Stage Director
DIE ZAUBERFLÖTE - Washington National Opera

"Mozart’s ‘The Magic Flute’ at the Kennedy Center is a Washington National Opera Production directed by Christopher Mattaliano which moves the opera in brilliant transitions from simple to complex. Mozart’s ‘The Magic Flute’ in this production truly conveys the power of music and its magic notes.”

Winnie Dreisonstok, MD Theatre Guide
DIE ZAUBERFLÖTE - Portland Opera

“Mattaliano directed effectively, and it all looked so good and so Mozart-worthy!”

Mark Mandel, Opera News
Weisgall’s ESTHER – New York City Opera (world premiere)

“The company has given the work a stunning yet simple production, directed by Christopher Mattaliano… one hopes it will be repeated and recorded.”

Edward Rothstein, New York Times
Weisgall’s ESTHER – New York City Opera (world premiere)

“In a distinguished New York City Opera debut, Mattaliano created vivid pictures of the hieratic sort, heavy with dignity yet simple of lone and gesture.”

Michael Redmond, The Newark Star-Ledger
Weisgall’s ESTHER – New York City Opera (world premiere)

“Christopher Mattaliano understood precisely what was needed to communicate the fluidity and elevated tone of the Weisgall opera.”

Peter G. Davis, New York Magazine
Weisgall’s ESTHER – New York City Opera (world premiere)

“Hugo Weisgall’s Esther is the only production that is directed with much care – thanks to Christopher Mattaliano – and it’s stunning.”

David Patrick Stearns, USA Today
IL VIAGGIO A REIMS - Juilliard Opera

“The Juilliard production is a delight… Christopher Mattaliano has not so much directed as choreographed. People made to behave like moving parts of a machine tend to make us laugh and here most ensemble movement is danced. Mr. Mattaliano exploits his exaggerations subtly, creating absurdity but stopping short of ridicule.”

Bernard Holland, New York Times
IL VIAGGIO A REIMS - Wolf Trap Opera

“The production is a pure delight… everything moves along briskly, and stage director Christopher Mattaliano makes the production sparkle.”

Joseph McLellan, The Washington Post
IL VIAGGIO A REIMS - Wolf Trap Opera

“Mr. Mattaliano’s direction was riotously funny without becoming vulgar or anachronistic.”

Octavio Roca, The Washington Times
Henze’s ELEGY FOR YOUNG LOVERS – Juilliard Opera

“Christopher Mattaliano’s intelligent stage direction had both fluidity and wit.”

Peter G. Davis, New York Magazine
Westergaard’s THE TEMPEST – Opera Festival of New Jersey (World Premiere)

“Christopher Mattaliano’s direction is swift and athletic… in a handsome and thoughtful production.”

Bernard Holland, New York Times
Westergaard’s THE TEMPEST – Opera Festival of New Jersey (World Premiere)

“Christopher Mattaliano’s vivid staging enlivened the composer’s sincere attempt to turn Shakespeare’s magical masterpiece into compelling drama.”

Robert Baxter, Opera News
CANDIDE - Portland Opera

“High points included Mattaliano’s light touch in dozens of scenes… it all added up to the best of all possible worlds.”

David Stabler, The Oregonian
CANDIDE - Austin Lyric Opera

“Director Christopher Mattaliano keeps the convoluted plot flowing and the characterizations clear and vibrant, just as he did with his stylish ALO production of Rossini’s Barber of Seville."

Jerry Young, The Austin American Statesman
CANDIDE - Austin Lyric Opera

“In the annals of modern stagecraft, Austin Lyric Opera’s new production of Leonard Bernstein’s Candide seems destined for legendary status. Stage director Christopher Mattaliano and designer Jerome Sirlin conceived the show, with its myriad changes of locales, as a fluid sequence of cinematic dissolves.”

Mike Greenberg, The San Antonio Express

“Stage director Christopher Mattaliano’s bridge from Pagliacci to Carmina Burana was brilliant… by the conclusion, the mood in the auditorium was manic, with cheering patrons on their feet.”

Derek M. Mills, Opera News

“Portland Opera’s double bill of Ruggero Leoncavallo’s 'Pagliacci' and Carl Orff’s 'Carmina Burana' is the company’s greatest hit, its most successful production to date: it’s been taken up a half-dozen times by other companies, and Friday night’s season-opening performance proved that it’s still a powerful, enthralling spectacle. Portland Opera’s general director Christopher Mattaliano, who directed the original 1997 production, gave even stronger direction this time around.”

James McQuillen, The Oregonian

“Director Mattaliano has performed a tiny miracle by forging these widely disparate pieces into a unified and persuasive whole.”

Michael Van Duzer,

“Conceived by Christopher Mattaliano of Portland Opera, this unusual, and seemingly incongruous, pairing nevertheless has a common thread running through it- the raw passion of ‘I Pagliacci’ is mirrored in the love, lust, and sheer physicality of ‘Carmina Burana.’

To this, Mattaliano has cleverly added a more defining connection by opening Orff’s work at the exact same point in time where Leoncavallo’s opera ends- immediately after Canio kills his unfaithful wife, Nedda, and her lover, Silvio. Nedda and Silvio are resurrected by the dancers in this choreographed version of ‘Carmina Burana,’ and become a part of it.

The question, however, remains: Are Nedda and Silvio brought back to life, or have they been transported to another level of consciousness? Or is Mattaliano deliberately manipulating the play-within-a-play structure of ‘I Pagliacci’? There is, needless today, no clear-cut answer.”

Edward Reichel, Opera News

“Stage director Mattaliano sure did infuse the show with sportive spirit… such bits require a light touch and comedic skill, but Mattaliano’s actors tossed them off with the ease of old vaudevillains. And they looked to be having the time of their lives.”

Robert Faires, The Austin Chronicle

“Stage director Christopher Mattaliano’s staging comes up fresh, inspired, whimsical, and organic to the featherweight Rossini spirit. In many ways one of the finest Barbers I have seen, this production deserves to go far.”

David McKee, The Star Tribune

“Director Christopher Mattaliano made the action flow easily on stage, steering clear of over broad farce but including charmingly absurd touches… The finale of Act I, one of opera’s greatest comic scenes, was brilliant, with physical tomfoolery and musical finesse in rare combination.”

James McQuillen, The Oregonian
IL BARBIERE DI SIVIGLIA - Michigan Opera Theatre

“Director Christopher Mattaliano fostered a sense of improvisatory freedom so that even familiar gags seemed new…”

Jennifer Goltz, Opera News
ALBERT HERRING - Manhattan School of Music

“A charming production… directed by Christopher Mattaliano, the production stressed all the right things, presenting the townsfolk as the hilariously volatile, fallible creatures conceived by Britten rather than as one-dimensional caricatures.”

Peter G. Davis, New York Magazine
LA CENERENTOLA - Wolf Trap Opera

“Stage director Christopher Mattaliano has done a brilliant job of bringing out the comic theatrical elements in Rossini’s music, slyly sliding from period to suggestion of period without breaking the overall style. There are hints of Restoration comedy, and Italian farce, and precision Broadway musical theater, and even Gilbert and Sullivan, in the form of a nine-man chorus of prancing servants and gentleman courtiers who, if you blink your eye, might be comical pirates or policeman.”

Bob Hicks, Oregon Arts Watch
LA CENERENTOLA - Wolf Trap Opera

“It would be easy for a production of 'La Cenerentola' to feel tedious, but director Christopher Mattaliano injects a fair amount of humor into the show, making it feel modern and clever. Overall, the frenetic energy and physical humor push the show through, while maintaining its sincerity. Mattaliano’s staging is at its strongest when he has access to the whole stage, such as during the ball, or during busy scenes with a lot going on, like the intricately choreographed dinner at the palace. Portland Opera’s production of 'La Cenerentola' infuses Rossini’s work with enough modern wit and style to keep you entertained throughout this timeworn story, making it a great entry point to the genre for people of all ages.”

James McQuillen, The Oregonian
FALSTAFF - Portland Opera

“Christopher Mattaliano’s stage direction kept the action as lively as the music… the finale was a feast, with Verdi’s masterful frugal finale, lots of lighthearted dancing and a rousing, well-deserved ovation. If you haven’t been to Portland Opera in a while, now would be the time… it’s not just a delight, it’s also the strongest show the company has presented in years.”

James McQuillen, The Oregonian
LE NOZZE DI FIGARO - Wolf Trap Opera

“Directed with skilled understatement by Christopher Mattaliano, the comedy and serious drama are presented with uncommon impact in this production.”

Joseph McLellan, The Washington Post
EUGENE ONEGIN - Portland Opera

“One can have nothing but praise for the direction of Christopher Mattaliano, who filled the stage and moved the players well without impeding what bits of action exist in the opera.”

Cynthia Peterson, Opera News

“Artistic Director Christopher Mattaliano deserves kudos for producing this rarely performed opera and providing clear and concise stage direction that made superb use of the intimate theater.”

James Bash,
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