Acclaimed as one of the world’s leading interpreters of the Italian and French repertoire, Evelino Pidò’s prestigious career has taken him to the most illustrious opera houses throughout the world, collaborating with artists, directors and orchestras of the highest calibre.
Recent highlights include La Wally at the Grand Théâtre de Genève, Simon Boccanegra for the Palau de les Arts Reina Sofia in Valencia with Placido Domingo, Adriana Lecouvreur at the Wiener Staatoper with Angela Gheorghiu, Guillaume Tell for La Monnaie, and Norma, a co-production between Opéra National de Lyon and Théatre des Champs Elysées in Paris.
Highlights in the 2014/15 season include debuts at the Gran Theatre del Liceu in Barcelona with La traviata and at the Bolshoi Theatre in Moscow for Rigoletto, Semiramide for Opéra de Lyon, Tosca for Opéra National de Paris, a return to the Royal Opera House, Covent Garden for Il Turco in Italia and to the Wiener Staatsoper for La Cenerentola.
After studying at Turin Conservatoire, Evelino Pidò completed his training at the Vienna Academy. It was his appearance at the Melbourne Festival of the Three Worlds which marked the start of his international career, leading to invitations to Australia for five consecutive seasons, including engagements at Sydney Opera House and for a tour with the ABC Symphony Orchestra. He then made his American début at Santa Fe Opera in 1993, which led to several return invitations in subsequent seasons and major engagements at Los Angeles Opera over the following years. He also made his debut at the Royal Opera House, Covent Garden in 1993, where his greatly acclaimed Barbiere di Sevilla led to several return invitations. He also made appearances at the Festival d’Aix en Provence and at the Opéra de Paris. In 2008, he made his début at the Teatro Real in Madrid with Gioconda, and conducted a new production of Sonnambula at the Metropolitan Opera, New York in 2009. He has since maintained a strong relationship with many of these houses. Pidò made his Wiener Staatsoper debut 2011 with a new production of Anna Bolena starring Anna Netrebko and subsequently took the Wiener Staatsoper on tour to Japan.
Pidò is equally at home with symphonic repertoire in which he has wide-ranging and diverse programmes: he has conducted the major Italian orchestras, including the orchestra of Santa Cecilia and also notably the Royal Philharmonic Orchestra, the Orchestre Philharmonique de Radio France and the Orchestre de la Suisse Romande.
In 2012, Evelino Pido received the much coveted Bellini D’oro prize for best interpreter of the music of Bellini. His discography includes a recording of French arias with tenor Vittorio Grigolo, Donizetti’s L’Elisir d’Amore with the Orchestra and Choir of the Opéra de Lyon for Decca; a recording of Rossini Overtures with the Royal Philharmonic Orchestra; two recordings with Roberto Alagna and Angela Gheorghiu and Rolando Villazon for EMI; a CD of arias with Nathalie Dessay and the Concerto Köln; and La Sonnambula with Nathalie Dessay for EMI Virgin Classics, which won a Diapason d’or and is critically acknowledged as a benchmark recording of this opera.
Evelino Pidò is represented by Intermusica.
July 2014 / 537 words. Not to be altered without permission. Please destroy all previous biographical material.
"Evelino Pidò is a specialist in this repertory [Donizetti] and he leads the Geneva forces in a well balanced account of what many people consider Donizetti's masterpiece”.
C. Mackenzie, Gramophone, January 2013
La traviata / Gran Teatre del Liceu
“… el director Evelino Pidò remarcó la belleza de la partitura de Verdi”[trans.] “… the conductor Evelino Pidò brought out the beauty of Verdi’s score”
Ana Marìa Dàvila, El Mundo, October 2014
Simon Boccanegra / Palau de les Arts Reina Sofia, Valencia
Dir. Lluís Pasqual
“The music was tailored with meticulous precision under the orders of Evelino Pido, a Maestro with the necessary sensibility (that is to say, intelligence) to make the music portray the sensations which were intended in the score. To mention just one of the many marvellous musical moments, we should make reference to the end of the first act, which was introduced with a perfect and convincing equilibrium of solemnity, emotion, and through formidable individual interventions (for example the one by the clarinet), concluded in a majestic musical sonority.”
“En lo musical todo encajó también con una precisión portentosa a las órdenes de Evelino Pidò, un maestro concertador con la sensibilidad (es decir, inteligencia) necesaria para conseguir que la música hiciera patentes las sensaciones que sucesivamente se busca provocar en la partitura. Por sólo citar una de las muchas secuencias de maravillas sonoras ofrecidas, nos fijaremos en el final del primer acto iniciado con una bendición de equilibrio absolutamente convincente entre solemnidad y emoción y, tras intervenciones individuales formidables (la del clarinete por ejemplo), concluida en un clima sonoro impresionante.”
Levante, March 2014
Adriana Lecouvreur / Wiener Staatsoper
Dir. David McVicar
“The orchestra under Evelino Pido shone – as already at the premiere – not only in the art of accompaniment, but also, thanks to their iridescent tones, as an atmosphere conjuror.”
“Das Orchester unter Evelino Pido glänzte - wie schon zur Premiere - nicht nur in Sachen Begleitkunst, sondern dank irisierender Farbenspiele auch als Stimmungszauberer.”
Wilhelm Sinkovicz, Die Presse, March 2014
“Evelino Pido richly fanned out the alluring tones of this multi-faceted score with the Staatsoper Orchestra. There is room for poetry, irony and drama.”
“Reich aufgefächert hat Evelino Pidó die reizvollen Klangfarben der vielschichtigen Partitur im Staatsopernorchester. Da ist Platz für Lyrik, Ironie und Dramatik.”
Helmut Christian Mayer, Opernnetz, February 2014
“Conductor Evelino Pidò is more than just the diva’s obedient companion – together with the State Opera Orchestra, he emphatically ensures that the qualities of the score in its final 1930 version are displayed in the right light. He demonstrates its distance from verismo and its proximity to French opera, allowing an almost impressionistic richness of colour to shimmer within the silky-smooth tapestry of sound he weaves.”
Ernst Naredi-Rainer, Kleine Zeitung, February 2014
“Conductor Evelino Pidò also plays his part. Together with the State Opera Orchestra, which was on good form, he conveys this sophisticated score with a wealth of nuance, leaving room for both irony and lyricism.”
Ljubiša Tošić, Der Standard, February 2014
"Conductor Evelino Pidò and the orchestra present an often beguilingly subtle working of what is, despite all of its impact, a memorial to Puccini."
Christoph Irrgeher, Wiener Zeitung, February 2014
"Musically, the podium held an authority on Italian opera in Evelino Pidò, whose hugely inspired and energetic conducting allowed the State Opera Orchestra to play with verve and tonal charm."
Oberösterreichische Nachrichten, February 2014
“Opulence was also the motto in the pit, where Evelino Pido conducted with subtlety, but also was not afraid of firing from all cylinders at the appropriate moments, and in doing so did not disregard the touching sides of the score.”
“Opulenz war auch das Motto im Graben, wo Evelino Pido den feinen Bogen ausspielte, aber auch das Feuern aus vollen Rohren an passender Stelle nicht scheute und dabei die berührenden Seiten der Partitur nicht außer Acht ließ.”
OE24, February 2014
Norma / Théâtre des Champs Elysées
“As always Evelino Pido`s conducting was virtuosic.”
Forum Opera, November 2013
Gounod Roméo et Juliette / La Monnaie
“The star of the show was Evelino Pidò, who conducted the uncut version of the piece (excluding only the ballet) with real fervour, whilst the Orchestre Symphonique de la Monnaie followed his every movement.”
Luxemburger Wort, March 2013
“…Gounod intended his ‘Roméo et Juliette’ to belong to the great tradition of French Romantic historical operas. And that’s exactly how Evelino Pidò interpreted the piece, with invigorating energy.”
Le Soir, March 2013
“The conductor, Evelino Pidò, launched into the piece like a whirlwind. For three and a half hours, from moments of vehemence down to the softest murmur, he did not slacken for one second: no hesitation, no lulls, just a terrific sense of energy paired with a natural flexibility, giving the singers freedom within his shaping of the piece.”
La Libre Belgique, March 2013
“…playing with intimacy and power… Under the expert conducting of Evelino Pidò, the orchestra was definitely the biggest factor in the performances’s success.”
Crescendo Magazine, March 2013
Donizetti Anna Bolena / Wiener Staatsoper at the Tokyo Bunka Kaikan
“Evelino Pidò is an ideal Donizettian conductor – the Vienna State Opera Orchestra offered him its most Italian sound and the extra polish of an orchestra used to Mozart and R. Strauss. He produced the ideal balance between orchestra and singers, never let rhythms sag, found excitement in buoyancy rather than in weight (as this repertoire demands) and made his musicians sing with the singers, not only in solo passages. This alone would have made this performance worth the while”.
Wordpress, October 2012
Gounod Faust / Royal Opera House, Covent Garden
dir. David McVicar
Much praise is also due to Evelino Pidò, who conducted with tremendous relish and stopped the undeniable soupiness in the score from turning glutinous.
Rupert Christiansen, The Independent, September 2011
“Evelino Pidò, whose recordings with Natalie Dessay (Lucie de Lammermoor and La sonnambula) have impressed so much, inspired the Covent Garden orchestra to great things, invoking the heavenly and the hellish with equal relish and, respectively, sensitivity and infernal energy”.
Evan Dickerson, Seen and Heard International, September 2011
Donizetti Don Pasquale / Royal Opera House, Covent Garden
dir. Jonathan Miller
“Evelino Pidò is completely at home with Donizetti's demanding score, his orchestra gave its considerable all”.
Paul Levy, The Wall Street Journal, September 2010
“Conducting by Evelino Pidò, an excellent replacement for the late Charles Mackerras, gave a thrill to the overture before launching into some lyrical moments, and pacing things very well”.
Mark Ronan’s Theatre Review, September 2010