Christopher Robson press reviews
It is not only the choral singing that puts this new Messiah up with the very best. The soloists too each bring something unique and individual to their roles. Christopher Robson has recently been electrifying audiences with his performances, and when he opens his mouth on this recording he may as well be plugging us all into the (electricity) mains. For his performance of “But who may abide” alone I would go out and buy this Messiah even if the rest were trash.
CD Review Magazine (Handel’s “Messiah”, Chandos Records CD)
Christopher Robson is the remaining member of the solo line-up. His clear voice, sure intonation and ability to achieve light and shade make for rewarding listening.
Gramophone Magazine (Handel’s “Messiah”, Chandos Records CD)
The Meridian CD is coupled with Vivaldi's beautiful setting of Psalm 127, Nisi Dominus, a piece hardly less substantial than the Laudate pueri, though probably more familiar to discophiles and concertgoers. The soloist is the alto Christopher Robson, who gives a sensitive, authoritative and polished performance which I very much enjoyed.
Gramophone Magazine (Antonio Vivaldi's "Nisi Dominus", Meridian Records CD)
The cast in this version are to be commended not only for the quality of their singing but for the precision with which they pronounce the words, making it a delight to listen. Christopher Robson, the countertenor, is a memorable Artaxerxes.
Contemporary Review (Thomas Arne's "Artaxerxes", Hyperion Records CD)
... but in the end decided, patriotically, to choose first the recording of Arne's Artaxerxes under Roy Goodman, an entertaining work in which Catherine Bott and Christopher Robson sing with particular distinction.
Gramophone Magazine Awards (nomination for Thomas Arne's "Artaxerxes", Hyperion Records CD)
With a rare concentration and feeling, the aching beauty of Christopher Robson's counter-tenor could instil 'Hope' into any breast.
The Independent (Monteverdi's "L'Orfeo", Decca L'Oiseau Lyre CD)
GLYNDEBOURNE TOURING COMPANY's staging of Handel's Theodora was a great improvement on the performance at the summer festival. Peter Sellars revised and rehearsed his production, which now made a stronger dramatic impact than before. Anne Dawson sang Theodora with melting beauty of tone, while conveying all the Christian martyr's fortitude. Susan Bickley was most supportive as Irene. Countertenor Christopher Robson as Didymus and his brother, tenor Nigel Robson, as Septimius were quite outstanding as two of the Romans charged with carrying out the death penalty on those who denied the Roman gods. Harry Bicket conducted.
Opera Canada (Handel's "Theodora", Glyndebourne Touring Opera 1996)
Christopher Robson, one of the few countertenors to possess the combination of staying power, strength of voice and genuine acting abilities, all vital in the opera house, sings the role of the Refugee quite beautifully, summoning a whole range of emotions and conveying a convincing sense of desperation and resignation.
The Sunday Times (Jonathan Dove’s “Flight”, Glyndebourne Festival 1999)
Christopher Robson is exceptional as the Refugee, the clarion power of his countertenor voice commanding the evening.
The Sunday Telegraph (Jonathan Dove’s “Flight”, Glyndebourne Festival 1999)