PRESSE

“Countertenor Christopher Ainslie unterstreicht die Zerrissenheit und Einsamkeit des Kaufmanns gesanglich und schauspielerisch eindrucksvoll” Merchant of Venice, Bregenz
STERN

“…Ainslie … darker toned yet fabulously agile … quite simply, breathtaking.”  Rodelinda, ENO
THE GUARDIAN

“Viel Applaus freilich auch für den süßlichen, Countertenor von Christopher Ainslie (Antonio).”  Merchant of Venice, Bregenz Festival
WIENER ZEITUNG

“Christopher Ainslie in der Titelrolle des Mongolenherrschers ist nicht nur ein unglaublich virtuoser, stimmschöner Altus, sondern auch ein facettenreicher Darsteller, dem man die Wendung vom freundlich zugewandten seinen Gegnem veryeihenden Sieger zum tödlich beleidigten, jäh auffahrenden Tyrannen abnimmt.” Tamerlano, Göttingen Handelfestspiele
OMM.DE

“Christopher Ainslie setzt vor allem auf smarte Ausstrahlung und souveräne Technik” Tamerlano, Göttingen Handelfestspiele
WETTERAUER-ZEITUNG

“…Christopher Ainslie again turning heads with his crisp and supple delivery…” Bach Magnificat, Wigmore Hall
MUSIC OMH

“Christopher Ainslie was spellbinding in his narration – a Messenger who made you really listen to the message – and his countertenor seems to be growing in its powers of projection.”  Thebans, ENO
OPERA MAGAZINE

“Christopher Ainslie’s tight, focused tone acquired pleasing plangency for a sublime Erbarme Dich.”  Matthäus Passion, The Sage, Newcastle
THE GUARDIAN

“Christopher Ainslie as Artaxerxes woos with honeyed tone” Artaxerxes, Linn Records
CLASSIC FM

“…the impressive, sexy countertenor Christopher Ainslie. Now on his way to becoming a rock star of Baroque opera, Mr. Ainslie excels as the cross-dressing emperor and carries himself like Jonathan Rhys Meyers’s pop idol character in Velvet Goldmine.” Eliogabalo, Gotham Chamber Opera, NYC
THE NEW YORK TIMES

“… the purer voice of counter-tenor Christopher Ainslie, who was superbly cast as the creepy, pathetic but dangerous Helicon. His nervous interactions with Caligula, as he tries to explain to the emperor the possible logistical problems of capturing the moon for him, provided genuine edge-of-the-seat material.” Caligula, ENO
OPERA BRITANICA

“The cast excels in the huge demands placed upon them – notably … Christopher Ainslie in his immaculately sung performance of Caligula’s slave, Helicon.”  Caligula, ENO
THE STAGE

“…considerable menace as Tamerlano … his trills and runs ooze threats.” Tamerlano, Göttingen Festival
THE OPERA CRITIC

“Christopher Ainslie was perhaps the star of the show, his countertenor Helicon, Caligula’s slave, making one keen to hear him in Britten and other florid roles, ancient and modern.” Caligula, ENO
SEEN AND HEARD

“some of the best singing comes from Christopher Ainslie in the title-role. In Act 1, Artaxerxes has a lovely solo, “Fair Semira”, which reveals how unforced is his vocalism.” Artaxerxes, Linn Records
International Record Review

“Christopher Ainslie is heartbreaking as the tragic Ottone.”  Poppea, Glyndebourne
THE ARGUS

“Christopher Ainslie was a delight to listen to. His “Ach mein Jesu” was steeped in agony, with big pauses and then gorgeous shape in the very long held notes. “Buß und Reu” went with a gentle lilt, his tone soothing against the bitter teardrops of the flute. The hauntingly beautiful “Erbarme dich” was sung with simplicity and a beautiful shaping of the lines.”  Matthäus Passion, The Sage, Newcastle
BACHTRACK

“Ainslie was brilliant in the title role, singing with a clear tone and mellifluous heft. Looking every bit the hero as well, his two fine duets with Oriana and Melissa respectively brought a splendid melding of tones. He was wonderfully expressive.”  Amadigi, Central City Opera
OPERA CON BRIO

“Christopher Ainslie sang stylishly and committed completely and hilariously to the vileness of the title character.”   Eliogabalo, Gotham Chamber Opera, NYC
THE WALL STREET JOURNAL

“Christopher Ainslie’s portrayal of Ottone was stunning, his lean, even countertenor seemingly having gained in power and nobility.”  Poppea, Glyndebourne
OPERA MAGAZINE

“Christopher Ainslie (Ottone) has one of the strongest countertenor voices I’ve heard.”  Poppea, Glyndebourne
NOTES FROM MIDDLE ENGLAND

“Countertenor Christopher Ainslie was on great otherworldly form as Theseus.”  Thebans, ENO
CLASSICALSOURCE.COM

“Christopher Ainslie’s otherworldly, gilded Theseus/Messenger mastered his difficult but effective vocal lines.”  Thebans, ENO
THE OBSERVER

“Christopher Ainslie is a compelling Ottone.”  Poppea, Glyndebourne
THE GUARDIAN

“South African countertenor Christopher Ainslie spectacularly took the role of Unulfo…”  Rodelinda, ENO
SEEN AND HEARD INTERNATIONAL

“Singing and acting honours went to Christopher Ainslie, the young South African countertenor in the title role…” Tamerlano, Göttingen Festival
OPERA MAGAZINE

“In the title role, alto countertenor Christopher Ainslie displayed fiendish agility and acted with vicious intensity throughout.” Tamerlano, Göttingen Festival
MUSICAL AMERICA

“Christopher Ainslie sings his part with a steely timbre and, particularly in his rage aria, fantastically confident coloratura” Tamerlano, Göttingen Festival
HNA.DE

“There’s a beautiful, eroticised Apollo from Christopher Ainslie.”  Death in Venice, Opera North
THE GUARDIAN

“The bare-chested, sweet-voiced Apollo of Christopher Ainslie.” Death in Venice, Opera North
THE TIMES

“Countertenor Christopher Ainslie is powerful and crystal-clear as the god of artistic control and independent thinking, dominating the stage too briefly.” Death in Venice, Opera North
BACHTRACK

“…the excellent cast – including Christopher Ainslie’s Merchant… – helped make this a restitution to remember.” Merchant of Venice, Bregenz Festival
OPERA MAGAZINE

“Christopher Ainslie nailed Eliogabalo’s lean and sociopathic look.”  Eliogabalo, Gotham Chamber Opera, NYC
THE NEW YORK POST

“such vocal treasures as Christopher Ainslie (Artaxerxes) “ Artaxerxes, Linn Records
THE SCOTSMAN