Press Reviews

EL PAÍS, 8.7.2012 –- on Ainadamar, Teatro Real Madrid —- Not so long ago the young Argentinian conductor Alejo Pérez excelled in this theatre with a wonderful interpretation of Wagner’s Rienzi. No less convincing is now his precise and highly energetic reading of the score, which combines the classical language of the world of symphony with other subsequent styles of flamenco or the Jewish tradition in the aesthetics of collage. For Alejo Pérez involving the flamenco guitar, cajón, comba and djembé beside the conventional orchestra instruments does not pose any problems. Significant is resolution of the strike, which brings together accents of soft music and classical music of most disparate origins in a most natural way.

EL PAÍS, 25.5.2012 — on Rienzi (concert version), Teatro Real Madrid —- The performance, which one can attend at Teatro Real till Sunday, is of high quality. It shows an obvious strength of the sound and allows a great conductor to glow, the young Argentinian Alejo Pérez, who succeeds at any point to keep the musical tension in place from the beginning to the end with a confident and controlled reading. The orchestra reacts perfectly.

CONCERTONET.COM, 24.05.2012 — on Rienzi (a concert production), Teatro Real Madrid — The other big hero of the evening is Alejo Peréz, a conductor who has already led several contemporary operas (Maderna, Henze, Rihm, Eötvös, Pintscher) and whose talent has been shining throughout the entire three and half hour production. Most of all, he impressed at the symphonic moments, which enrich the score and prove that here one deals with a by no means ‘inferior’ opera. Pérez’s technique is subtle, precise in detail as well as in its overall coherence. The Argentinian conductor is equally expressive, he is capable of providing the youthful opera its sense and verve, and we owe it to him that one would not miss a moment of this concert production. The result is magnificent. Alejo Pérez, a name which one should take a note of.

PERIODISTADIGITAL.COM, 22.5.2012 — on Rienzi (a concert production), Teatro Real Madrid —- The Argentinian conductor Alejo Pérez has excelled with 13 soloists, a hundred person choir, supported by the Philharmonic Choir founded by Mortier in 2002 and the orchestra, fully set with 122 people. (…) The musical director Alejo Pérez has impressed in a sustained manner. The Argentinian, who got his education in Germany, has previously only performed at Real with a concert production of a tribute to Cristóbal Halffter as well as to Luis de Pablo. He will conclude this season with a long awaited – at least by us – opera Aidanamar by Uruguayan Osvaldo Golijov. He has succeeded in taking the orchestra to the hitherto almost unknown heights and thus creating fulfilling evening.

ALTAMUSICA.COM, 22.4.2012 — on Le Rossignol, Opéra national de Lyon — An ensemble, which got together specifically for this occasion, goes through the evening under the clear and precise conducting by Alejo Peréz: a wonderfully transparent rhythm structure, a clear outline, an immaculate measure and balance of masses of sounds – as much as with reduced number of musicians in the first half as with a more numerous orchestra of the Rossignol, where a slight sharpening of the timbre flickers and hits the point exactly.

FAZ, 10.10.2011 — on Tristan and Isolde, Teatro Argentino de La Plata —- The Teatro Argentino, the opera of La Plata, the capital of the province Buenos Aires, which lies sixty kilometres away from Colón, has demonstrated that it can do otherwise. In August there was an impressive production of Wagner’s ‘Tristan’, complete with two casts. And there the chief conductor Alejo Peréz proved that continuous efforts make it possible to brilliantly rise up to challenges of Wagner’s exacting masterpiece. Several weeks earlier and with a similar success Rossini’s ‘The Journey to Reims’ was staged there. This required that one should find suitable soloists for sixteen roles – one of the reasons why this beautiful piece is staged so seldom. In La Plata almost all roles also had two casts – and these were almost entirely Argentinian singers!

CLARIN.COM, 21.08.2011 –- on Tristan and Isolde, Teatro Argentino de La Plata — The conductor Alejo Pérez, who is responsible for the first production of Wagner in German in La Plata, which was apparently the first Wagner production there to be taken seriously. A challenge which has been met with commitment and an incomparable professional skill. During the applause the entire orchestra had to come up on-stage to receive a long and well deserved ovation.

LA REVISTA NOTICIAS, 2010 –- about: Lady Macbeth of the Mtsensk District, Teatro Argenino — In regards to musicality, Alejo Pérez played a critical role. He is one of the best Argentinian conductors and led the orchestra in a remarkable concert, free of even the slightest disruption, and which contained moments of extreme intensity.

CLARIN.COM, 2010 — Worthy of an additional mention is the house orchestra, which pulled of a flawless interpretation both technically and musically under the direction of Alejo Pérez. The clarity of the various musical aspects, the almost didactically presented structures of each moment, as well as the superbly executed and numerous roles and solos rounded out a masterful performance, which was celebrated with copious applause and ovation from the audience.

LANACION.COM.AR, 2010 — Marcelo Lombardero and Alejo Pérez are possibly the top artists in their respective fields in Argentina. Alejo’s career has been climbing relentlessly, crowned with success and admiration. With great profundity, expressivity, and a convincing balance of sound, Pérez led both orchestra and choir through a difficult score and created a musical connection between the soloists, choir, and orchestra, which converged into a homogeneous, solid, and musical whole.

CLARIN.COM, 8/11/2009 – about: Nabucco, Teatro Argentino — The strength of this production lies in its musical realisation, which is above all the result of Alejo Pérez’ extraordinary work. He not only drives the orchestra to maximum performance, but also flawlessly masters tempi, communication with the singers and balance, in every detail.

MUNDOCLASICO, 23/10/2009 – about: La Damnation de Faust, Teatro Argentino — With a score which contains such violent contrasts and which is so loaded with emotion and strong colours, the conductor becomes the main character. Alejo Pérez’ work proves that we are here witnessing one of our greatest young conductors who lets this work shine in all its splendor, with an enormous rhythmic flexibility, confidently dealing with its abrupt harmonic and dynamic changes and creating both spirited outbursts of sound and the warmth and sweetness of certain more restrained moments.

LANACION.COM.AR, 23/11/2008 — The performance of Alejo Pérez, conducting the specialised instrumental ensemble, could not have been more accurate and convincing. The same is true for the performance of the choir from the group Vocal de Difusión (rehearsed by Mariano Moruja), playing a central role in the work.

CLARIN.COM, 23/11/2008 — The skillful Alejo Pérez conducted, and the performance of both the singers and the orchestra were immaculate.

BERLINER ZEITUNG, 27/10/2008 — The Ensemble Modern always performs stylistically confident and with expressive precision under the baton of Alejo Pérez.