"Frédéric Chaslin led a lithe, aptly paced reading of the score and vividly illuminated the rapidly changing character of the music, from its moments of jaunty cheer to its sweepingly lyrical climaxes"
The New York Times
"Simply genius, what first class conductor Frederic Chaslin gets from the Vienna State Opera orchestra"
Der Wiener Standart
Conductor, pianist, composer and author, Frédéric Chaslin was born in Paris and educated at the Paris Conservatoire and the Salzburg Mozarteum. From 1991 to 1994 he served as music director at Rouen Opera. He made his international début in 1993 at Austria’s Bregenz Festival, where he conducted for four seasons and collaborated with David Pountney on notable productions of Nabucco and Fidelio. He was a resident conductor at the Vienna Staatsoper from 1997 to 2005, conducting more than 130 performances of major repertory. For the Nationaltheater Mannheim in Germany he conducted Tristan und Isolde and Tannhäuser as well as all of Richard Strauss’s major works, and he was the general music director there in the 2005/6 season. Other notable Wagnerian appearances include a complete Ring cycle in Hanover, drawing on his experience working with Barenboim in Bayreuth.
Mr. Chaslin made his Metropolitan Opera debut in 2002, conducting Il Trovatore to great acclaim, and since then has led Met productions of The Tales of Hoffmann, Sicilian Vespers, The Barber of Seville, and La Bohème. He conducted Romeo and Juliet at the Los Angeles Opera in 2005, with Rolando Villazon and Anna Netrebko in the title roles. He made his Santa Fe Opera debut in 2009 conducting Verdi’s La Traviata and served as the company’s Music Director from 2010-2012 during which time he conducted Faust, Tosca and Rossini’s Maometto II.
With a symphonic and operatic repertoire that ranges from Bach to contemporary music he has led all the major Parisian orchestras, the Vienna Symphony and Philharmonic, the Manchester Hallé, and the London Symphony and Philharmonia. He served as the chief conductor of the Jerusalem Symphony Orchestra from 1999 to 2002 and was reappointed to the position in 2012.
Passionately committed to contemporary repertoire he has been involved in more than twenty world premieres. He addresses this topic in his latest book Music in Every Sense, an in-depth look at aspects of modern music and its relationship with the audience.
In the 2017/18 season he conducts The Tales of Hoffmann at the Semperoper in Dresden, Aida at the Teatro Comunale di Bologna, and Faust, L’elisir d’amore, Turandot and Don Pasquale for the Vienna State Opera.
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Verdi Aida, Teatro Comunale in Bologna
Frédéric Chaslin, in perfect synergy with the stage director, obtained a great result from the orchestra with a triumphal march ... [he] respected the piano and pianissimo in the score highlighting intimate moments. The baton took care of the diverse exotic and intimate moods without overly emphasising the contrasts.
Magda Ruggeri Marchetti, codalario.com
His interpretation is a winner … the Orchestra and the Choir Comunale unleash a vigour and balance that find full correspondence on stage
Ruben Vernazza, Connessi all’Opera
CD Recording: Paris, Mon Amour, Sony Classical
Frédéric Chaslin leads the Orquestra de la Comunitat Valenciana with a masterly hand. Highest recommendations!
Robert Cummings, Classical Net
Massenet Werther, Vienna State Opera
The Staatsopernorchester under Frederic Chaslin made a significant contribution to the intensity of the evening, which particularly emphasized the melancholy of the work.
Isabella Steppan, bachtrack****
Halévy La Juive, Wiener Staatsoper
bravo to Frédéric Chaslin, who is not only a fine conductor with an excellent sense of tempo and style for this music, but also really a singers' conductor. Although he is insistent enough not to give into the every whim of the soloist, he understands what they do and does everything possible to support. Under his baton the Staatsoperorchester sounded brilliant, as did the chorus.
Chanda VanderHart, bachtrack****
Puccini La Boheme, Metropolitan Opera
The French conductor Frédéric Chaslin led a lithe, aptly paced reading of the score and vividly illuminated the rapidly changing character of the music, from its moments of jaunty cheer to its sweepingly lyrical climaxes.
Vivien Schweitzer, The New York Times