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Teatro Colón Buenos Aires
Teatro Colón Buenos Aires
Teatro Colón Buenos Aires
Teatro Colón Buenos Aires
“Contributing most to the success was Alejo Pérez, leading the Opera Vlaanderen’s orchestra with a keen eye for detail whilst retaining a sense of the bigger picture.” Eleonore Büning, Neue Zürcher Zeitung
As a conductor, Alejo Pérez possesses an inherent stylistic awareness and the ability to bring every detail of the most complex score to life. This has consistently secured him a firm place on the international opera and concert scene.
In recent seasons, the conductor has shown his worth at the Salzburg Festival (including a performance of Gounod’s Faust with the Vienna Philharmonic), at the Teatro Colón with Parsifal and Der Rosenkavalier, as well as at the Semperoper Dresden with Carmen and at the Lyric Opera of Chicago with Eugene Onegin.
Alejo Pérez made a series of successful debuts in the 2017/18 season including with the Philharmonic State Orchestra Hamburg at the Elbphilharmonie, at the Opera Vlaanderen (Pelléas et Mélisande), the Stuttgart Opera (Cherubini’s Medea) and in Japan with the Yomiuri Nippon Orchestra and the Nikikai Opera Company (Der Freischütz). The season ended on a high with a sold-out concert at the Teatro Colón with the Orquesta Filarmónica de Buenos Aires and works by Debussy, Mahler, Schoenberg and Scriabin.
From the 2019/20 season Alejo Pérez will be Music Director of the Opera Vlaanderen, where he opens the current season with Lohengrin, directed by David Alden. In the 2018/19 season he will also return to the opera houses in Stuttgart (The Love for Three Oranges), Lyon (From the House of the Dead), Rome (The Fiery Angel) and Buenos Aires (Ariadne auf Naxos), and will lead the Orchestre Philharmonique de Radio France and the Tokyo Metropolitan Symphony Orchestra.
Alejo Pérez has been at the rostrum of numerous renowned orchestras in recent years, among them the Philharmonia Orchestra, Orchestre de la Suisse Romande, Orchestra del Teatro Comunale di Bologna, SWR Symphony Orchestra, Gürzenich Orchestra Cologne, Deutsches Symphonie-Orchester Berlin and Deutsche Kammerphilharmonie Bremen. He has also collaborated with the Ensemble Modern, Ensemble intercontemporain, and Klangforum Wien.
The polyglot Argentinian studied both composition and conducting, in addition to piano, in his native Buenos Aires. Formative periods at the start of his career included assisting the composer Peter Eötvös, whose operas Angels in America and Lady Sarashina were premiered under Pérez’ direction, as well as Christoph von Dohnányi at the NDR Symphony Orchestra, which he regularly conducted.
Between 2009 and 2012 Alejo Pérez was Music Director of the venerable Teatro Argentino de La Plata, to which he brought a new lease of life. He was praised by critics and audiences alike for performances of works including Mahler’s Symphony No. 8 and new productions of Nabucco, Don Carlos, La Damnation de Faust, Lady Macbeth of the Mtsensk District, Tristan und Isolde and Rheingold.
Alejo Pérez was one of the main conductors at the Teatro Real Madrid from 2010 during the era of Gerard Mortier, closely working with the Orquesta Sinfónica de Madrid for concerts with Plácido Domingo, Teresa Berganza and Ian Bostridge, and celebrated performances of Rienzi, Don Giovanni,Death in Venice, Golijov’s Ainadamar and Rihm’s Die Eroberung von Mexico. He also continues to enjoy long working relationships with the Opéra de Lyon (Pelléas et Mélisande, TheStigmatized and Raskatov’s GerMANIA) and the Teatro dell’Opera di Roma (La Cenerentola, The Nose and Lulu).
In addition, numerous engagements have taken him to notable international opera houses such as the Opéra de Bastille Paris, the Cologne, Frankfurt and Leipzig Operas, Norwegian National Opera, Teatr Wielki Warsaw, and La Monnaie de Munt in Brussels.
This biography is to be reproduced without any changes, omissions or additions, unless expressly authorised by the artist management.
The Opéra de Lyon features Leoš Janáček's From the House of the Dead, forcefully directed by Krzysztof Warlikowski and superbly conducted by Alejo Pérez. […]
It would be wonderful to attend the performance twice and the second time around only look with one’s ears. The music under the Argentine conductor Alejo Pérez -- based on the critical edition edited by John Tyrell, also the basis for the ground-breaking recording by Charles Mackerras -- was performed with intensity of the highest order, especially in the places where the extreme high and low sounds are hollowed out at their core. Woven into the music are the sounds of chains and saws, pushing beyond naturalism. The numerous instrumental solo passages were equally delicate and pointed.
Jürgen Kesting, Frankfurter Allgemeine Zeitung, 24/1/2019
Alejo Perez's musical direction cuts the Lyon Opera Orchestra to the bone, bringing forth a clear, incisive sound, with the brass section taken to its limits, solo violinist Nicolas Gourbeix an admirable standout, and the conductor striking an extraordinary balance between lyricism and severity, a tour de force approach to Janáček’s complex music.
Christian Merlin, Le Figaro, 24/1/2019
Musically, the Flemish Opera´s symphony orchestra showed itself to be in top form. For Alejo Pérez, the new music director of the house, this "Lohengrin" was first and foremost a resounding personal success. With energy and focus, the conductor successfully built the tension -- from the clear, ethereally shimmering prelude, to the pounding rhythms of the choral scenes in the first act, through to the dramaturgically pointed scenes in the second act between Friedrich and Ortrud as well as Ortrud and Elsa, to the pleasing sensibility of the third act. The wonderfully present brass section gave a special take from the prelude to the end of the third act.
Das Opernglas, M. Fiedler, 07/10/2018
The crispness and elegance of Alejo Pérez´s conducting style are combined with the kind of inspiring imaginative ability an orchestra needs to test and transcend its boundaries.
Die Welt, Peter Krause, 21/03/2018
Contributing most to the success was Alejo Pérez, leading the Opera Vlaanderen’s orchestra with a keen eye for detail whilst retaining a sense of the bigger picture.
Neue Zürcher Zeitung, Eleonore Büning, 07/02/2018
Musically, for the first time in a long while, this Rosenkavalier staging restored this house [Teatro Colón] to its former heights.
pagina12.com.ar, Diego Fischerman, 20/07/2017
Perez impressed as a podium talent to watch.
Chicago Tribune, John von Rhein, 27/02/2017
More relaxed and joyful than Strauss, the Vienna Philharmonic and the highly-talented Alejo Pérez created a wonderful sound, treading the fine line between penetrating pathos and sentiment without becoming sweet or sensationalist. In Marguerite’s great scene, the conductor and orchestra sparkled. A great achievement.
Online Musik Magazin, Thomas Tillmann, 20/08/2016
The orchestra under the baton of Alejo Pérez played with a cool sense of lyrical detachment – the string section in particular sounding like flowing ice – yet they were not afraid to dive head-first into dramatic, violent outbursts. (…) Pérez led with admirable clarity, expertly drawing out melodic strands. (...) Tandberg’s Lady Macbeth of Mtsensk proves, in its first revival, an even more impactful performance than in the original run. With totally committed performances from all involved and an utterly gripping production, this is a must-see.
Bachtrack, Aksel Tollåli, 04/04/2016
Alejo Perez conducted the Teatro Colón orchestra with great devotion and attention to detail. (...) The great interludes were also impressively successful.
Der neue Merker, Klaus Billand, December 2015 (on Parsifal)
From Wagner’s opulence to the soft backlight of impressionism, from veristic emotional outbursts to seditiously expressionistic opalescence: under the direction of the magician Alejo Pérez who can turn frogs into princes, the orchestra of l’Opéra de Lyon brought Schreker’s visions to life.
Le Monde, 17/03/2015
Alejo Pérez was a godsend: he proves that it is still possible to bring out new elements from this incredibly complex score. His interpretation, which is committed to romanticism, allows the numerous beauties of this work to come to light with the Orchestre de l’Opéra, his musicianship is compelling and fast-paced.
Neue Musikzeitung, 15/03/2015
|HAYDN||Symphony No. 22 in E-flat major|
|STRAVINSKY||Violin Concerto in D major|
|SIBELIUS||Symphony No. 2 in D major Op. 43|
|MOZART||Masonic Funeral Music in C minor, K. 477|
|STRAUSS||Four Last Songs|
|KURTÁG||Stele Op. 33|
|MOZART||Symphony No. 41 in C major K. 551 Jupiter|
|DEBUSSY||La damoiselle élue|
|SCHÖNBERG||Five Pieces for Orchestra Op. 16|
|SCRIABIN||Symphony No. 4, Op 54 Le Poème de lExtase|
|SCHREKER||The Stigmatised: Prelude to Act I|
|GOUNOD||Ballet Music from Faust|
|STRAUSS||Symphonic Fantasy on Die Frau ohne Schatten|
|ELGAR||Sea Pictures Op. 37|
|SAINT-SAENS||Symphony No. 3 in C minor Op. 78|
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Operatic repertoire upon request
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