© Dan Cripps Photography
Calvin Bowman Gala concert and CD Launch , Melbourne Recital Center
“ …Richardson…..very impressive with his total command of varying material, bringing plenty of salt and vinegar to the Three Sea Songs with de la Mare texts…….also enjoyed the wry humour of de la Mare’s Seven Epitaphs and the earthiness of two Belloc settings (Eheu! Fugaces and the West Sussex Drinking Song),”
Tony Way, Limelight Magazine, July 2018
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 studied piano at the Tasmanian Conservatorium of Music, before graduating with a Bachelor of Music majoring in Classical Vocal Performance. Earlier in his career, Christopher attended the Lisa Gasteen National Opera School in Brisbane (on a scholarship awarded by the Wagner Society of New South Wales), and received both the Royal Melbourne Philharmonic Aria Award, and ‘The Frances MacEachron Award for Outstanding Vocal Achievement’ at The Oratorio Society of New York’s Solo Competition at Carnegie Hall.
Amongst his engagements this year Christopher will appear as guest artist with The Song Company in Brahms German Requiem, and return to Sydney Philharmonia Choirs for Haydn’s Nelson Mass and to Adelaide Symphony Orchestra for Beethoven Symphony No. 9. In the 2020 and 2021 seasons Christopher was to appear with the Adelaide Symphony Orchestra in Beethoven’s Symphony No. 9 and Messiah, with Sydney Philharmonia Choirs in Verdi’s Requiem, Sydney University Graduate Choir as Elijah, Melbourne Symphony Orchestra and St. Andrew’s Cathedral, Sydney for Messiah, Festival of Voices, Hobart for the world premier performance of Don Kay’s Conflagration, and in Creation with Sydney University Graduate Choir.
On the concert platform Christopher has most appeared with the Auckland Philharmonia Orchestra in J.S. Bach’s Magnificat; the Melbourne Symphony Orchestra (Handel’s Messiah, Mozart’s Requiem and Mozart’s Mass in C); the Queensland Symphony Orchestra in Mozart’s Requiem; the Tasmanian Symphony Orchestra in J.S. Bach’s St Matthew Passion; and with the Sydney Philharmonia Choirs (Handel’s Israel In Egypt and J.S. Bach’s St Matthew Passion). He has also regularly appeared with the Perth Symphonic Chorus, The Royal Melbourne Philharmonic Choir and Orchestra, FOV - Festival of Voices, the Choir of St James King Street Sydney, St Andrews Cathedral Choir Sydney, the Newcastle University Choir and Orchestra and the Allegri Ensemble Hobart, performing repertoire including Bach's St John Passion; Fauré's Requiem; Mendelssohn’s Elijah; Brahms' Ein Deutsches Requiem; Haydn’s Creation; Handel’s Saul; and Mozart's Solemn Vespers of the Confessor. Christopher has also appeared in various staged productions of Handel’s Oratorios, performing the role of Ptolemy in Alexander Balus, and the title role in Hercules, with the Canberra Choral Society; and the role of Zebul in ‘The Vow’ (Jephtha) with Handel in the Theatre, Canberra.
On the Opera stage, Christopher has appeared with Pinchgut Opera, as Thoas (Gluck’s Iphigénie en Tauride), and as Idreno in Haydn’s Armida. Also, in an initiative between Opera Queensland and DanceNorth, he sang the featured Bass role in Abandon (Handel arr. Crabb) which premiered in Townsville at the Australian Festival of Chamber Music in 2013, and then featured at the Brisbane World Theatre Festival in 2014.
Christopher has premiered many new works by Australian composers, including Barry Conyngham’s, The Apology of Bony Anderson with Syzygy Ensemble at the Melbourne Recital Centre; KURSK: An Oratorio Requiem by David Chisholm with Melbourne’s Arcko Symphonic Project at the Melbourne Festival; and in the world premieres of Constantine Koukias’ Tesla - Lightning in his Hand and Christopher Bowen’s An Australian Requiem, performing the role of Kemal Atatürk.
Recent engagement highlights include his debut with Sydney Symphony in the role of Mr. Swallow (Peter Grimes), The Enchanted Island (10 Days on the Island Festival, Tasmania), Handel’s Messiah at City Recital Hall, Angel Place Sydney; The Genius of J S Bach at Melbourne Recital Centre; Beethoven Mass in C for Victoria Chorale and Llewellyn Choir, Canberra, Brahms’ Requiem for the Festival of Voices in Tasmania; and Fauré’s Requiem with Perth Symphonic Chorus. Christopher also features on a CD of Calvin Bowman art songs, “Real and Right and True” released on the Decca label, in 2018.
Christopher Richardson is managed by Graham Pushee: firstname.lastname@example.org
This biography is for general information purposes only and not for publication.
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