Alejo Pérez

conductor

contact

Yan Dribinsky

yd(at)karstenwitt.com

+49 30 214 594-230

Karoline Jacob

kj(at)karstenwitt.com

CR Ishka Michocka

Dates

01.04. 21:15
Teatro Garibaldi, Figline

György Ligeti,  Concert Românesc
Ludwig van Beethoven,  Piano Concerto No. 3 C minor, Op. 37
Ludwig van Beethoven,  Symphony No. 3 in E-flat major, Op. 55 'Eroica'

Orchestra della Toscana
Alejo Pérez, conductor
Federico Colli, piano

03.04. 21:00
Teatro Goldoni, Livorno

György Ligeti,  Concert Românesc
Ludwig van Beethoven,  Piano Concerto No. 3 C minor, Op. 37
Ludwig van Beethoven,  Symphony No. 3 in E-flat major, Op. 55 'Eroica'

Orchestra della Toscana
Alejo Pérez, conductor
Federico Colli, piano

04.04. 21:00
Teatro Verdi, Florence

György Ligeti,  Concert Românesc
Ludwig van Beethoven,  Piano Concerto No. 3 C minor, Op. 37
Ludwig van Beethoven,  Symphony No. 3 in E-flat major, Op. 55 'Eroica'

Orchestra della Toscana
Alejo Pérez, conductor
Federico Colli, piano

05.04. 21:00
Teatro Metropolitan, Piombino

György Ligeti,  Concert Românesc
Ludwig van Beethoven,  Piano Concerto No. 3 C minor, Op. 37
Ludwig van Beethoven,  Symphony No. 3 in E-flat major, Op. 55 'Eroica'

Orchestra della Toscana
Alejo Pérez, conductor
Federico Colli, piano

biography

The conductor took the singers by the hand through the performance (…). Peréz created a distinctness from the velvety tone of the Viennese players, characteristic of the French need for clarity. (...) Instead of grand drama, he created an atmosphere where every individual moment was sensuous. 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.

Following his highly successful debut at the Salzburg Festival in 2015 with Massenet's Werther, Alejo Pérez returned to Salzburg in 2016 to conduct the Vienna Philharmonic for the first time in a new production of Faust. In the 2016/17 season he will make his first appearances at the Semperoper Dresden with Carmen and the Lyric Opera of Chicago with Eugene Onegin. Furthermore, he has accepted re-invitations to Rome and Buenos Aires for new productions of Lulu and DerRosenkavalier at the Teatro Colón. He made his highly successful debut at the legendary opera house in 2015 with Parsifal. As a regular guest conductor of the new SWR Symphony Orchestra, Alejo Pérez will feature in a number of concerts including a series of world premieres at the Donauseschinger Musiktage.

Alejo Pérez has been at the rostrum of numerous renowned orchestras in recent years, among them the Philharmonia Orchestra, Orchestre Philharmonique de Radio France, SWR Symphony Orchestra Baden-Baden/Freiburg, Gürzenich Orchestra Cologne, Orchestre de la Suisse Romande, Orchestra del Teatro Comunale di Bologna, Deutsches Symphonie-Orchester Berlin and Deutsche Kammerphilharmonie Bremen. He has also collaborated with Ensemble Modern, Ensemble intercontemporain, Asko Schönberg Ensemble 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 (Théâtre du Châtelet Paris) and Lady Sarashina (Opéra de Lyon, Opéra Comique Paris) were premiered under Pérez’ direction, and Christoph von Dohnanyi at the NDR Symphony Orchestra, which he regularly conducted between 2005 and 2007.

Between 2009 and 2012 Alejo Pérez was musical director of the venerable Teatro Argentino de La Plata, the most distinguished Argentinian opera house after the Teatro Colón, injecting new life into it during this time. Praised by critics and audiences alike, he led new productions such as Verdi’s Don Carlos, Berlioz‘s La Damnation de Faust, Shostakovich’s Lady Macbeth of the Mtsensk District and Wagner's 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 enjoys long and continuous collaborations with Opéra de Lyon, where he has led Debussy’s Pelléas et Mélisande, Schreker’s Stigmatised and Stravinsky’s Nightingale among others, as well as with Teatro dell’Opera di Roma (Rossini’s La Cenerentola, Shostakovich’s The Nose). 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.

2016/17 season

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Reviews

Perez impressed as a podium talent to watch.
Chicago Tribune, John von Rhein, 27/02/2017

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

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 Tollli, 04/04/2016

The conductor took the singers by the hand through the performance: Alejo Peréz took his time and chose to begin with slow, but never aimless, tempi. He kept up momentum with fine transitions and expressive rubato. Peréz created a distinctness from the velvety tone of the Viennese players, characteristic of the French need for clarity. (...) Instead of grand drama, he created an atmosphere where every individual moment was sensuous. (...) The performance had no pretensions of philosophical meaning - it was just opera. However, it was great opera.
Neue Zürcher Zeitung, M. Stallknecht, 12/08/2016

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 famously luscious Vienna Philharmonic were galvanized into feverish surges of emotion by Alejo Pérez, making his debut.
Salzburger Nachrichten, 12/08/2016

Alejo Perez conducted the Teatro Colón orchestra with great devotion and attention to detail. He already celebrated the prelude to the first act in all its detail with long rests. He obviously felt very strongly about the pathos of the Parsifal music, and this also fitted to what was generally going on on-stage. The great interludes were also impressively successful, time and again the excellent acoustic of the Teatro Colón made itself encouragingly felt. In addition, Perez responded very sensitively to the singers. The co-ordination between the orchestra pit and the stage was perfect.
Der neue Merker, Klaus Billand, December 2015

Above all it is a triumph for the orchestra of l’Opéra de Lyon under the masterful baton of Alejo Pérez. One knew by the crescendo of the opening bars at the latest that the staged premiere of ‘Die Gezeichneten’ had found its magician.
Concertclassic.com, 20/03/2015

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 Samples

I. STRAVINSKY Dumbarton oaks
W. A. MOZART Symphony No. 40 in g-minor KV 550
M. RAVEL La valse
P. I. TCHAIKOVSKY Romeo and Juliet
L. BERIO Sinfonia
J. SIBELIUS Symphony No. 2
B. BRITTEN Four sea interludes from Peter Grimes
E. ELGAR Sea Pictures
S. RACHMANINOV Isle of the Dead, op. 29
C. DEBUSSY La mer
J. HAYDN Symphony No. 6 D-major
B. BARTÒK Two pictures op. 10
G. MAHLER Symphony No. 1 D-major Titan
E. VARESE Amériques
C. IVES Symphony No. 4
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Media Centre

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