Founder of the Ensemble Matheus, Jean-Christophe Spinosi, born in Corsica and living in Brittany, manages an exciting double career as violinist and conductor.
Both leading the Ensemble Matheus and as a guest conductor, he has performed at many major European theatres and festivals as well as in the United States, where he made his début at Carnegie Hall in 2008. He regularly works with today’s most renowned singers such as Natalie Dessay, Susan Graham, Juan Diego Flores, Diana Damrau, Jennifer Larmore and Philippe Jaroussky.
For the past four years, he has conducted a new production each season at the Théâtre du Châtelet in Paris: Rossini’s La pietra del paragone (dir. Pierrick Sorin); Messager’s Véronique (dir. Fanny Ardent); Monteverdi’s Vespro della Beata Vergine (dir. Oleg Kulik); and in 2009-10 season he conducted Bellini’s Norma directed by Peter Mussbach.
After conducting Mozart’s Cosi fan tutte at the Théâtre des Champs-Elysées (Eric Génovèse’s new production), he conducted a new staging of Handel’s Messiah by Claus Guth at the Theater an der Wien, followed by a significant co-production of the same work, notably at the Opéra National de Lorraine. Most recently, he has conducted Handel’s Alcina, directed by Robert Carsen, at the Opéra de Paris and at Vienna Konzerthaus, and opening the season at the Grand Théâtre in Aix en Provence; Vivaldi’s La fida ninfa for a European tour and Mozart’s Die Zauberflöte in Summer 2008, directed by Achim Freyer, at the Theater an der Wien with the Wiener Symphoniker.
His career as guest conductor has recently led to collaborations with the Handel & Haydn Society in Boston; Frankfurt Radio Sinfonie-Orchester; Orchestre Philharmonique de Monte Carlo and Verbier Festival Orchestra. Having received great critical acclaim at the Salzburg Easter Festival with the Ensemble Matheus, Jean-Christophe Spinosi made a triumphant début at the Salzburg Summer Festival in 2009 conducting the Mozarteum Orchestra.
Jean-Christophe Spinosi has built up an impressive discography with the Ensemble Matheus on the Naïve label, including four previously unrecorded operas by Vivaldi (La verità in cimento, Orlando Furioso, La Griselda and La fida ninfa), as well as Vivaldi’s Stabat Mater and Nisi Dominus with Philippe Jaroussky and Marie-Nicole Lemieux. He has also recorded an album entitled Heroes with Jaroussky for EMI-Virgin Classics. His recording catalogue has been tremendously popular, and has received many awards both in France and abroad.
Future engagements include his La Scala debut conducting Jean-Pierre Ponnelle’s legendary production of Rossini’s Barber of Seville, collaborations with the Deutsches Symphonie-Orchester Berlin; Scottish Chamber Orchestra; Monte Carlo Symphony Orchestra, Orchestre de Paris, Royal Stockholm Philharmonic Orchestra; New Japan Philharmonic Orchestra; Orquesta Sinfonica de Galicia; Orquesta Sinfonica de Castilla y Leon; Orquesta Sinfonica de Euskadi; NDR Hannover; hr-Sinfonieorchester; Orchestre du Capitole de Toulouse and Baltazar Neumann Orchester. In the following seasons he will also make debuts at Wiener Staatsoper and Oper Frankfurt.
Jean-Christophe Spinosi is represented by Intermusica.
July 2010 / 469 words. Not to be altered without permission. Please destroy all previous biographical material.
Rossini Il Barbiere di Siviglia Orquesta Sinfónica de Castilla y León / Centro Cultural Miguel Delibes de Valladolid
“As musical director, Jean-Christophe Spinosi was, in effect, the major protagonist of the opera. His reading was full of joy and sparkle. Spinosi showed himself a most original conductor, full of life and energy and the orchestra gave an outstanding performance. Not only did they provide a very good performance musically, but played a full role in the playfulness of the occasion and surely enjoyed themselves just as much as the audience.”
José M Irurzun, Seen and Heard, May 2010
Bellini Norma / Théâtre du Châtelet, Paris / Dir. Peter Mussbach
“In the orchestra pit, the spirited Vivaldi champion Jean-Christophe Spinosi conducted his own Ensemble Matheus (on period instruments) in a “historical” performance of the piece, both delicately sculpted and varied, with the acknowledged instrumental colours that would have been heard when the piece was first performed… This production restored the balance between drama and music: there was not a single ornament or reprise of an aria that did not add to the intensity and resolution of the plot. In uncovering Bellini’s theatrical flair and the original orchestral colouring, this new production of Norma at the Châtelet has made its mark.”
Alexandre Pham, Classic News.com, January 2010
Radio-Sinfonie-Orchester Frankfurt / Haydn, Telemann, Vivaldi & Mozart
"Spinosi adds a little cabaret spice to early music. Visually, delaying his downbeat in order to move the music stands out of the way; acoustically, stringing out the false endings in the growling finale to Haydn’s 82nd Symphony (‘The Bear’) so deceptively that noone dared to clap at the actual end. He also proved his versatility, playing the violin part in Telemann’s concerto. Luis Beduschi (recorder) and Clara Andrada de la Calle (flute) sounded beautifully harmonious.
But Spinosi can also hold back when appropriate. In the four arias from Antonio Vivaldi’s “Orlando Furioso”, Serbian alto Marijana Mijanovic was firmly in the spotlight. She began her journey through the emotions with almost masculine depth, singing of furious clouds, gruesome gods and a world bereft of light with fantastically assured coloratura.
The performance of Mozart’s works was also fantastic. The emancipated woodwinds in the Overture to “Cosi fan tutte” were refined in every detail, and the Haffner Symphony in D major KV 385 was vigorous and never dry, despite the historical performance practice. Both the audience and the hr Symphony Orchestra were thoroughly carried away. We shouldn’t have to wait long for Spinosi to be invited back."
Offenbach Post, September 2009
Ensemble Matheus & Philipe Jaroussky / ‘Farinelli’ programme
"[Jaroussky] is "Singer of the Year" and he fulfilled his role as superstar of the high falsetto in an impressive way with coloratura and tender lyric singing carried along and supported by the brilliant Ensemble Matheus under the direction of Jean-Christophe Spinosi."
Ruhr Nachrichten, June 2009
Vivaldi la fida ninfa / Naïve
"One aria of scorching invention follows another, often bedecked with nimbly illustrative orchestral finery. An aria addressed to gentle breezes? The orchestra whispers, just above the level audibility. An aria hinged on the metaphor of a serpent? Bring on fast-curling, encircling strings. In the hands of Jean-Christophe Spinosi’s bubbly Ensemble Matheus, every effect hits home, uncrippled by arch mannerisms of rhythm or tone…In the hands of Spinosi’s crack team, La fida ninfa is a spectacular baroque rediscovery, and resistance is pointless."
The Times, June 2009
“This excellent [recording of La Fida Ninfa] is the first to include all the music, to retain all the vocal roles at their intended pitches and to realise, often irresistibly, the pastoral charm of Vivaldi’s music. There are several outstandingly effective numbers of which, the most precious jewel is the vitally motivated wheel of fortune trio which concludes Act I. Altogether a splendid achievement by Jean-Christophe Spinosi and his musicians.”
BBC Music Magazine, Music Choice, 5 stars, March 2009
“The most constant joy of the disc is to be found in Jean-Christophe Spinosi’s conducting, always emotionally powerful, and ever full of surprising details and wonderfully infectious energy.”
Classic FM Magazine, March 2009
Mozart Cosi fan tutte
"...the performance of ‘Cosi fan tutte’ was nothing less than a dream... a splendid band, the Ensemble Matheus, received one ovation after another. Spinosi wedded the rhythms of the 18th century with the blossoming sounds of the 19th century and the sovereignty of contemporary lovers – an absolute dream."
Suddeutsche Abendzeitung, November 2008
“Spinosi and his fabulous period orchestra, unforgettably named Matheus, gave the music all that it required. Sometimes eccentric, other times cheeky, then sentimental and austere once again – Spinosi stubbornly avoided the established pomp and circumstance of the Mozart which the older members of the audience may have preferred to hear, with leaps and bounds à la Bernstein.”
Munich Abendzeitung, November 2008
Vivaldi Nisi Dominus / Philippe Jaroussky / Naïve
"Jean-Christophe Spinosi directs Ensemble Matheus with brio and style."
Financial Times, April 2008
“…Jaroussky’s expressive delicacy is beguiling and he is everywhere accompanied with acute sensibility by Ensemble Matheus.”
BBC Music Magazine, April 2008
“The period-instrument Ensemble Matheus here numbers 20 string players… The playing is both eloquent and sprightly, and Jean-Christophe Spinosi directs the performances with fine feeling for Vivaldi’s colour and textures…”
International Record Review, March 2008
Jean-Christophe Spinosi / Jennifer Larmore / Ensemble Matheus
"George Frideric Handel doesn't usually come across as particularly sexy. Stately, sure. Dignified, without a doubt. But in a fast-paced, edge-of-the-seat concert...mezzo Jennifer Larmore and the Ensemble Matheus brushed the dust off Handel and showed that there's more furious, passionate life in baroque music than you might suspect."
The Washington Post, February 2008
"...the Ensemble Matheus was no mere backup orchestra. Its members may be renowned for their intensive scholarship, but there was nothing prissy or academic about their playing, which was aggressive, vibrant and focused to an absolutely electrifying pitch."
The New York Sun, February 2008
Vivaldi 'Heroes' / Virgin Classics
"... exquisite playing from the Ensemble Matheus under Jean-Christophe Spinosi."
The Guardian, January 2007
Vivaldi Griselda / Naïve
"The Ensemble Matheus under Jean-Christophe Spinosi develop palpable tension in this swirling baroque opera."
The Times, September 2006
"The Ensemble Matheus plays with supercharged energy, but also with precision, vibrant colours and elegant articulation."
The Times, September 2006
"This performance is sublime. Jean-Christophe Spinosi leads a dramatically taut reading, with his period-instrument Ensemble Matheus underpinning the vocal theatrics with snap and a huge range of dynamics all its own. ... a feast for the ears."
Classics Today, November 2006
"Young French violinist and conductor Jean-Christophe Spinosi sets his Ensemble Matheus on this exuberant music, stimulating a sumptuous delivery."
La Croix, September 2006
Vivaldi L'Orlando Furioso / Naïve
"Spinosi and his excellent team of musicians have revised history's judgement of Orlando Furioso by their compelling presentation."
Opera Award Winner, BBC Music Awards 2006
"Spinosi sets a cracking pace and his fine Ensemble Matheus play with fierce commitment. Stylish and scintillating, this is high Baroque as thrilling as it comes."
Classical CD of the Week, The Observer, January 2005
"Jean-Christophe Spinosi heads his Ensemble Matheus into the battle. Contrasts, nuances, vitality, theatricality - what music!"
Les Echos, December 2004
Vivaldi La Verita in cimento / Naïve
"The Ensemble Matheus's playing is exceptional."
BBC Music Magazine, September 2003
"One has to highlight the key role Jean-Christophe Spinosi and his Ensemble Matheus play in this recording. Few conductors have understood how the orchestra in its ensemble and the instrumentists that make it up are the major players of the drama. Hence the exceptional depth of what can no longer be called mere accompaniment."
Opéra International, July 2003
"Jean-Christophe Spinosi and the Ensemble Matheus deliver the goods in stunning style, thrusting the music forward with an assertive elegance that sometimes takes the breath away."
The Times, July 2003
"The music is superbly interpreted with ardour and passion. This Verita in cimento sure deserved to be freed from its silence."
Le Monde de la Musique, June 2003
"The fantastic phrasing and the extremely refined technique of the Ensemble Matheus under Christophe Spinosi make for a splendid production."
Musica, May 2003
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