His baton is vigorous, technically flawless and of rare clarity. There are no movements that are not functional or ends unto themselves as is now standard practice; he has no air of the prima donna, only awareness, professionalism and elegance of gesture.
J.Domarkas (about his students in the auto-biography “Mano gyvenimas”)
Frattima’s conducting was very precise, various, colourful. Tempos were rightly fast, stylistically interpretation was extremely correct as well as the constant attention thorough the singers.
Danilo Boaretto (Operaclick)
Ce même souci philologique a conduit Christian Frattima, directeur musical de la Société et de l’Ensemble Coin du Roi, à adopter diapason à 415 et instruments anciens. De ces choix et de sa lecture de la partition découle une exécution musicale d’une grande beauté, où le lyrisme a peut-être la plus belle part, mais susceptible d’éclats, grâce aux trompettes installées dans la tribune, et même de force, évidemment soigneusement contenue. Dans une partition où Händel semble s’être ingénié à rassembler ses procédés les plus éprouvés, Christian Frattima cisèle méticuleusement chaque nuance, y compris certains échos comme échappés des oratorios contemporains ou à venir, qui témoignent de l’évolution du compositeur.”
Maurice Sallese (Forum Opera)
In Teatro Litta’s pocket-square orchestra pit, conductor Christian Frattima led the young Coin du Roi Orchestra (on period instruments in its uncut version) through broad, beefy, languidly-paced legatos with confident drive and garrulous texture.
Courtney Smith (BachTrack)
The orchestra, conducted by Frattima was in tune and rich of nuances; the stereophonic disposition of the instrumental ensemble in three different places of the theatre created a very interesting sound
Ettore Napoli (Amadeus)
Coin du Roi orchestra played with unfailable technique, and Frattima’s conducting shaped a very deep sound. The concertation was historically informed, but the emotional approach was very modern, intense, strong.
Marco Nebuloni (Fermata Spettacolo)
The real column of the spectacle was Christian Frattima, who conducted with great knowledge and talent a difficult score. Light hands and musical unity are characteristics of this young conductor, surely deserving more international attention.
Umberto Fornasier (operaeballetto.it)
Christian Frattima studied the manuscript of Berlin Staatsbibliothek and other original scores. The Maestro, who was very exigent, accurately cared about musical exegesis: the Latin libretto was sung according the German ecclesiastic pronunciation, grace notes and cadenzas were composed by him and orchestra tuning was 430 Hz, the diapason used by Mozart. Orchestra musicians, specialized in the early repertoire, play on period instruments with catgut strings and 18th century style bows. Orchestra’s execution is brilliant, secure and refined.
Daniele Capuzzi (revolart.it)
Frattima’s work was very interesting in the reconstruction of the musical text and also in the care of some important details regarding middle 18th century executive praxis. His conducting were brilliant and moving, Maestro was able to give back the freshness and the originality of the young Mozart.
Elena Percivaldi (classicaonline.it)
It is useless to repeat how fine did Maestro Christian Frattima, artistic director of Coin du Roi, in his musical exegesis work. His hand is recognizable: expressivity, precision, sense of beauty and modernity, noticeable even in 18th century repertoire. Frattima’s temper and aesthetic taste is surely high-level. Only one in Italy, Frattima does not just discover the rare pearls of baroque music, but also commits to reconstruct musical scores and librettos from manuscripts, in order to give back a more authentic result, possible thanks to his indubitable qualities of musician and conductor.
Marco Nebuloni (Fermata Spettacolo)
Christian Frattima conducted the orchestra with brilliant tempos, historically informed precision and sound nobility: a tribute to the 18th century. Sophisticated Pergolesis’s rhythms were faced with neatness.
Florian Amort (opernkritik.deopernkritik.de)
The best thing about Coin du Roi’s production is Christian Frattima’s conducting of the Coin du Roi orchestra who, for an ad hoc group, play surprisingly well together which, as we know from the playing of some of Milan’s better-known ensembles, is no mean feat! Frattima draws out a great range of contrast and colours from his players and isn’t afraid of allowing silences to punctuate the musical flow.
Graham Spicer (gramilano.com)