Alessandro De Marchi is in demand at the highest level for his interpretations of repertoire ranging from the early Baroque through the works of Mozart, Haydn and their contemporaries, to the late Bel Canto masterpieces.
As a guest conductor he has appeared among others with Wiener Symphoniker, Staatskapelle Dresden, Münchner Rundfunkorchester, SWR Symphony Orchestra, Orchester der Komischen Oper Berlin, Hamburger Symphoniker, NDR Radiophilharmonie, Frankfurt Radio Symphony, Tonkünstler-Orchester, Orchestre National de France, Bergen Philharmonic Orchestra, Orchestra Teatro Regio Torino, Orchestra dell’Accademia Teatro alla Scala, Orchestra dell’Accademia Nazionale di Santa Cecilia, Orchestra del Maggio Musicale Fiorentino, Orchestra del Teatro La Fenice, Orchestre de Chambre de Genève…
With the Staatskapelle Berlin, he launched a special project dedicated to The Art of Fugue.
Projects with his own period Ensemble, the Academia Montis Regalis, embrace performances at the Innsbrucker Festwochen der Alten Musik, Musikfestspiele Potsdam Sanssouci, Bergamo Donizetti Festival, Paris Théâtre des Champs-Elysées and London Wigmore Hall. Since 2009, De Marchi has held the position of Artistic Director at the Innsbruck Festival.
A passionate advocate for lesser-known works, he has championed Cimarosa’s Matrimonio segreto and Graun’s Cesare e Cleopatra (Staatsoper Berlin), Hasse’s Cleofide (Dresden), Haydn’s Orlando Paladino (Concertgebouw Amsterdam), Pergolesi’s Olimpiade (Teatro San Carlo di Napoli, Innsbruck, Pergolesi Festival in Jesi), Porpora’s Germanico in Germania and Leonora by Ferdinando Paër (Innsbruck). He conducted the first modern representation of Merope by Farninelli’s brother Riccardo Broschi at both the Innsbruck Festival and Theater an der Wien.
Equally associated with the operas of Rossini and Handel, De Marchi has conducted Ermione at the Naples Teatro di San Carlo, La Cenerentola, Il Barbiere di Siviglia, L’Italiana in Algeri and Demetrio e Polibio at opera houses such as Teatro Regio Torino, Staatsoper Hamburg, Semperoper Dresden, Staatsoper Berlin, Israeli Opera Tel Aviv, La Monnaie Bruxelles.
He has led Giulio Cesare, Alcina, Teseo, Orlando, Rinaldo at Semperoper Dresden, Opéra de Lyon, Komische Oper Berlin, Aalto Theater Essen and at the Handel Festspiele Halle.
Also very much at home in Classical repertoire, he has conducted Gluck’s Iphigenie en Tauride in Hamburg, Iphigenie en Aulide in Vienna and Orphée et Eurydice in Hamburg and Baden-Baden. Encounters with Haydn include L’Isola disabitata at the Staatsoper Berlin and Innsbruck.
Mozart forms an extensive part of his activities: De Marchi has led performances of La Clemenza di Tito (Innsbrucker Festwochen and the National Theatre in Prague), Don Giovanni (Hamburg, Berlin), Così fan tutte (Brussels) and Le Nozze di Figaro (Berlin State Opera) as well as Die Entführung aus dem Serail (Dresden).
An extensive discography includes La Sonnambula with Cecilia Bartoli and Juan Diego Flórez for Decca, Il Trionfo del Tempo e del Disinganno for Hyperion, Vivaldi’s Juditha triumphans and Orlando finto pazzo for Naïve, L’Incoronazione di Poppea for EuroArts, Enrico di Borgogna and L’Elisir d’amore for Dynamic (DVD). For Sony/Harmonia Mundi, he released the CD “Handel-Caldara: Carmelite Vespers 1709” and three world premiere recordings: L’Olimpiade by Vivaldi, La Stellidaura vendicante by Provenzale and Flavius Bertaridus by Telemann. With Sonya Yoncheva he issued an album dedicated to Handel on Sony Classical followed by concerts at Salzburg Festival and Paris Philharmonie among other cities. His recording of La Clemenza di Tito was awarded a Diapason d’Or.
Among his recent and forthcoming engagements are Rossini’s Cenerentola at Semperoper Dresden and the rarity Silla by Graun for the Innsbruck Festival. Moreover, he will lead the Orchestre de l’Opéra de Rouen Normandie for Gluck’s Don Juan at Chapelle Corneille Rouen and the Sinfonieorchester Basel for Bach’s Matthäus-Passion at Theater Basel.