Alejo Pérez



Karoline Jacob


+49 30 214 594-221

Irene Deffner


+49 30 214 594-237

General Management

CR Radio France_Christophe Abramowitz


19.11. 20:00 — cancelled
Suntory Hall, Tokyo

Olivier Messiaen,  Les Offrandes Oubliées
Peter Eötvös,  Cello Concerto Grosso
Dmitri Schostakowitsch,  Symphony No.12 'The year 1917'

Isang Enders, violoncello
Yomiuri Nippon Symphony Orchestra
Alejo Pérez, conductor

23.11. 14:00 — cancelled
Minato Mirai Hall Yokohama

Ludwig van Beethoven,  Leonoren-Ouvertüre Nr. 3 C-Dur op. 72
Joaquín Rodrigo,  Fantasia para un gentilhombre
Hector Berlioz,  Symphonie fantastique

Kaori Muraji, guitar
Yomiuri Nippon Symphony Orchestra
Alejo Pérez, conductor

24.11. 19:00 — cancelled
Suntory Hall, Tokyo

Ludwig van Beethoven,  Leonoren-Ouvertüre Nr. 3 C-Dur op. 72
Joaquín Rodrigo,  Fantasia para un gentilhombre
Hector Berlioz,  Symphonie fantastique

Yomiuri Nippon Symphony Orchestra
Alejo Pérez, conductor
Kaori Muraji, guitar


Alejo Pérez, conductor

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 (...) was performed with intensity of the highest order. Jürgen Kesting, Frankfurter Allgemeine 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.

Since the beginning of the 19/20 season he has been forming the sonic identity of the Flemish Opera as its new Music Director – a theatre which has received much international recognition in the last years. Since his debut there in 2018 he made strong appearances in new productions of Pelléas et Mélisande (directed by Abramovich, Cherkaoui), Lohengrin (David Alden), Don Carlos (Johan Simons) and Schreker’s Schmied von Gent (Ersan Mondtag).

In the 2020/21 season he will conduct Tristan und Isolde (arr. for 25 musicians), concert performances of Ariadne auf Naxos, Così fan tutte (Anne Teresa de Keersmaeker), and a series of concerts at the Flemish Opera. He will further return the Teatro dell’Opera di Roma for the new production of Turandot with stage director Ai Weiwei, which was supposed to be premiered in March 2020 before it was interrupted due to the outbreak of Covid-19.

In recent years, 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 (Parsifal, Der Rosenkavalier, Ariadne auf Naxos), as well as at the Semperoper Dresden (Carmen), the Lyric Opera of Chicago (Eugene Onegin), Tokyo Nikikai Opera (Der Freischütz), as well as at the rostrum of Orchestre Philharmonique de Radio France and the Tokyo Metropolitan Symphony Orchestra.

Alejo Pérez has been a guest with numerous renowned orchestras, among them the Philharmonia Orchestra, Orchestre de la Suisse Romande, Orquesta Filarmónica de Buenos Aires, Seoul Philharmonic Orchestra, SWR Symphony Orchestra, Gürzenich Orchestra Cologne, Deutsches Symphonie-Orchester Berlin and Deutsche Kammerphilharmonie Bremen.

The polyglot Argentinian studied both composition and conducting, in addition to piano, in his native Buenos Aires, and later in Karlsruhe with Peter Eötvös. Formative periods at the start of his conducting career included assisting Peter Eötvös, Michael Gielen, 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 Nabucco, La Damnation de Faust, Tristan und Isolde and Rheingold.

Alejo Pérez was one of the main conductors at the Teatro Real Madrid from 2010 in the era of Gerard Mortier, closely working with the Orquesta Sinfónica de Madrid for concerts with Plácido Domingo, Eva-Maria Westbroek 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, GerMANIA,From the House of the Dead) and the Teatro dell’Opera di Roma (La Cenerentola, The Nose, Lulu, The Fiery Angel).

In addition, numerous engagements have taken him to notable international opera houses such as the Opéra de Bastille Paris, the Cologne, Frankfurt, Stuttgart and Leipzig Operas, Norwegian National Opera, Teatr Wielki Warsaw, and La Monnaie de Munt in Brussels.

Season 20/21

This biography is to be reproduced without any changes, omissions or additions, unless expressly authorised by the artist management.

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A splendid production, both in its staging and in its musical execution. Alejo Pérez, together with the Flemish Opera Symphony Orchestra, not only revels in the late-Romantic orchestral floods; he captures the forward-rushing, pulsating parlando sound, as well as the flashing wit and twists and turns ranging from joie de vivre to the depths of the abyss.
DIE DEUTSCHE BÜHNE, Joachim Lange, 02/03/2020

Conductor Alejo Pérez brings some-much needed clarity to the musical direction, finding moments of delicacy, holding everything firmly together, and stomping through the many loud passages with unflinching force.
Financial Times, Shirley Apthorp, 03/02/2020

With his wonderfully accented conducting, under the musical direction of Alejo Pérez the orchestra ably captured the tragic and emotional qualities of Giuseppe Verdi's music.
Opernmagazin, Alexandra Richter, 01/10/2019

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 (...) 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.
Frankfurter Allgemeine Zeitung, Jürgen Kesting, 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.
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., 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

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Programme ideas

HAYDN Symphony No. 22 in E-flat major
STRAVINSKY Violin Concerto in D major
SIBELIUS Symphony No. 2 in D major Op. 43

Operatic repertoire upon request

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