärung ländlichen Glücks gar opernhafte Züge an. Wie wunderbar sich das Schwedische zum Singen eignet, war bei Christenssons gleichermassen nuanciertem wie unprätentiösem Zugriff im Kleinen Saal der Zürcher Tonhalle unmittelbar zu erleben. Trotz ihrem spezifischen Ton wurde aber auch ohrenfällig, wie diese Klavierlieder in der deutschen Tradition wurzeln. Christensson hatte daran erinnert, indem sie für den ersten Teil des Abends Richard Strauss und Hugo Wolf aufs Programm gesetzt hatte. Hier, bei einer Auswahl von Wolfs Mörike-Liedern, gab Simon Lepper gleich zu Beginn des Abends zu verstehen, dass mit ihm am Klavier zu rechnen sei. Mit viel Glitzerglanz verführte der englische Pianist zum Hinhören und liess so eine filigrane Gestaltung des Klavierparts erleben, etwa in "Nixe Binsefuss", das Christensson mit feinem Witz sang, im plastisch formulierten "Mausfallen-Sprüchlein" oder in "Das verlassene Mägdlein", wo sich Klavier und Stimme zur herzzerreissenden Klage verbanden. Eine Folge von volkstümlich geprägten Strauss-Liedern rundeten die beiden mit dem populären "Ständchen" op. 17/2 ab.

Als Kontra- und Schlusspunkt des Abends Französisches: Aus den "Fêtes galantes" von Debussy gab Christensson "En sourdine" mit abgeschatteter Stimme, "Scaramouche" leichthin tändelnd und "Claire de lune" mit subtil gefärbten Linien. Den Abschluss machte Alfred Bachelets Gassenhauer "Chère nuit" aus dem 19. Jahrhundert, in dem die Sängerin ihre makellose Technik mit effektvoll placierten Schwelltönen nochmals unter Beweis stellte.
Jürg Huber, Neue Zürcher Zeitung, 24 January 2014

Britten

Peter Grimes

London Philharmonic Orchestra/Vladimir Jurowski

Among all the other strong contributions [were] Malin Christensson and Elizabeth Cragg joyously sexy as her accommodating 'Nieces' Christopher Morley, Birmingham Post, 27 September 2013
The two 'nieces' [were] neatly vocalised by Malin Christensson and Elizabeth Cragg. Alexander Campbell, Classical Source, 29 September 2013
Malin Christensson and Elizabeth Cragg were sufficiently flighty as the two Nieces; the tête-à-tête’s in threes exchange with Swallow delightfully confirmed they were a bit of a tease. Geoff Read, Seen and Heard, 29 September 2013
Brindley Sherratt (Swallow), Mark Stone (Keene) and Malin Christensson (Niece) all contributed keenly etched cameos. Hugh Canning, Sunday Times, 06 October 2013

Mozart

Le nozze di Figaro

Los Angeles Philharmonic Orchestra/Gustavo Dudamel

Malin Christensson's Susanna was unusually fragile, a little hot-house even. Her voice is small but attractive. She operated slightly and intriguingly under the radar.
Mark Swed, Los Angeles Times, 20 May 2013
Malin Christensson is a winsome Susanna, equal parts sugar and spice.  Jim Farber, Long Beach Press Telegram, 21 May 2013

Mozart

Don Giovanni

Houston Grand Opera

Swedish soprano Malin Christensson has more than enough zest and vocal sheen to compensate for a less than roaring sound. She a lively flirt, and her small but shimmering voice cuts through the orchestra. She's most becoming and sprightly.  D.L. Groover, Houston Press, 28 January 2013

Malin Christensson's small but beautiful voice added to Zerlina's vulnerability.

Marcus Karl Maroney, ConcertoNet, 25 January 2013

Mahler

Symphony no. 4

Nürnberger Symphoniker/Alexander Shelley

Der leichtgängige, ausdruckreiche Sopran der Schwedischen Solistin Malin Christensson lädt die wechselhafte, stets vom Kippen ins Dunkle und Unheimliche bedrohte Stimmung dieser Nachtstücke auf mit subtiler Dramatik. Anja Barckhausen, Nürnberger Nachrichten, 23 October 2012

Mozart

Le nozze di Figaro

Salzburger Festspiele

Malin Christensson macht ihre wenigen Auftritte als Barbarina zu kleinen szenischen und zuletzt auch wohlig warmtönenden vokalen Vignetten. Wilhelm Sinkovicz, Die Presse, 28 July 2011

Mozart

Die Entführung aus dem Serail

Queen Elizabeth Hall, London

Malin Christensson was the sparky Blonde. Tim Ashley, The Guardian, 26 November 2010
Malin Christensson’s Blonde is feisty and spirited, cleverly using a flirtatious delivery to actually assert the independence of modern English women. Sam Smith, Music OMH, 27 November 2010
Christensson gave a neat and sweetly sung reading of Mozart’s fiesty maidservant, investing her passionate opinions with all the expression one could hope for. Alexandra Coghlan, The Arts Desk, 25 November 2010

Mozart

Don Giovanni

Scottish Chamber Orchestra/Robin Ticciati

Malin Christensson made a heartbreaking, beguiling Zerlina. Lynne Walker, The Independent, 13 October 2010
Malin Christensson's Zerlina was a charmer. Kate Molleson, The Guardian, 11 October 2010
Malin Christensson and David Soar were a charming peasant couple. Simon Thompson, Scene and Heard, 18 October 2010
...the infectious delicacy of Malin Christensson's Zerlina gave lustre to Mozart's kaleidoscopic masterpiece. Kenneth Walton, The Scotsman, 10 October 2010
Sizzling performances from the strong cast, notably....the three women, Elvira, played by Kate Royal, Susan Gritton’s Anna, and Malin Christensson’s Zerlina, fabulous voices, each extraordinarily focused. Michael Tumelty, Glasgow Herald, 11 October 2010

Orff

Carmina Burana

London Symphony Orchestra/Daniel Harding

The finale built from a soaring solo from Christensson, moving into the bell-like pealing of the orchestra and chorus as the great wheel turned back to the beginning, and the familiar theme of 'O Fortuna' brought it to a crashing climax. Jennifer Greenhill-Taylor, News Journal, 03 May 2009
Christensson surprised the audience with some pyrotechnical passages in the penultimate sections of 'Carmina Burana'. Scott Warfield, Orlando Sentinel, 04 May 2009

Britten

Albert Herring

Glyndebourne Festival Opera

Then there's the head teacher at the church school, Miss Wordsworth, sung by the excellent Malin Christensson. Edward Seckerson, The Independent, 20 June 2008
Malin Christensson scores a hit as Miss Wordsworth. Andrew Clark, Financial Times, 19 June 2008
Malin Christensson was a fluttering Miss Wordsworth. Michael Kennedy, Opera Magazine, August 2008

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