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Christopher Richardson

Bass-Baritone

Management: Australasia

Website: http://www.bassbaritone.com.au

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Handel’s Messiah, Melbourne Symphony Orchestra
“…Smooth, dark and resonant bass Christopher Richardson was outstanding throughout, his final “The trumpet shall sound” noble and assured with a comforting vocal flexibility that even his colleagues clearly delighted in”.
Paul Selar, Herald Sun, December 2016

Hercules, Canberra Choral Society
“The primo uomo role of Hercules was realised by Richardson’s firm and secure Bass voice, resonant even in the most acrobatic passages…”
Judith Crispin, CityNews,  June 2015

Iphigenie en Tauride, Pinchgut Opera, 2014
“…Christopher Richardson cuts a chilling figure as Thoas, hands steeped in pitch, garbed in black with white face paint. He makes the bloodthirsty, superstitious, tormented King a truly terrifying figure, singing with firmness and character.”
Clive Paget, Limelight Magazine,  December 2014

"As Thoas, the Scythian ruler, Christopher Richardson is striking and dramatic in black, and gives a glittering menacing performance. Crow-like, he is tall and lethal, his face in white makeup and in fine commanding voice”
Lynne Lancaster, ArtsHub, December 2014

Handel: Alexander Balus, Canberra Choral Society
“…Christopher Richardson as Ptolemy was a powerful presence, matching his majestic vocal performance with very convincing, animated dramatic skills. “.
Jennifer Gall, SMH, 22 September 2014

Haydn Creation, Canberra Choral Society
“…Richardson, too, has a beautiful voice, and with a big range, reaching some impossibly low notes with ease. He has plenty of potential to realise in a voice that surely will capture the world’s stages….”
Clinton White, CityNews,  3 December 2013

Sydney-based Christopher Richardson is one of Australia’s most promising emerging Bass-Baritones.  As an accomplished pianist and cellist in his teenage years, Christopher furthered his musical studies at the Tasmanian Conservatorium of Music where he studied pianoforte under Beryl Sedivka.  During this time he changed his major to classical voice studying under mezzo soprano Marilyn Smith and went on to graduate with a Bachelor of Music majoring in Classical Vocal Performance in 2003. Since graduating, Christopher has trained with renowned Australian soprano Jane Edwards, tenor Glenn Winslade and acclaimed voice coach Sharolyn Kimmorley. More recently he received a scholarship from the Wagner Society of New South Wales to attend the Lisa Gasteen National Opera School in Brisbane and has also been the recipient of the Royal Melbourne Philharmonic Aria Award, in recognition of his outstanding work in oratorio.   

Christopher's engagements have included Messiah and Mozart Requiem with Melbourne Symphony Orchestra, Mozart Requiem with Queensland Symphony Orchestra, and Royal Melbourne Philharmonic Society, Mendelssohn’s Elijah with Festival of Voices, Bach St Matthew Passion, Israel in Egypt and ‘Heavenly Voices’ a Baroque programme, all with Sydney Philharmonia Choirs, Brahms Requiem and Messiah with Perth Symphonic Chorus, St Matthew Passion with Tasmanian Symphony Orchestra and Newcastle University Choir,  Bach Magnificat with Auckland Philharmonia Orchestra, Jeptha:  The Vow with Handel in the Theatre, Canberra and his return to Pinchgut Opera in the role of Idreno in Haydn's Armida. 

2018 highlights include Messiah at City Recital Hall, Angel Place Sydney, The Genius of J S Bach at Melbourne Recital Centre, Brahms’ Requiem for Festival of Voices in Tasmania, Faure Requiem with Perth Symphonic Chorus.

Christopher appears regularly on the concert and opera stage as soloist in oratorio, opera, music theatre, recital and radio broadcasts.  Performance highlights include Haydn’s Creation, Handel’s Alexander Balus and the title role of Hercules (Handel), with the Canberra Choral Society, Handel’s Messiah with St Andrews Cathedral Choir Sydney, Newcastle University Choir and Orchestra, the Allegri Ensemble Hobart, ‘Sing Along Messiah’ with the Tasmanian Symphony Orchestra, Abandon (Handel arr. Crabb) with Opera Queensland and DanceNorth which premiered in Townsville alongside the Australian Festival of Chamber Music in 2013, and featured as part of the Brisbane World Theatre Festival in February 2014, Creation with Hobart Chamber Orchestra in Hobart’s Festival of Voices, Fauré’s Requiem with the Royal Melbourne Philharmonic and his debuts with Pinchgut Opera as Thoas in Iphigénie en Tauride, and with Melbourne Symphony Orchestra in Beethoven’s Mass in C.

Christopher has received praise for his performances with Sydney University Graduate Choir (Bowen: An Australian Requiem), The Royal Melbourne Philharmonic Choir and Orchestra in Mozart’s Requiem in D Minor and Solemn Vespers of the Confessor, and for his role in Melbourne’s Arcko Symphonic Project in the world premiere performance of KURSK: an Oratorio Requiem by David Chisholm at Melbourne Festival.  He has also featured as a guest soloist with Melbourne-based new-music ensemble Syzygy Ensemble, performing in the chamber opera The Apology of Bony Anderson (Conyngham) at the Melbourne Recital Centre as part of the 2013 Metropolis New Music Festival.   

Christopher Richardson is managed by Graham Pushee: graham@artsmanagement.com.au
March 2018
  This biography is for general information purposes only and not for publication.
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