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.
Highlights of Pidò’s 2018/19 season includes numerous returns to the Wiener Staatsoper, notably with a new production of Donizetti Lucia di Lammermoor directed by Laurent Pelly. He also returns to Opéra National de Paris for Rossini La Cenerentola, and to the Royal Opera House, Covent Garden for Donizetti La Fille du regiment.
Recent highlights for Pidò include his debut at the Teatro all Scala with Rigoletto and his acclaimed return in 2017 with La Boheme, I Puritani at the Teatro Real, Zelmira for Opéra National de Lyon, Adriana Lecouvreur in concert at La Monnaie, Anna Bolena and Don Pasquale at the Wiener Staatsoper, La traviata at the Gran Theatre del Liceu, Rigoletto at the Bolshoi Theatre, La Traviata for Teatro Colon, Tosca and Don Pasquale for Opéra National de Paris, Il Turco in Italia at the Royal Opera House, Covent Garden, La Wally at the Grand Théâtre de Genève, and Simon Boccanegra for the Palau de les Arts Reina Sofia in Valencia with Placido Domingo.
In 2012, Evelino Pidò 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, and La Sonnambula with Natalie Dessay for EMI Virgin Classics, which won a Diapason d’or and is critically acknowledged as a benchmark recording of this opera.
A return to the Wiener Staatsoper for Rigoletto, Anna Bolena and Don Pasquale
I Puritani Teatro Real, Madrid
Zelmira Opéra National de Lyon
Maria Stuarda and Werther Ópera de Tenerife
Adriana Lecouvreur in concert La Monnaie
The star of the show was Evelino Pidò, who conducted the uncut version of the piece with real fervour, whilst the Orchestre Symphonique de la Monnaie followed his every movement.
As always Evelino Pido's conducting was virtuosic.
His sheer sense of style, the subtle variations in tempi and dynamics within a phrase, an ability to let time momentarily stand still or drive a climax without drowning his cast, all made this evening a bel canto experience to treasure