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Artist Details

Andrea Molino

Andrea Molino


Andrea Molino is the epitome of a 21 century composer. His works are innovative, multimedia-oriented and always socially relevant. His compositions are published by RAI Trade, Nuova Stradivarius and Ricordi.





(Local Management)



Andrea Molino is known as both a composer and conductor.


He was born in Turin and studied in Turin, Milan, Venice, Paris and Freiburg. He lives in Zurich. From 1996 to 2007 he was Musical Director of the Pocket Opera Company in Nuremberg. His own projects the smiling carcass (1999), on advertising and Those Who Speak in a Faint Voice (2001), about the death penalty (both in collaboration with Oliviero Toscani), are examples of his commitment to innovative, multimedia-oriented music theatre. He conducted the death penalty project in Basel and Nuremberg with the Phoenix Ensemble Basel and in New York and Milan with the Klangforum Wien.




Between 2000 and 2006 Andrea Molino was Artistic Director of Fabrica Musica. His multimedia music theatre CREDO, on ethnic and religious conflicts, was premiered in April 2004 at the Badisches Staatstheater Karlsruhe and then performed at the Stazione Termini in Rome with the Orchestra del Maggio Musicale Fiorentino for the World Summit of Nobel Peace Laureates. In 2005 CREDO opened the Queensland Music Festival in Brisbane, Australia. WINNERS, on “winners and losers”, was premiered in 2006 at the Brisbane Festival; the European Premiere followed at the Grande Salle of the Centre Pompidou in Paris.


The multimedia staged concert un Temps vécu, ou qui pourrait l’être was premiered in 2008 at Le Fresnoy, in Lille, where Molino was “Invited Artist” for the season 2007-2008. In 2009, as Artistic Director of the World Venice Forum, he curated the Festival The Garden of Forking Paths. At the Basilica dei Frari he conducted the Orchestra della Fenice in his multimedia concert Of Flowers and Flames, for the 25th anniversary of the Bhopal disaster. His project, Three Mile Island, on the nuclear accident in Pennsylvania, was first performed in 2012 at the ZKM in Karlsruhe; the Italian Premiere followed at the Teatro India in Rome. The project received the Music Theatre Now Award 2012. His most recent work – there is no why here - will be premiered at the Opera House in Bologna, Italy in April 2014.


As a conductor, he opened the 2013 season of Opera Australia at the Sydney Opera House with Verdi's A Masked Ball directed by La Fura dels Baus; the production was then presented in Melbourne. In Sydney in 2011 he had already conducted Carlisle Floyd’s Of Mice and Men and Verdi's Macbeth. He opened the 2010 concert season of the Teatro La Fenice in Venice with the world premiere of Maderna’s Requiem; in the Fenice he had opened the Music Biennale 2005 with Goebbels’ Surrogate Cities and conducted Mosca’s Signor Goldoni and Ambrosini's Il Killer di Parole. He conducted the Orchestra del Maggio Musicale Fiorentino, the Bochumer Symphoniker, the Badische Staatskapelle Karlsruhe, the Dresdner Sinfoniker (including the Palestine Tour, 2013), the BBC SSO Glasgow, the OSL Nancy, The Queensland Orchestra at the Edinburgh Festival, Vienna Konzerthaus, Sydney Festival, Berliner Festspiele in the Philharmonie in Berlin, Queensland Music Festival, Brisbane Festival, Teatro Comunale in Bologna, Teatro dell'Opera in Rome, Opéra national de Nancy, Staatstheater Darmstadt, RomaEuropa Festival, Schauspielhaus Zurich (with Goebbels' Industry and Idleness), Musik der Jahrhunderte Stuttgart, Zagreb Biennale, Hellerau Dresden.


His recordings are published on CD and DVD by Stradivarius, Milan (since 1992), Naïve, Paris, Dynamic (Genoa) and ECM Records, Munich. His compositions are published by RAI Trade, Nuova Stradivarius and Ricordi.





- There Is No Why Here -, World Premiere, Bologna, April 2014


"When the twentieth century opened its eyes to the Holocaust, it made a frightening discovery: it realised that evil does not live outside us, it is no longer elsewhere, but has crept into the very fibres of our bodies and our minds. The ethical and political ratio of – there is no why here - the new 'opera' by Andrea Molino, is a reflection on the concept of evil (and its dialectical antagonist, good). [...] - there is no why here - is an exciting and profound 'theatre of ideas' that rejects any linear narrative and dares to put on stage the bright and stabbing power of an abstract thought – however, an abstract thought which speaks to us.

Guido Barbieri, Repubblica, 27.04.2014


"It is a work of today in the sense that it thrives on music made of many genres, from electronics to the 'dirty' sounds of the underground world, from folk songs to the most up to date examples of art music, performed by a large orchestra combined with percussion, saxophones and the amplified voices of Anna Linardou and David Moss. It has a double merit: on the one hand to be music with a strong impact, able to speak to an audience without previously being filtered through barriers of style; on the other to be placed outside of the greyness of academicism that is the scourge of today's art music. [...] It has the flavour of authenticity. There was also lots of applause for Molino as conductor."

Michele Girardi, Il Corriere della Sera, 1.5.2014


"'We opened a path, we will harvest its results over the years. In Italy you don't see such performances.' Leaving the Teatro Comunale on Thursday night, the artistic consultant Nicola Sani had the bright eyes of one who has already seen the future.

Every time has its own art. But what happens if art wants to be out of its own time? Andrea Molino has set a demanding but not a provocatively redundant challenge; in - there is no why here - the concepts of operatic plot, characters, genres and roles are completely discarded. There are performers instead of actors, different expressions of visual art instead of a scenography, extreme aural adventures rather than vocals, literary quotes rather than a libretto, Greco Roman wrestling instead of choreography. For the audience the legitimate question it not 'what the work is about' but 'what I see', where what is observed does not make sense by itself, but has reason to exist in relation to the sound. Indeed, perhaps it is the sound itself. - There is no why here - is a work in progress, and what we saw in the world premiere is not necessarily the only possible version. The only way to join the debate is to go to the theatre and get involved, to leave the reassuring opera arias and be torn to pieces by the verses, shouted words, senseless at times. Because it's not offered as a definitive and complete element, the sense needs to be added by the observer."

Luca Baccolini, Repubblica Bologna, 26.4.2014


"The project conceived by the composer Andrea Molino with the literary collaboration of Giorgio van Straten is not strictly an opera (neither were his previous two works Credo and Winners). [...] The performers of – there is no why here - do not narrate, do not represent but play, gesticulate and enunciate various texts. [...] And they do it with the spoken voice: 'spoken', of course, in the broader sense of the word, ranging from pitched pronunciation to fragmentation into individual phonemes, sometime with electronic amplification of the voice.

There are, in all of this, two moments of great theatrical beauty, a visual one (young people playing volleyball with unknown opponents on both sides of one of the many walls that separate people from each other in the world), and a vocal one (the only moment of 'real' singing: a touching popular Greek lullaby).
The performance, conducted by the composer himself, accomplished the maximum possible on a musical level, thanks to the presence of such vocal professionals as David Moss (assisted by three members of the Institute for Living Voice) and Anna Linardou, the masterful vocalist of the Greek lullaby, as well as the contribution on stage of the highly versatile group BL!NDMAN, saxophones and percussion, accompanied from the pit by the large symphony orchestra."

Marco Beghelli, il Resto del Carlino, 25.4.2014


- There is no why here -, the new creation by the composer, Andrea Molino, who is ranked among the foremost of his generation, is a very important world premiere. Sensitive to ethical and civil rights issues, the composer from Turin is in fact also an internationally established conductor, and his works, especially the theatrical ones, demonstrate a very powerful statement within the contemporary music scene in Italy and abroad. Sensitive to multimedia, Molino has developed a very personal language.

The opera by Molino and van Straten rejects traditional narration; it is a conceptual work, following in the wake of the most important works of Luigi Nono, it starts from the manifestation of evil, evoked by the quote from Levi, to develop around it a discourse of considerable political significance (in the highest sense of the term).

[...] In Molino's music [...] the fragment and the whole coexist, as an expression of the transition from individuality to community which takes place on stage. The percussion, used in abundance, express unrelenting, primal rhythms, as if to suggest a path of reason in unexplored places. The timbre of the saxophone possesses that kind of fog that unanswered questions generate in our mind. The strings, often extremely tense, are the exhausted nerves of those who find themselves on the brink. On stage a great performance by David Moss, a singer of very special quality, with an extensive vocal range. The rest of the cast – the voice of Anna Linardou, awesome in the Greek lullaby and the three members of the Institute for Living Voice of Antwerp: Aline Goffin, Annelinde Bruijs and Sander De Winne, were very well balanced.

In short, contemporary opera is not only an intellectually lively product of art, but also an opportunity to reflect on dense, difficult issues: in its abstract and practical dimension it succeeds in speaking to modern audiences with a language that, yes, requires focussing, but is also rewarding, while touching the critical issues of human thought. A great compliment should therefore be forwarded to the Teatro Comunale of Bologna, who has met this challenge with courage, in the hope that the trend towards the development of the contemporary repertoire will not be interrupted – because opera is alive and is capable of saying a great deal."

Michele Donati, Bloggione, 26.4.2014


"One of the most touching moments was the lullaby sung by Anna, the wonderful Anna Linardou, a sweet mother, but capable of infanticide, the most horrible of crimes. David Moss was as usual a giant in his extreme use of the voice. The audience welcomed this presentation with widespread approval."

Nicola Pirrone, ANSA Bologna, 25.4.2014





"Among the following scenes we pick the most emotional: the vision of young people playing volleyball with strangers across one of the many walls that divide people: Israel, Belfast, Tijuana Beach... Another magical moment is the lullaby sung in a sweet voice by Anna Linardou – but it is gradually overwhelmed by a tension that reveals the worst of crimes: mothers murdering their own children.

Musically the Maestro has obtained a remarkable result thanks to the quality of the orchestra, to the extraordinary performance of the group BLINDMAN, sax and percussion, the perfect work of David Moss helped by three members of the Institute for Living Voice, and Anna Linardou, expert solo singer of the Greek lullaby. Let's not forget the passionate participation of the young students of the School of Theatre 'Alessandra Galante Garrone'.
Both visually and musically everything contributes to distressing the spectator, highlighting the tragedy of the modern world. It is definitely a very interesting project. The audience on the second evening attentively followed and repeatedly applauded the performance."

Magda Ruggeri Marchetti, Artzeblai, 1.5.2014


"The absence of boundaries is presented in - there is no why here - as an affirmation of modernity, in the face of which the presence of the walls, erected by man (from the one which divides Israelis and Palestinians to the one which divides US-Americans and Mexicans) is depicted in all its violence. The “pulsating” music is the engine of compulsive action, which finds its only moment of rest before the abyss, the infanticide by a mother, performed by the excellent Anna Linardou. In the other scenes, David Moss is gigantic: everything relies on the flexible and intelligent way in which he uses his wonderful voice."

Andrea Ravagnan, Il Giornale della Musica, 25.4.2014


Success in Bologna for the premiere of – there is no why here -
[...] The scene opens to hope. And here ends the show, among the convinced applauses of the audience.

The performance, conducted by Andrea Molino, is precise, meticulous, the result is remarkably captivating and even - at times - pleasant for those who know how to appreciate twentieth century's classical music.

Athos Tromboni, Gli Amici della Musica, 26.4.2014


Three Mile Island Reviews (Italian and English)


Quello che sorprende di "Three Mile Island", la bella opera del compositore Andrea Molino, è che, pur raccontando un'immensa tragedia, lascia dentro una grande speranza. [...] E mentre la figura mitica degli indiani di Pennsylvania, Sky Woman (l'intensa Andrea Mirò), narra di un Paese che ha perso l'innocenza, i suoni e le voci del Klangforum Wien e dei Neue Vocalsolisten Stuttgart avvolgono tutto. [...] Un coup de théâtre finale ci riporta al presente ed è il giovane Johannes Vergeiner, figlio di Ignaz, a testimoniare la speranza degli uomini buoni.

Anna Cepollaro, Repubblica, 27.5.2012 (******)



What is surprising about "Three Mile Island", the beautiful opera by the composer Andrea Molino, is that, while telling a great tragedy, it allows room for hope. [...] And as the legendary figure of the Indians of Pennsylvania, Sky Woman (an intense Andrea Mirò), tells of a country that has lost its innocence, the sounds and voices of Klangforum Wien and Neue Vocalsolisten Stuttgart envelop everything. [...] A final coup de théâtre brings us back to the present and the young Johannes Vergeiner, Ignaz's son, who bears witness to the hopes of good men.

Anna Cepollaro, Repubblica, 05.27.2012 (******)



Indefinibile come genere teatrale tradizionale - e questo sia titolo di merito - il concerto scenico dato al Teatro India di Roma in prima italiana non voleva essere un atto di accusa stile Nono. I referti scientifici di Vergeiner nella loro nuda realtà gridano da soli ad inesorabile condanna di un peccato che già Gesù (Matteo, 5-10) identifica: la menzogna ai danni dell'operatore di giustizia. Nulla meglio del suono contraffatto di una tromba che emerge bugiarda dal marasma di altri strumenti poteva suggerire questo, al vertice di un'invenzione sonora dovuta ad Andrea Molino e alla drammaturgia di Guido Barbieri. Lungo quanto ammirevole l'elenco di quanto udito e veduto in questo "Three Mile Island".

Giovanni Carli Ballola, L'Espresso, 22.6.2012



Indefinable in any traditional theatrical genre - and this is meant as a commendation - a staged concert given at the Teatro India in Rome its Italian premiere, does not aim to make political accusation in the manner of Nono.  The scientific reports of Vergeiner shout the bare truth with relentless condemnation of the sin identified by Jesus (Matthew 5-10): the persecution of the righteous. There is nothing better than the sound of a trumpet emerging from the welter of other instruments to suggest that deceit, in this excellent score composed by Andrea Molino with dramaturgy by Guido Barbieri. The list of superb things, both heard and seen, is long in this “Three Mile Island.”

Giovanni Carli Ballola, L'Espresso, 22.6.2012



L’azione teatrale, ben supportata dalle musiche di Andrea Molino eseguite dai musicisti del Klangforum Wien, con gli interventi vocali dei solisti del Neue Vocalsolisten Stuttgart, le azioni multimedia di ZKM Karlsruhe e Zurich University of the Arts, è particolarmente efficace sul piano drammaturgico e coinvolge il pubblico con un crescendo di emozioni che, alla fine, si sciolgono in un convinto applauso che più volte richiama sul palco autori ed esecutori.

Umberto Asti, teatro.org, 19.6.2012


The theatrical action is well supported by the music of Andrea Molino, performed by musicians of Klangforum Wien, with vocal performances by the soloists of the Neue Vocalsolisten Stuttgart. ZKM Karlsruhe and Zurich University of the Arts developed the Multimedia, which is particularly successful in the development of the drama which gripped the audience emotionally – at the end of the work the audience erupted into loud, enthusiastic applause, calling authors and performers back to the stage several times.

Umberto Asti, teatro.org, 19.6.2012



I suoni del Klangforum Wien, sonorità altre, umane ed animali, degli stupendi Neue Vocalsolisten Stuttgart, una sull'altra interferivano, si sovrapponevano ciascuna in una sua storia, sino all'urto della crepa del reattore e alla nube tossica, nella spaventosa babele delle lingue degli intossicati. [...] Poi le dichiarazioni finali dei testimoni - quelle del figlio di Ignaz Vergeiner - dirette ai giusti. Mentre la musica, drammatica, si spandeva nell'immenso spazio.

Pao. Par., Il Tempo, 23.5.2012



The sonority of Klangforum Wien, other sounds, human and animal, of the wonderful Neue Vocalsolisten Stuttgart, intruded on each other, overlapping, each with his own story, telling of the effect of the accident at the reactor and the resulting toxic cloud, all conveyed by the frightening interweaving of the voices of those poisoned. [...] Then the final declarations of the witnesses - those of the son of Ignaz Vergeiner – directed at the just. Throughout the performance the music dramatically encompassed the immense space.

Pao. Par., Il Tempo, 23.5.2012


OF FLOWERS AND FLAMES - World Premiere, Venice October 2009


[...] The most moving part of the performance was “Of Flowers And Flames”, the audiovisual score, which was conceived by Andrea Molino, touched the audience through the strength by which sounds, images and movements communicated the forgotten tragedy of Bhopal. [...] Molino kept his promises, he succeeded in creating an organic work where the different expressive forms did not "accompany" each other but on the contrary became integrated and melted into an independent and coherent creation.

L.M., VeneziaMusica, December 2009



World Premiere: CREDO, Badische Staatskapelle, Badisches Staatstheater, Karlsruhe, April 2004


... the almost endless, euphoric final applause was well deserved by Molino and the brilliantly prepared Badische Staatskapelle...Badische Neueste Nachrichten... he [Andrea Molino] motivated the Staatskapelle to a highly concentrated, powerful sound and he was an excellent coordinator of the different musical sequences...

Pforzheimer Zeitung


...Andrea Molino conducts his own demanding score full of energy and vitality...

Frankfurter Allgemeine Zeitung





CREDO, Queensland Biennial Music Festival, July 2005


....The sheer scale and logistics of Andrea Molino\'s Credo: The Innocence of God would give any music producer an ulcer. With full, amplified symphony orchestra, more than a dozen solo musicians, vocalists and actors onstage, extensive audio-visual projections on three large screens, plus three traditional bands beamed in live by satellite from Istanbul, Belfast and Jerusalem, the capacity for the whole production to fall apart was ever-present. Extraordinarily, with the composer himself calmly conducting in the middle of it all, and a full house looking on in wonder, nothing went awry. Notch up another production triumph for Terracini, who surely now must rank as the most virtuosic of Australian festival directors. ... Through bringing together musicians located around the world to play the same piece in real time, Credo is as convincing technically as it is musically or politically. ...

Martin Buzacott, The Australian