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