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"The Italian pianist Alessandro Conti has achieved what great music - and indeed all music - always demands: he internalized it and made it intimately his" Michael McDonagh

Alessandro Conti, pianist and conductor, proposes a dialogue between classic and contemporary.

After completing his studies at the S. Cecilia Conservatory in Rome, Alessandro Conti continued his training abroad, specializing in Vienna, Helsinki and Tallinn. Pupil of Paul Barnes, Krassimira Jordan and WolfangWatzinger for piano, Ivan Vandor for composition, Piero Bellugi, JormaPanula, ArkadyLeytush and PaavoJärvi for conducting, he also stands out for his humanistic training. First graduated in Philosophy, he continued his studies with a second degree in History of Religions.



– As a pianist he has performed in Italy and abroad, holding, among others, recitals at the Kaisersaal in Vienna, at the Teatro Marcello, Teatro Keiros, Teatro di Villa Torlonia in Rome, Sala Eutherpe in Valencia. He has given the first Italian performances of works such as Images by Howard Skempton, Time Curve Preludes by William Duckworth. The first Italian performer to perform the complete Piano Etudes by Philip Glass in a single concert (June 2017), as well as some unpublished pieces (Vision, Monsters of Grace) included in the retrospective (2017) dedicated to the complete piano works of the American composer (I. Original Works: on Melancholy; II. Transcriptions: on Ardor; III. Complete Etudes: on Perfection). He has conducted the Orquestra Reino de Aragón (Madrid – Riva del Garda), the Blue Danube Symphony Orchestra (Budapest), “OlegDanovski” Opera and Ballet Theater Orchestra (Costanta), Baltic Festival Orchestra (Tallinn), Astrakhan Conservatory Orchestra, Astrakhan Philharmonia Orchestra (Astrakhan).



- As a conductor, he has worked both in Italy and abroad, taking part in international festivals (such as Musica Riva Festival, Baltic Festival), reaching Northern Europe and Russia, with a repertoire that extends from classical symphony to fundamental pages of the late romantic repertoire (Tchaikovsky and Sibelius in particular), to opera productions.


Each choice of repertoire, as well as the construction of the concert program itself, is the result of a research path that also embraces the figurative art and literature (remember, for example, the recitals dedicated to Nabokov and the relationship between music and autobiography ).

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