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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. An accomplished Pianist and Cellist in his teenage years, Christopher furthered his musical studies at the Tasmanian Conservatorium of Music where he studied Pianoforte Performance under Beryl Sedivka. After two successful years, he changed his major to Classical Voice studying under Mezzo-Soprano Marilyn Smith, whereupon he graduated with a Bachelor of Music majoring in Classical Vocal Performance in 2003. In the years since, Christopher has trained with Australian Soprano Jane Edwards, Tenor Glenn Winslade, and internationally respected coach, Sharolyn Kimmorley. Whilst attending the Lisa Gasteen National Opera School in Brisbane (on awarded scholarship by the Wagner Society of New South Wales), he trained under internationally acclaimed artists including Giovanni Reggioli and Siegfried Jerusalem.
Early in his career, Christopher was recipient of the Royal Melbourne Philharmonic Aria Award in recognition of his excellent work in the field of Oratorio. Still working prolifically within this field, most recently he was the recipient of ‘The Frances MacEachron Award for Outstanding Vocal Achievement’ as the highest ranking Bass voice in the finals of The Oratorio Society of New York’s Solo Competition at Carnegie Hall in April 2018.
Christopher’s performance highlights on the concert stage include featuring as Bass soloist with the Auckland Philharmonia Orchestra in J.S. Bach’s Magnificat; the Melbourne Symphony Orchestra for 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 for their Sydney Opera House performance of Handel’s Israel In Egypt and J.S. Bach’s St Matthew Passion; as well as 'Heavenly Voices' - a programme of Baroque Sacred works. He has regularly appeared as featured Bass soloist in performances of Oratorio and Concert repertoire 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 Deutches 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, performing the role of Thoas in their 2014 production of Gluck’s Iphigénie en Tauride, and the role of Idreno in Haydn’s Armida in 2016. Also, in an initiative between Opera Queensland and DanceNorth, he sang the featured Bass role in Abandon (Handel arr. Crabb) which premiered in Townsville alongside the Australian Festival of Chamber Music in 2013, and then featured as part of the Brisbane World Theatre Festival in February 2014.
A keen supporter of new Australian music, Christopher has premiered many new works by Australian composers. He featured as guest soloist with Melbourne-based Syzygy Ensemble in the Chamber Opera The Apology of Bony Anderson by Barry Coningham at the Melbourne Recital Centre as part of the 2013 Metropolis New Music Festival; appeared as featured Bass soloist Melbourne’s Arcko Symphonic Project in the world premiere performance of KURSK: an Oratorio Requiem by David Chisholm 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.
2018 engagement highlights include Handel’s Messiah at City Recital Hall, Angel Place Sydney; The Genius of J S Bach at Melbourne Recital Centre; Brahms’ Requiem for the Festival of Voices in Tasmania; and Fauré’s Requiem with Perth Symphonic Chorus.
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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