Christoph Altstaedt

Conductor

Biography

Through innovative concert performances and adventurous musical theatre, conductor Christoph Altstaedt aims to expand audiences of both opera and classical music. His programmes span from early music on period instruments, to contemporary music and even hip hop.

Following hugely successful periods with the Royal Philharmonic Orchestra in 17/18 season, he returns not only for subscription concerts in May 2020 (Beethoven, Kodaly, Butterworth, Vaughan-Williams, Elgar), but also to conduct their annual Messiah, making his Royal Albert Hall debut in December 2019.

Further highlights include a return to Finnish National Opera with Marriage of Figaro and a debut at Vienna Volksoper with a ballet production of Ein Deutsches Requiem. He will also conduct the German National Youth Orchestra, marking the Beethoven 2020 Anniversary Year with Ludwig van Beethoven’s 3rd Symphony “Eroica”.

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Reviews

From the first note of Suppé’s overture to Light Cavalry, Altstaedt crafted the sound, trumpet fanfares were brash without being harsh, expressive without being clichéd and articulate without being fussy. (….)Throughout the concert the orchestral sound was impeccably balanced, phrasing had a finesse and there was a refinement in the playing, testament to Altstaedt’s conducting.

Bachtrack

The whole is given flamboyant conducting from Christoph Altstaedt whose shaping of the Glyndebourne Tour Orchestra brings alive Verdi’s rich instrumental palette and dramatic pacing, illuminating accompaniments with telling colour and fashioning burnished Preludes, top notch and wonderfully characterised.

David Truslove

Classical Source

More Reviews

From the first note of Suppé’s overture to Light Cavalry, Altstaedt crafted the sound, trumpet fanfares were brash without being harsh, expressive without being clichéd and articulate without being fussy. (….)Throughout the concert the orchestral sound was impeccably balanced, phrasing had a finesse and there was a refinement in the playing, testament to Altstaedt’s conducting.

https://bachtrack.com/review-vienna-strauss-altstaedt-akselrod-ulster-orchestra-belfast-january-2019

Bachtrack, January 2019

 

The whole is given flamboyant conducting from Christoph Altstaedt whose shaping of the Glyndebourne Tour Orchestra brings alive Verdi’s rich instrumental palette and dramatic pacing, illuminating accompaniments with telling colour and fashioning burnished Preludes, top notch and wonderfully characterised.

Classical Source, Oktober 2018

 

It was the job of German guest conductor Christoph Altstaedt — in his Toronto debut — to make sense of it all. By the end, he had accomplished far more than that, giving each piece on the program its own due, with the eager co-operation of the symphony musicians.

Young, energetic and attentive, Altstaedt is exactly the sort of conductor the TSO should be looking for to replace outgoing music director Peter Oundjian.

Toronto Star, Juni 2018

 

There we find a unique intimacy to the score, combined with a modern perspective on the notation – giving Mozart’s music an enormous sense of immediacy. (…) Christoph Altstaedt energizes the orchestra into delivering such a fascinating interpretation that all ears in the hall are pricked and the attention focuses on the often overlooked tone emanating from the pit.

Peter Hagemann, December 2015

 

Musically, the Basel production is a clear winner. The young conductor Christoph Altstaedt leads the Basel Symphony Orchestra with a tight rein, always aligning the details with the greater whole. The orchestra plays with fluency; among the brass, one can discern sackbuts and natural trumpets, while the strings cultivate minimal vibrato.

NZZ, December 2015

Guest conductor Christoph Altstaedt leads the Basel Symphony Orchestra with an uncommon attention to detail, delivering rich inspiration and eliciting from the musicians an interpretation of great transparency and colour.

Badische Zeitung, December 2015

The young conductor Christoph Altstaedt shapes Mozart’s music with delicacy, attending to every detail and bringing out many a beautiful melodic line (…) The overture rings out with a compact, powerful sound; the fast arias are accompanied with bouncing rhythm, gripping and full of energy.

BZ Basel, February 2016

 

Christoph Altstaedt led a scintillating orchestral performance – this year’s Tour Orchestra has hit its stride very early on – with no loss of drive between the overture’s whizzing phases and the finale. There were so many moments of instrumental perfection such as the playing of the strings and woodwind in the introduction to ‘Martern aller Arten’ that it’s tempting to conclude that the orchestra is the star of the show.

musicomh.com, Oktober 2015

 

Under the direction of Christoph Altstaedt, the Düsseldorfer Symphoniker gave a dynamic performance of soul-touching pianissimos and thunderous brass fortes, comparable to the feeling of destiny at the gates of Jericho. The audience was often left breathless.

Neue Merker, April 2014

 

Christoph Alstaedt delivered a formidable display of talent on the podium of the Düsseldorfer Symphoniker. The sweetly enigmatic sounds of the score glowed with moving tenderness.

Westdeutsche Allgemeine Zeitung, April 2014

 

The Düsseldorfer Symphoniker play a wonderful Massenet. Christoph Altstaedt easily creates a wide range of contrasts: from a gentle intimacy to spine-tingling chills and every dramatic detail in between.

Opernetz, April 2014

Anyone explaining the job of a conductor to young people should show them Altstaedt: How he dashes to the podium, turns his attention entirely to the music and musicians; rich in gestures without any grandstanding, carrying the listener along with his enthusiasm.

Tiroler Tageszeitung, 2012

 

Everyone in the concert hall agreed it was a special evening for the Tiroler Symphonie-Orchester under the baton of its new Chief Conductor Christoph Altstaedt. It has been a long time since we have heard such an inspiring conducting of a Mozart opera here, as well as such a fiery orchestra play, savouring every beauty of the score. Altstaedt’s debut as an opera conductor in Innsbruck was outright brilliant.

Neue Merker, November 2011