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, Orchester der Komischen Oper Berlin, Hamburger Symphoniker, NDR Radiophilharmonie, Frankfurt Radio Symphony, Tonkünstler-Orchester, Orchestre National de France, Orchestra del Teatro Regio di 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 and Wigmore Hall in London. Since 2009 De Marchi has held the position of Artistic Director at the Innsbruck Festival and will continue so until 2021.
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) and Pergolesi’s Olimpiade (Teatro San Carlo di Napoli, Innsbruck and Pergolesi Festival in Jesi). 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 La Cenerentola, Il Barbiere di Siviglia, L’Italiana in Algeri and Demetrio e Polibio at opera houses such as Turin, Hamburg, Dresden, Staatsoper Berlin, La Monnaie Bruxelles, and 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 and Iphigenie en Aulide in Vienna. 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 (Innsbruck 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).
Other operatic engagements embrace Dido and Aeneas (Florence), L’Incoronazione di Poppea (Oslo), Anna Bolena (Cologne), Don Pasquale and La Vestale (Brussels), Guillaume Tell (Hannover).
An extensive discography includes La Sonnambula with Cecilia Bartoli and Juan Diego Flórez for Decca; L’Olimpiade, La Stellidaura vendicante, Flavius Bertaridus and the CD “Handel-Caldara: Carmelite Vespers 1709” for Sony/Harmonia Mundi; 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 and L’Elisir d’amore for Dynamic (DVD). His recording of La Clemenza di Tito was awarded a Diapason d’Or.
Among his recent and forthcoming engagements are Gluck’s Orphée ed Eurydice at the Staatsoper Hamburg and Festspielhaus Baden-Baden; Rossini’s Ermione at the Naples Teatro San Carlo and Il Barbiere di Siviglia at both the Israeli Opera Tel Aviv and Semperoper Dresden; Bach’s Weihnachtsoratorium at the Hamburg Staatsoper and Matthäus-Passion at the Teatro Regio Torino. He conducts the rarity Leonora by Ferdinando Paër in Schwetzingen, Innsbruck and Bonn.