having taken this position immediately after his debut with the orchestra in autumn 2008. Together they performed i.a. in Konzerthaus Vienna, Grosses Festspielhaus Salzburg, Palace of Arts Budapest, Stefaniensaal Graz, Brucknerhaus Linz, Queen Elisabeth Hall Antwerpen, Reduta Hall in Bratislava, at festivals Dvorak's Prague and European Weeks in Passau, and throughout Japan. At the beginning of 200. Anniversary season of Musikverein Graz in September 2014, he will lead his orchestra in pure Wagner-programme.
In spring 2015 he will conduct Brno Philharmonic in Maribor and Villach. During 2014/15 season, he will make debut with Leeds Opera North, Lübeck Philharmonic and Mannheim Chamber Orchestra, and follow re-invitation of Beethoven Orchestra Bonn and Bournemouth Symphony Orchestra.
In 2013/ 14 season Aleksandar Markovic continued his close collaboration with symphony orchestras of Croatian Radio and Czech Radio Prague, Qatar Philharmonic, State Orchestra Braunschweig, Slovenian Philharmonic and Janacek Philharmonic Ostrava. He made a successful debut with Györ Philharmonic and Bremen Philharmonic.
Aleksandar Markovic opened Wagner- Year 2013 with new production of Flying Dutchman at Slovenian National Theatre Ljubljana, followed by concert- performance of Rienzi in Philharmonie am Gesteig in Munich. During past seasons he conducted Symphony Orchestra of Spanish Radio Madrid, Vienna Symphony Orchestra, Dresden Philharmonic, Stuttgart Philharmonic, Staatskapelle Halle, Kremerata Baltica, Prague Symphony Orchestra, Slovak Philharmonic, Konzerthausorchester Berlin, DSO Berlin, Mozarteum Orchestra Salzburg and Scottish Chamber Orchestra.
At the age of 29, Aleksandar Markovic was appointed Chief Conductor of Tyrolean Opera House Innsbruck (Tiroler Landestheater), position he held from 2005 till 2008. He brought out highly acclaimed productions of Salome, Der fliegende Holländer, Madama Butterfly, Tosca, Cavaleria Rusticana/ I Pagliacci, Le nozze di Figaro, Romeo et Juliette, Traviata, Nabucco, Norma, and Swan Lake, and many innovative symphonic programmes. He worked with I.a. Vienna Chamber Orchestra and Concertverein, Budapest Concert Orchestra, Lithuanian National Symphony Orchestra, Symphony Orchestra of St. Gallen, Franz Liszt Chamber Orchestra, Nürnberg Philharmonic, Belgrade Philharmonic, State Philharmonic Rheinland-Pfalz, Rhone Philharmonic Koblenz, Württemberg Philharmonic and Zagreb Philharmonic. He lead new production of La forza del destino at National Theatre Belgrade, and conducted at National Theatre Prague and Landestheater Salzburg.
Regular guest of international music festivals, Aleksandar Markovic opened Wiener Festwochen 2008 and gave concerts at Mecklenburg- Vorpommern Music Festival, Bratislava Music Festival, Belgrade Music Festival, Murten Music Festival and Kissinger Sommer Festival. He conducted at Janacek May festival in Ostrava, Festival of Nations in Bad Wörishofen, and was awarded the prize “Judita” for the best music performance at Split Summer Festival 2013.
During his tenure in Brno , Aleksandar Markovic developed special affinity for music of Janacek and Martinu. In concert halls of Madrid, Prague, Bremen and Doha he ardently promoted Scriabin. In addition to extensive symphonic and operatic repertoire, he regularly interprets 20th century avant- garde and music of contemporary composers, such as Hartmann, Schiske, Istvan, Rozsa, Ligeti, Lutoslawski, Glass, D’Ase , Pintscher, Larcher, Tüür, Yusupov and Salonen.
Aleksandar Markovic is First Prize Winner of the 7th International Conducting Competition “Gregorz Fitelberg” in Katowice, Poland. He graduated from conducting class of Leopold Hager at the University of Music and Performing Arts in Vienna, Austria (Universität für Musik und darstellende Kunst Wien), and attended master classes at Accademia Musicale Chigiana in Siena, where he has been awarded Diploma d’onore. He held a scholarship of prestigious Herbert von Karajan Foundation Berlin.
Konrad Dittrich, Lübecker Nachrichten,17.2.2015
“The program, with which Markovic on friday evening guest-conducted the Konzerthaus Orchestra offered plenty of opportunity for everyone to make a clear picture of versatility of the young conductor, who achieves a relaxed Haydn-attitude without being boring, on the other side temperamentally letting the sparks fly in an early Ligeti-work. Berlioz' Symphonie fantastique sounded full of fascinating details, never losing an impressive, clear vision of the whole."
Berliner Zeitung, 24 April 2009
"With masterly prepared musical menu, Aleksandar Markovic triggered a great exaltation in full Beethoven Hall... With clear gestures he brought the orchestral colors to luminous expression (Ravel, Rapsodie espagnole)... Markovic emphasized the clarity and audibility of finest instrumental ramifications. Thus, the sound cosmos of "Les parfumes de la nuit" could unfold it's magic effect (Debussy, Iberia)."
Bernhard Hartmann, General- Anzeiger Bonn, 1.9.2014
- Kronen-Zeitung, 1 October 2008
"Aleksandar Markovic, the young principal conductor of the Tyrolean Symphony Orchestra, is responsible for the formidable musical quality of the performance. Under his direction, the orchestra generates a compact sonic experience and substantial, though never primitive, drama; always with close attention to the singers – an extraordinary evening!"
Das Opernglas, May 2006
“The well-received premiere owed much to its spirited conductor, Aleksandar Markovic, who led the Tyrolean Symphony Orchestra of Innsbruck with great élan, yet also with a feel for Verdi’s sensitive lyric valeur, resulting in high spirits in a sold-out opera house.”
Der Standard, 6 February 2007
“The Tyrolean Symphony Orchestra of Innsbruck under the direction of Aleksandar Markovic is better than it has almost ever been in the past. They demonstrate beauty in slowness and a feeling for the grand moments of the piece.”
Kronen-Zeitung, 5 February 2007
“Aleksandar Markovic is a full-blooded musician on the conductor’s stand. It’s truly a pleasure observing how he interacts with the singers and becomes completely absorbed in the music. He conducts a sensitive Puccini with much emotion and the requisite dramatic feel.”
Der Neue Merker, March 2008
“A festival for both ears and eyes! Aleksandar Markovic was a Godsend, conjuring with the sensitive performance of the Tyrolean Symphony Orchestra of Innsbruck a splendid, unsentimental interpretation of Puccini’s most misinterpreted score, supporting the singers with a transparent tapestry of sound.”
Der Neue Merker, December 2005
“Conductor Aleksandar Markovic is largely responsible for this sovereign musical achievement, accentuating the drama in synergy with the orchestra.”
Kurier, 14 November 2005
“Under the guidance of Aleksandar Markovic, the orchestra marvelously imparts the musical expression of Japan whilst never neglecting the atmospheric charm of the typically Italian. Markovic’s conducting convinces with its attention to detail and subtle nuances, allowing a multifaceted sonic tapestry to arise, which draws its strength from the many tender melodies of the piece.”
Kronen-Zeitung, 14 November 2005
“Another under-thirty wunderkind, music director Aleksandar Markovic led a magnificently paced performance, prefaced by an expansive overture that slowly mounted to a thrilling climax, apparently hypnotizing the Tiroler Symphonieorchester into thinking it was the Wiener Philharmoniker.”
Opera News, Larry L. Lash 23.6.2007
“Wagner’s Flying Dutchman, expeditiously directed with dynamic acumen and suspense [...] by Aleksandar Markovic [...] becomes an uninterrupted ballad intensifying to the point of exhaustion – a triumph of obsession.”
Der Standard, 26 June 2007
“Right from the overture, conductor Aleksandar Markovic unleashes the fiery drama that inescapably signals the coming storm. With fast-paced tempi and intensive dynamics, he holds the singers and orchestra at ceaselessly high tension throughout the evening.”
Kronen-Zeitung – Jutta Höpfel, 25 June 2007
“Conductor Aleksandar Markovic guides the Tyrolean Symphony Orchestra through the piece with a downright narrative dramaturgy of tempo and dynamics. The orchestra is decisive, yet sophisticated.”
Tiroler Tageszeitung, 25 June 2007
“Aleksandar Markovic drew taught, unsentimental, theatrically compelling performances from the Tiroler Sinfonieorchester while keeping tight watch over his singers, as when one long arm jumped above the pit to hold off an early entrance. Just past thirty, he is a conductor to watch.”
Opera News, April 2008
“A cultivated orchestra under the leadership of the spirited conductor, Aleksandar Markovic: simply delectable.”
Der Neue Merker, April 2008
“Conductor Aleksandar Markovic directed and inspired the currently superb Tyrolean Symphony Orchestra to deliver incendiary climaxes and beautiful lyricism.”
Kronen-Zeitung, 24 September 2007
“At the helm of the Tyrolean Symphony Orchestra, Aleksandar Markovic seemed to savor each and every note. The orchestra was in top form.”
Stadtblatt Innsbruck, 26 September 2007
“Conductor Aleksandar Markovic and the Tyrol Symphony Orchestra exude the music with both delicacy and a firm grasp of the material.”
Die Furche, 19 June 2008
“In all, what sounded from the orchestra pit was destined to have the evening end in jubilant applause.”
Wiener Zeitung, 17 June 2008
“At this premiere, Aleksandar Markovic kept a tight rein on the proceedings, elicited entrancing soli from the Tyrol Symphony Orchestra of Innsbruck, and applied himself with delicacy to the wonderful lyricism of the score.”
Tiroler Tageszeitung, 17 June 2008
“Conductor Aleksandar Markovic is, most certainly, the key figure of an extraordinary level of interpretation of the National Theater Opera. The orchestra sections, "polished" beyond recognition, and chorus (usually reliable), but this time, even more assured, sounded unison in perfection. Indeed, we can not recollect when, the last time, we heard such a high quality of music performance of the National Theater ensemble. Markovic's authority and undeniable competence (proof of which is the extremely impressive biography for his young age), inspired these artists to reach the enviable level, quite in accordance to standards expected from a European capital opera house.”
NIN, July 7 2009
“Excellent, experienced Brno Philharmonic Orchestra presented itself in best- form. Together with extremely precise and clearly understandable singing of Czech Philharmonic Choir from Brno, Aleksandar Markovic succeeded in invoking a rousing interpretation.”
Das Opernglas, June 2013
“Aleksandar Markovic impressed with sovereign, individual interpretation. The colorful sound- painting was marked by precision, finely balanced details and constant flowing of music, compelling through interesting tempos and balance between different orchestra groups, rich in contrast.”
Weser Kurier, 21.5.2014
"Stravinsky's ballet "The Rite of Spring" demands a great deal of intensive orchestral playing, biting sharpness, rhythmical conciseness and sound- orgies, all of this topped by an excessive amount of virtuosity. Aleksandar Markovic offered an impressive, sovereign and profiled interpretation rich with contrasts, subtle expressions and heart- felt lyricism."
Oberösterreichische Nachrichten, 13.1.2011
"..Igor Stravinsky's ballet "The Rite of Spring", with it's unprecedented rhythmical elemental force and dynamical outbursts, represents a measure of capability for every young conductor. Markovic's suggestive conducting skills drove the Brno Philharmonic Orchestra to deliver an aroused, incredibly precise interpretation, which turned the performance into an event."
Neues Volksblatt, 13.1.2011
(…) “Aleksandar Markovic once again proved to be a conductor who can retain a sovereign overview of monumental works and execute them with great confidence. Two years previous, he had celebrated his debut at the Grazer Musikverein with Anton Bruckner’s Symphony No. 8, and now he was initiating its programmatic focus on Gustav Mahler’s 150th anniversary with the latter’s Third Symphony. Leading the Brno Philharmonic, who appointed him their principal conductor last year, he delivered the six movements of this sonorous spectacle in a grand dramaturgy. Orchestra achieved Mahler’s extolled “polyphony of life” with remarkable precision. “
Kleine Zeitung, 20.1.2010
“Aleksandar Markovic is only 33 years old, which means for a conductor still quite young, but radiates, smiling widely from the podium, such confidence and persuasive power, founded not only on his abilities, but also on already rich experience. (...) The program, with which Markovic on friday evening guest-conducted the Konzerthaus Orchestra offered plenty of opportunity for everyone to make a clear picture of versatility of the young conductor, who achieves a relaxed Haydn-attitude without being boring, on the other side temperamentally letting the sparks fly in an early Ligeti-work. Berlioz' Symphonie fantastique sounded full of fascinating details, never losing an impressive, clear vision of the whole.”
Berliner Zeitung, 24 April 2009
“A true wonder of a concert, and based on a truly wonderful program, resplendently conveyed by Aleksandar Markovic and the brilliant Konzerthausorchester. […] The first piece, Ligeti’s Cocert Romanesc, was already greeted with jubilant cheers. […] Yet Haydn too has suddenly become popular with the young generation. His resilient elegance, his power of sustenance turned into music […] found their agile interpreter in Markovic. As a clincher, he summoned the five – still stunning – episodes of Berlioz’s delightfully narrative Fantastic Symphony.”
Berliner Morgenpost, 28 April 2009
“Markovic’s fervent interpretational temperament saw him stride through Haydn’s symphony (N°103) with earnestness and expressive purpose, capturing the broad spectrum between rusticity and sublimity. His approach to Brahms' Haydn- Variations was rich in significance.”
Fränkische Landeszeitung, 17 March 2009
“Markovic accentuates strong contrasts, and shapes the individual movements as cohesive characters, which results in many moments of beauty, particularly with Brahms’s Variations. He also exorcises Haydn’s Symphony of any trace of antiquated complacency.”
Stuttgarter Zeitung, 18 March 2009
“Aleksandar Markovic is a conducting Supertalent, and by temperament more a podium star than a kapellmeister. With great confidence and determination, he led the outstanding musicians of the Slovak Philharmonic through Anton Bruckner’s Eighth. Markovic’s effect-conscious, gutsy approach interprets Bruckner not as solemn, quasi-religious confessional music, but as a pace-laden, orchestral showpiece.”
Kronen-Zeitung, 1 October 2008
“Aleksandar Markovic (33), who opened the orchestral concert cycle of the Steirischer Musikverein at the helm of the Slovak Philharmonic with Anton Bruckner’s Eighth Symphony, does not view this monumental opus as a “profound mystery”. His approach to Bruckner’s last finished symphony is soberly objective and strictly eschews any trace of nebulosity. Instead, he storms through the unwieldy score in its final 1890 version with youthful élan.”
Kleine Zeitung, 1 October 2008
“Markovic's debut with the SCO on its central Scotland tour was quietly impressive. Directing a programme of Haydn, Mozart and Beethoven, the orchestra's bread-and- butter repertoire, Markovic displayed great confidence and the right amount of exuberance to make for vital, engaging performances of Haydn's Symphony No 96 and Beethoven's Eighth, while eschewing unnecessary theatrics. (...) It is rare to hear such clarity in the finale of Beethoven's Eighth as was achieved here, Markovic taking the movement a shade slower than usual in a way that allowed the detail of the intricate string writing to come through without sacrificing any of the energy.”
The Guardian, 8.9.2008
The provocative name of Dagmar Pecková’s new album conceals an interesting dramaturgical idea of William Didden and Dagmar Pecková herself. All the characters from the arias played by the successful mezzosopranist have a common characteristic – sin.
All the arias are arias of women–sinners. Each of these women has wronged someone and themselves. “My new record is about sin and forgiveness. I believe the stories of sinners, music and singing that this album brings will be an impulse for a deeper reflection. Forgiveness itself is a healing phenomenon. Both human relationships and souls need it to be healthy,” Dagmar Pecková ponders and adds: "If you look at the opera characters in the field of mezzo-soprano, almost each of them can be described as a sinner. Perhaps it is caused because of the darker color of the voice. "
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