“…a performance with plenty of quality. There was a pleasing balance between the pit and the stage throughout the performance, even during its louder passages. The orchestra was never allowed to overwhelm the soloists. Crescendi were carefully and sensitively managed so that they emerged organically from the musical soundscape to fill the auditorium. The clearly defined dynamic contrasts were focused on supporting the drama rather than simply aiming at promoting effect. In particular, Trinks displayed particular skill in sustaining the musical arc so that each scene was musically integrated. The shape, pace, contrasts and detail were all carefully coordinated.”

“I was highly impressed by Trinks’ vivid and imaginative responses to Korstick’s playing… I found Korstick and Trinks’ great washes of adrenaline very exciting… exemplary musicianship of Korstick, Trinks and the Viennese players.”

“Conductor Trinks brings out the elegance and elasticity in both Frühlingsstimmen Walz and Kaiserwalzer by Johann Strauss II, two classic pieces from the genre […] a joy to listen to.” [translated from Norwegian]

“Constantin Trinks proves a sure hand at the desk of the Gürzenich Orchestra and makes Saariaho’s music shine. The performance of the orchestra, the choir and of course the three soloists cannot be praised highly enough.” [translated from German; Saariaho’s L’Amour de Loin at Cologne Opera]

“Constantin Trinks led the finest Mozart I have heard at Covent Garden since we lost Colin Davis…Trinks understands that Mozart’s music is ultimately founded on harmony—and knows how to communicate that. The Orchestra of the Royal Opera House sounded rejuvenated, responding in style and with seeming relish to a vision of the work both attentive to detail and cognisant of tonal-dramatic architecture… Trinks’s handling of recitative, both secco (from the fortepiano) and accompagnato, proved crucial both to musical and dramatic success, welding them together with that necessarily lightest of touches.” (Don Giovanni, 2021)

“Don Giovanni is a long opera, but Act 1 went by in a flash as Constantin Trinks gave the clearest of direction to his musicians and kept the momentum going through the sequence of hit numbers…each one played with poise, verve and a pleasant shape.”

“The ORF Radio Symphony Orchestra under Constantin Trinks fires the stunning score [of Prokofiev’s The Fiery Angel] with rousing skill.” (translated from German)

“One can really admire the RSO Vienna, which is directed by Constantin Trinks in a brilliantly melodious way throughout [Prokofiev’s The Fiery Angel]… it is thrilling and terrific..” (translated from German)

“The one element that made the difference in this Hanover Tristan was the conductor Constantin Trinks. He is known by cognoscenti, who increasingly applaud his command of the German repertoire from Mozart to Strauss, and he conducts Wagner as few of his colleagues are able to… The Niedersächsisches Staatsorchester Hannover under Constantin Trinks produced an astonishingly full Tristan sound that can only be achieved through exact knowledge of the score and the ability to use the given forces effectively. Trinks instantly managed to absorb the listener, creating a theatricality which was lacking on stage. He is a true master of transitions and created a superb line of tension and relief in the Liebestod, excellently delivered by Hofmann. Trinks embodies the principle of the Munich Staatsoper: Mozart, Wagner and
Strauss are his personal Hausgötter, and he masters the three masters alike. This year, Goddess Corona permitting, he will mark his British debut by conducting – very fittingly – Mozart at Glyndebourne and at Covent Garden, but above all: he is a contender for Bayreuth.”

“This shortened version [of Tristan und Isolde with Staatsoper Hannover] in particular shows that Wagner hardly composed a superfluous note in spite of his elaboration – you miss everything that cannot be heard here. Of course, this also applies to the extremely reduced orchestration – surprisingly, to a much lesser extent… But above all it is due to the performance of the Niedersächsischen Staatsorchesters and its guest conductor Constantin Trinks.” [translated from German]

“Constantin Trinks and the Berlin Radio Symphony Orchestra capture all the depth and richness of orchestration that it such a large part of these two works.” [Recording of Walter Braunfels’ Tag- und Nachtstücke with Rundfunk-Sinfonieorchester Berlin]

“…an ovation for the premiere performance in Hannover, one which made a musically powerful impression, as Constantin Trinks, with his wealth of Wagnerian experience, successfully led the Staatsorchester and magnificent chorus int this ambitious and spectacular achievement” [Halévy’s La Juive with Hannover Staatsoper; translated from German]

“Conductor Constantin Trinks, now known throughout the world as an accomplished Wagner and Strauss specialist, brought plenty of experience to The Tales of Hoffmann. At the Bayerische Staatsoper he has recently directed several productions to great success… Trinks presented a thoroughly exciting, focused interpretation… with consistently pleasing tempos and cleverly elaborated musical effects… it was fantastic. ” [Translated from German]

“The Sofia Opera Orchestra, already familiar with Richard Wagner’s music for years, on these two evening performances, was by far the best I’ve heard here in recent years. Trinks was able to animate the orchestra to display unbelievable musical sensitivity and transparency, with a virtually flawless and extremely engaged reading. The musical contribution was by far the best part of both evenings in addition to the two engaging and produced by the score Kartaloffs productions…. Under the baton of Constantin Trinks the orchestra impressed me even more than tonight’s “Tristan”. The sonorous “Parsifal” aesthetic, so specific, came to full bloom with Trinks’ sensitive and singer-friendly conducting, but also with his accentuation of dramatic moments, when no one else was on stage or had to sing, as for example in the transformation music in the 3rd act.” [Wagner’s Tristan und Isolde, and Parsifal]

“The remarkable orchestra of finesse and power was placed under the energetic and subtle direction of Constantin Trinks… Dominating perfectly these sudden and delicate transitions, the baton of Constantin Trinks directs the orchestra with the hand of a master, until the last moment of this luxurious imaginary voyage.” [translated from French]

“the fabulous Bayerisches Staatsorchester responds perfectly to Constantin Trinks’ ample and elegant beat, assuming every bit of contrast required by this singular score which oscillates between musical dialogue and lyrical flights, turbulent emotions, and masquerades.” [translated from French]

“Conductor Constantin Trinks does everything right at the opera festival of the Bayerische Staatsoper: he keeps the orchestral playing fluid and the chamber excerpts light and playful, allowing that waltz and melody shimmers with delight” (translated from German)

“The sounds that emerged from the pit were seamless, as if released in a single, long, extended breath. The orchestra played splendidly. Immediacy was provided by trumpets placed in one of the side boxes and blazing brilliantly. The backstage orchestra, with those same trumpets doing double duty, provided grandeur to the pageantry, as did the luxury of an actual pipe organ. After the final notes had sounded, the woman sitting next to me turned and said, ‘Ich bin begeistert’. It is a phrase that I always have trouble translating into English from German. Somehow, delighted or thrilled does not quite capture its meaning, but I knew exactly what she meant.”

“Constantin Trinks’ sensitive conducting never overwhelms, a style characterised by his unique ability to evoke the most passionate emotions at even the most moderate tempi, allowing the music to naturally seep right under your skin.” (translated from German)

“Constantin Trinks’ love of Wagner came across right at the beginning of the concert in the famous Prelude to Lohengrin. The high strings were so tenderly shaped at the opening, creating just the type of inward restraint to permit a real ‘opening out’ when the lower strings entered… Trinks’ performance [of Schubert’s Symphony No. 9] was the most distinguished we have seen for years… I would very much welcome visits from this maestro on a recurring basis. He seems to challenge the orchestra to do things that they might not otherwise attempt, and gets absolutely inspired results.”