Symphonic and Operatic Conductor
- „Marković was startling with his sudden, combative and wielding movements. He showed himself perfectly up to the task, claiming for himself the Saint George’s Eve.” Alexandre Nunes de Oliveira, El Punt Avui, 24.04.2023
- „Aleksandar Markovic skillfully molded the corresponding shifts, from the melancholy to the delirious – the dance numbers came to life with palpable excitement.“ Eugene Onegin, Seattle Opera, Thomas May, Bachtrack, 13.01.2020
- “Aleksandar Marković undoubtedly played a large part (in the formidable musical level of the production). The Serbian-Austrian maestro produces a subtle and multifaceted reading with the orchestra of the Ljubljana Opera House. The masterpiece by the Bavarian composer resounds transparent, delicate, carefully shaped and with chamber-music like refinement, but also effective through soaring climaxes, all the way up to the final apotheosis.” Strauss: “Ariadne auf Naxos”, Slovenian National Theater Ljubljana Dr. Helmut Christian Mayer, Grazer Kleine Zeitung, 19.10.2022
News
About
Aleksandar
Marković
As an internationally active symphonic and operatic conductor, Aleksandar Marković‘s unique interpretations form the crucial link between the work of art, the musicians and the audience. His passion and commitment to his work result in interpretations that are deeply moving and intensely perceptible experiences for all who hear them.
his work
Event
Calendar
December 2024
Monumental Beethoven
Monumental Beethoven
Beethoven
Show past Events
2022-PRESENT
Principal Guest Conductor of Sinfonia Varsovia
Aleksandar Markovic is the Principal Guest Conductor of Sinfonia Varsovia. Together they initiated 2023/24 season by performing three concerts at sold-out La Folle Journée Festival in Warsaw, and recording integral violin concertos of Pierre Wissmer with Oleg Kaskiv for the Swiss label Claves. In October 23' the recording of Rachmaninov "Paganini Variations" with Nathanael Gouin for label Mirare will be released. Their exciting touring schedule for the 2022/ 23 season included concerts at La folle journée Festival in Nantes and the region, a performance of Penderecki's drammatic Symphony Nr.2. at Athen's Megaron and appearance at Ravenna Festival where they joined forces with Youth Orchestra Luigi Cherubini to deliver a Penderecki, Beethoven and Gorecki experience. At home in Warsaw they presented Mahler's Symphony Nr.1 and a world premiere of Ash by Pawel Mykietyn within Anniversary Concert at Polish National Theater, and performed at the opening and closing concerts of Sinfonia Varsovia Summer Festival. The CD recording of Szymanowski and Nielsen violin concertos with Anna Agafia has been released by Claves.
2022
Principal Guest Conductor of Sinfonia Varsovia
Aleksandar Marković is the Principal Guest Conductor of Sinfonia Varsovia, effective from September 1. 2022. His exciting schedule ahead includes a CD recording of Szymanowski and Nielsen violin concertos with Anna Agafia Egholm, and a world premiere of commisioned work by Pawel Mykietyn alongside Mahler's Symphony Nr.1. During the 2021/22 concert season they appeared at the 19. Lutoslawski "Chain" Festival in Warsaw with an energising programme featuring works of Polish modern Classics Lutoslawski, Szymanowski, Dobrowolski and Regamey. Aleksandar conducted the orchestra's prestigious Anniversary Concert at Warsaw Opera House, featuring works of Penderecki, Chopin and Schumann. He lead Sinfonia Varsovia in the opening and closing concerts of their Summer Festival, with repertoire ranging from Mozart, Schumann, Debussy and Honegger to Phillip Glass, and a world preimere of "Bbrass Concerto" by contemporary Polish composer Mikolaj Majkusiak.
2021-2023
CHIEF CONDUCTOR OF VOJVODINA SYMPHONY ORCHESTRA
As Chief Conductor of Vojvodina Symphony Orchestra, Aleksandar opened the 2022/23 season with Julian Rachlin at an open-air event Korzo. He takes the orchestra to Belgrade Music Festival with works of Strauss and Scriabin, and collaborates with Misha Maisky in an all- Tchaikovsky Winter Dreams programme. The previous season featured two programmes within the frame of Novi Sad being the European Capital of Culture 2022: the closing concert of the Migration concert series and Mahler's monumental Symphony Nr. 2 Ressurection. Other highlights included Strauss's Ein Heldenleben and Verdi's Messa da Requiem.
2020
US DEBUT AT SEATTLE OPERA
Aleksandar Marković made his US debut at Seattle Opera with Tchaikovsky's Eugene Onegin In January 2020. After the interruption due to the pandemic, he continued his international activity, reappearing with Sinfonia Varsovia, Silesian Philharmonic in Katowice and NOMUS festival in Novi Sad. He conducted concerts, tour and recordings with the Croatian Radio and Television Symphony Orchestra, and returned to the Slovenian National Theatre, conducting a new production of Stravinsky's Oedipus rex and Appolon musagéte.
2018
Aleksandar records Kasyan Goleizovsky ballet Scriabiniana and Lorenz Dangel’s ballet Satori for Sergey Polunin’s dance company.
2020
US DEBUT AT SEATTLE OPERA
Aleksandar Marković made his US debut at Seattle Opera with Tchaikovsky's Eugene Onegin In January 2020. After the interruption due to the pandemic, he continued his international activity, reappearing with Sinfonia Varsovia, Silesian Philharmonic in Katowice and NOMUS festival in Novi Sad. He conducted concerts, tour and recordings with the Croatian Radio and Television Symphony Orchestra, and returned to the Slovenian National Theatre, conducting a new production of Stravinsky's Oedipus rex and Appolon musagéte.
2018
Aleksandar records Kasyan Goleizovsky ballet “Scriabiniana” and Lorenz Dangel’s ballet “Satori” for Sergey Polunin’s dance company.
2016-2017
MUSIC DIRECTOR OF
OPERA NORTH
As Music Director of Opera North he conducted Janacek’s Jenufa and Strauss’s Der Rosenkavalier, as well as several concert appearances with the Orchestra of Opera North with repertoire ranging from Mozart through Schumann, Wagner, and Strauss.
2015-2017
GUEST CONDUCTING APPEARANCES
Royal Liverpool Philharmonic Orchestra, City of Birmingham Symphony Orchestra, RTE Symphony Orchestra of Ireland, National Orchestra of Belgium, Munich Radio Orchestra, Stavanger Symphony Orchestra, Odense Symphony Orchestra, Bournemouth Symphony Orchestra, BBC Scottish Symphony Orchestra, Malmö Symphony Orchestra.
2009-2015
MUSIC DIRECTOR AND PRINCIPAL CONDUCTOR OF THE BRNO PHILHARMONIC ORCHESTRA
During his time with the Brno Philharmonic, Aleksandar aquired a repertoire of Czech masterpieces ranging from Smetana and Dvorak, to Suk, Martinu and Janáček, and conducted most of large scale symphonic music of Bruckner, Strauss, Mahler and Scriabin. In addition to their annual season, he took the orchestra to the Vienna Konzerthaus, Grosses Festspielhaus Salzburg, the Palace of Arts Budapest, Brucknerhaus Linz, the Queen Elisabeth Hall Antwerp, Reduta Hall Bratislava, Passau’s European Weeks festival, and on an extensive tour of Japan. In the autumn of 2014 they performed an all- Wagner programme in Stefaniensaal, Graz, for opening of the Musikverein für Steiermark’s 200th anniversary celebrations.
WAGNER ANNIVERSARY 2013
He celebrated the 2013 Wagner Year with a new production of Der fliegende Holländer at the Slovenian National Theatre Ljubljana, and a concert performance of Rienzi in Munich’s Philharmonie am Gasteig.
GUEST CONDUCTING APPEARANCES
Qatar Philharmonic, Beethoven Orchestra Bonn, Spanish Radio and Television Symphony Orchestra, Croatian HRT and Prague Radio symphony orchestras, Slovenian Philharmonic, Slovak Philharmonic, Wuppertal Opera and Symphony Orchestra, National Theatre Belgrade, Orchestre de Chambre de Lausanne, Symphony Orchestra of Teatro Verdi Trieste, Bremen Philharmonic, Staatskapelle Halle , Lübeck Philharmonic and Mannheim Chamber Orchestra.
2009-2015
MUSIC DIRECTOR AND PRINCIPAL CONDUCTOR OF THE BRNO PHILHARMONIC ORCHESTRA
During his time with the Brno Philharmonic, Aleksandar aquired a repertoire of Czech masterpieces ranging from Smetana and Dvorak, to Suk, Martinu and Janáček, and conducted most of large scale symphonic music of Bruckner, Strauss, Mahler and Scriabin. In addition to their annual season, he took the orchestra to the Vienna Konzerthaus, Grosses Festspielhaus Salzburg, the Palace of Arts Budapest, Brucknerhaus Linz, the Queen Elisabeth Hall Antwerp, Reduta Hall Bratislava, Passau’s European Weeks festival, and on an extensive tour of Japan. In the autumn of 2014 they performed an all- Wagner programme in Stefaniensaal, Graz, for opening of the Musikverein für Steiermark’s 200th anniversary celebrations.
WAGNER ANNIVERSARY 2013
He celebrated the 2013 “Wagner Year” with a new production of Der fliegende Holländer at the Slovenian National Theatre Ljubljana, and a concert performance of Rienzi in Munich’s Philharmonie am Gasteig.
GUEST CONDUCTING APPEARANCES
Qatar Philharmonic, Beethoven Orchestra Bonn, Spanish Radio and Television Symphony Orchestra, Croatian HRT and Prague Radio symphony orchestras, Slovenian Philharmonic, Slovak Philharmonic, Wuppertal Opera and Symphony Orchestra, National Theatre Belgrade, Orchestre de Chambre de Lausanne, Symphony Orchestra of Teatro Verdi Trieste, Bremen Philharmonic, Staatskapelle Halle , Lübeck Philharmonic and Mannheim Chamber Orchestra.
2005-2008
CHIEF CONDUCTOR OF THE TIROLER LANDESTHEATER & ORCHESTER IN INNSBRUCK
As Chief Conductor of the Tiroler Landestheater Innsbruck he conducted highly acclaimed productions of Salome, Der fliegende Holländer, Madama Butterfly, Tosca, Cavalleria Rusticana/ I Pagliacci, Le nozze di Figaro, Romeo et Juliette, La Traviata, Nabucco, Norma, and Swan Lake, as well as many innovative symphonic programmes.
2001-2008
GUEST CONDUCTING APPEARANCES
Vienna Symphony Orchestra, Prague Symphony Orchestra FOK, National Theatre Prague, DSO Berlin, Mozarteum Orchestra Salzburg, Vienna Chamber Orchestra and Concertverein, Scottish Chamber Orchestra, Janacek Philharmonic Ostrava, Lithuanian National Symphony Orchestra, Symphony Orchestra of St. Gallen, Symphony Orchestra of Serbian Radio and Television and Belgrade Philharmonic.
The Beginnings
Born in Belgrade, and a graduate of Leopold Hager’s conducting class at the Universität für Musik und darstellende Kunst Wien, Aleksandar Marković also attended masterclasses at the Accademia Musicale Chigiana in Siena, where he was awarded a Diploma d’onore. He gained a scholarship from the Herbert von Karajan Foundation Berlin, and won First Prize at the 7th Gregorz Fitelberg International Conducting Competition in Katowice, Poland.
The Beginnings
Born in Belgrade, and a graduate of Leopold Hager’s conducting class at the Universität für Musik und darstellende Kunst Wien, Aleksandar Marković also attended masterclasses at the Accademia Musicale Chigiana in Siena, where he was awarded a Diploma d’onore. He gained a scholarship from the Herbert von Karajan Foundation Berlin, and won First Prize at the 7th “Gregorz Fitelberg” International Conducting Competition in Katowice, Poland.
Work
Selection
Varsovia
Piotr
Tchaikovsky
Varsovia
Penderecki
del Giovanni Paolo II
Interview
Aleksandar
Marković
Verdi Requiem
(with English Subtitles)
“I see myself as the nexus between a work of art and musicians – combined, we are a force that can translate the greatest musical works into a profound experience.”
Reviews
Strauss: “Ariadne auf Naxos”, Slovenian National Theater Ljubljana, October 2022
"Aleksandar Marković undoubtedly played a large part (in the formidable musical level of the production). The Serbian-Austrian maestro produces a subtle and multifaceted reading with the orchestra of the Ljubljana Opera House. The masterpiece by the Bavarian composer resounds transparent, delicate, carefully shaped and with chamber-music like refinement, but also effective through soaring climaxes, all the way up to the final apotheosis."
Dr. Helmut Christian Mayer, Grazer Kleine Zeitung, 19.10.2022
Eugene Onegin, Seattle Opera, January 2020
“The music was broadcasting (the color) like a prism in direct sunlight! All of the score’s sweeping romance, elegant grandeur, and intimate melancholy was masterfully brought to life by conductor Aleksandar Marković, making his Seattle Opera debut. Under his leadership, the orchestra, made up of members of Seattle Symphony Orchestra, swelled into plush cascades of sound. The famous musical motifs emerged out of the score with power and clarity, but organically and without overt quotations around them. The more serene moments of isolated instrumental lines were movingly etched…On the whole, this night was a testament to the vocal prowess of its fine leads and terrific conductor.”
John Carrol, Opera Wire, 21.1.2020
"...the drama achieves tragicomic grandeur in the hands of conductor Aleksandar Marković. He takes his time setting a scene of seemingly placid country life, then minutely paces the soprano through the many musical beats of the her exalted “letter scene” to a beautiful climax. From that point onward, every scene, crowded or intimate, festive or solitary, moves the story relentlessly forward. The musicians of the Seattle Symphony have long been a mighty asset in the pit at McCaw Hall; this time, under Marković’s shaping hand, they excelled themselves, particularly the solo winds so important to Tchaikovsky’s sound palette. This is Maestro Markovičs’ US debut. I hope the Opera’s general director Christa Scheppelmann nails him down for future projects before word gets out.”
Roger Downey, Post Alley Seattle, 19.1.2020
“Conductor Aleksandar Marković skillfully molded the corresponding shifts, from the melancholy to the delirious – the dance numbers came to life with palpable excitement.”
Thomas May, Bachtrack, 13.1.2020
“Austrian Maestro Aleksandar Marković, in his Seattle Opera debut, conducted a vibrant performance of the Seattle Opera Orchestra and Chorus.”
William Burnett, Opera Warhorses, 14.1.2020
“Making his debut with the Seattle Opera, conductor Aleksandar Marković led a sharp reading of the score… the crisp clarity came through in illuminating this all-too-human drama.”
Zach Carstensen, Seen and heard International, 22.1.2020
“Aleksandar Marković, sul podio, guida l’orchestra con rigore, mettendo sapientemente in risalto il forte impatto narrativo insito nella partitura, mentre la ottima prova del coro, coinvolto direttamente nelle danze, impartisce all’opera grazia ed unità.”
(“Aleksandar Marković, on the podium, leads the orchestra with rigor, skillfully highlighting the strong narrative impact inherent in the score, while the excellent performance of the choir, directly involved in the dances, gives the work grace and unity.”)
Viviana Coppo, Opera Click, 28.1.2020
“This archangel - the orchestra and its instrumental soloists - was conducted with heartfelt precision by Serbian conductor Aleksandar Marković”
Sharon Cumberland, SGN, 17.1.2020
“Tchaikovsky’s composition is dramatic, robust, and many-layered, and the orchestra carries it masterfully: big, loud, exciting, but tight. Conductor Aleksandar Marković pops up at several points to greet the crowd amicably, gleefully, before getting back to business. It’s a score I could listen to all day.”
Chase D. Anderson, NW Theatre, 28.1.2020
Der Rosenkavalier, Opera North September 2016
“…it marks the in-post debut of Opera North’s newly-installed music director Aleksandar Marković. Most conductors are capable of rising to the great Straussian moments; what’s remarkable is the attentive detail with which Markovic invests the incidental passages where inspiration often flags. The pathos he infuses into the wordless passage in which the Marschallin prepares morning coffee reminds you that it is the last time she and her young lover will ever rise together from the same bed. On this evidence I can’t wait to hear what he does with Mozart.”
The Guardian, Alfred Hickling
“Most importantly of all, the company's new music director delivers an elegant and intelligently shaped account of the score. A peremptory overture aside, Aleksander Marković in his first appearance since succeeding Richard Farnes never puts a foot wrong. His reading is both idiomatic and refreshingly individual, as when he lets raw portamento slides roughen the swoops of the famous waltz. Whenever I shed a tear at the end of Der Rosenkavalier I know the conductor's got it right. On this one I ran out of hankies.”
Whatsonstage, Mark Valencia
"A towering tribute to a musical genius" - Stravinsky, RTÉ National Symphony Orchestra
"Under Aleksander Marcović, the NSO’s programme includes the somewhat austere Symphony of Psalms, but with the Philharmonic unfailingly assured, and the more emboldened Symphony in Three Movements. The latter finds the orchestra responding to Maestro Marcović’s precise direction with bristling aplomb."
Pat O'Kelly, Irish Independent, 8.02.2016
Marković Takes Over to Achieve a Brilliant and Spontaneous Performance from RLPO
"Marković, Music Director and Principal Conductor of the Brno Philharmonic Orchestra during the period 2009/15, certainly impressed with the baton. Markovic conducted with a calm assurance and the Liverpool Phil responded with a brilliant all round performance that felt eminently spontaneous...This remarkable Prokofiev score certainly inspired majestic playing from the Liverpool Phil controlled so superbly by Marković."
Michael Cookson, Seen and Heard International, 22.11.2015
Shostakovich, Liverpool Philharmonic
"Serbian Aleksandar Marković - standing in for indisposed Chinese conductor Long Yu - had plenty of sentiment of his own to extract from the concerto’s bipolar challenge as the triumph of free spirit over national dictat."
Laura Davis-Le, The Liverpool Echo, 20.11.15
Janacek: Jenufa, Opera North, October 2015
"Under Serbian conductor Aleksandar Marković the Orchestra of Opera North captures every fleck of its flamboyance and febrile impetus...This Jenůfa from Opera North captures all the punching brilliance of a wonderful opera and deserves to find big new audiences as it heads off on tour from its Leeds launch pad. Don't even think of missing it."
Mark Valencia, WhatsOnStage, 29.10.2015
"[A] coruscating account of the orchestra score from Marković and the orchestra...The orchestra was very much part of the drama, and they made a strong part of the intensity of the evening."
Robert Hugill, Planet Hugill, 22.10.2015
"The Orchestra of Opera North are brilliantly savage in conductor’s Aleksandar Marković’s penetrating reading."
Tom Tollett, The Reviews Hub, 26.10.15
"Leos Janacek’s harrowing opera, Jenufa, makes for an uncomfortable evening in the theatre, but...with inspired conducting from Aleksandar Marković...it can be a thrilling experience, too. Making his debut in an opera for the company, Aleksandar Marković... conducts as idiomatically as you would expect from the ex-music director of Brno Philharmonic and obtains stunning playing from the orchestra."
The Huddersfield Daily Examiner, 23.10.2015
"Nothing could have prepared us for such a viscerally exciting, emotionally-draining performance of Janáček’s most accessible opera, delivered at fever pitch by an outstanding cast under the idiomatic baton of Aleksandar Marković...every member of the ON orchestra played out of their skins for Marković, setting the seal on an extraordinary evening of music drama."
Keith McDonnell, MusicOMH, 25.10.2015
"Serbian Aleksandar Marković was appointed principal conductor of the Brno Philharmonic in 2008...where Janáček wrote Jenufa and the town in which it was premiered, so it is tempting to think this music has entered his bloodstream. It certainly seems the case. He kept things really moving in the pit...above all he brought out the composer’s acerbic and sometimes eccentric orchestral textures."
John Leeman, Seen and Heard International, 24.10.2015
Marković’s Heldenleben was dramatic, but without bombast.
"It was precise, controlled, full of dynamic and thematic contrasts, but essentially integrated, so that the final contentment spread by the return of the solo violin’s love theme seemed a true response to the boisterous caricature, the storms of war and the hero’s recurring angst...Marković presided over a well-judged performance, with the mighty brass effects never allowed to dominate the noble themes...On the evidence of this latest concert, Marković should become a familiar figure at Opera North."
Ron Simpson, The Reviews Hub, 17 September 2015
Aleksandar Marković 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 Marković 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
Aleksandar Marković lead a brilliant season opening of Beethoven Orchestra Bonn
"With masterly prepared musical menu, Aleksandar Marković triggered a great exaltation in full Beethoven Hall... With clear gestures he brought the orchestral colors to luminous expression (Ravel, Rapsodie espagnole)... Marković 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
Aleksandar Marković is a conducting Supertalent
- Kronen-Zeitung, 1 October 2008
Strauss: Salome, Tiroler Landestheater, January 2006
"Aleksandar Marković, 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
Verdi: La Traviata, Tiroler Landestheater, February 2007
“The well-received premiere owed much to its spirited conductor, Aleksandar Marković, 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 Marković 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
Puccini: Madama Butterfly, Tiroler Landestheater, December 2005 / March 2008
“Aleksandar Marković 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 Marković 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 Marković 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 Marković, the orchestra marvelously imparts the musical expression of Japan whilst never neglecting the atmospheric charm of the typically Italian. Marković’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
Wagner: The Flying Dutchman, Tiroler Landestheater, June 2007
“Another under-thirty wunderkind, music director Aleksandar Marković 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 Marković [...] 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 Marković 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 Marković 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
Mascagni: Cavalleria Rusticana/ Leoncavallo: I Pagliacci, Tiroler Landestheater, September 2007/ March 2008
“Aleksandar Marković 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 Marković: simply delectable.”
Der Neue Merker, April 2008
“Conductor Aleksandar Marković 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 Marković seemed to savor each and every note. The orchestra was in top form.”
Stadtblatt Innsbruck, 26 September 2007
Gounod: Roméo et Juliette, Tiroler Landestheater, June 2008
“Conductor Aleksandar Marković 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 Marković 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
Verdi: La forza del destino, National Theater Belgrade ,April- June- July 2009
“Conductor Aleksandar Marković 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
Wagner: Rienzi, Philharmonie am Gasteig Munich, May 2013
“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 Marković succeeded in invoking a rousing interpretation.”
Das Opernglas, June 2013
Berlioz: Symphonie fantastique, Bremen Philharmonic Orchestra
“Aleksandar Marković 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, Brno Philharmonic Orchestra
"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 Marković 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. Marković'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
Mahler, Brno Philharmonic Orchestra
(…) “Aleksandar Marković 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
Ligeti, Haydn, Berlioz – Konzerthausorchester Berlin
“Aleksandar Marković 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 Marković 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 Marković. As a clincher, he summoned the five – still stunning – episodes of Berlioz’s delightfully narrative Fantastic Symphony.”
Berliner Morgenpost, 28 April 2009
Brahms, Mozart, Franck, Haydn, Stuttgart Philharmonic Orchestra
“Marković’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
“Marković 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
Bruckner, Slovak Philharmonic Orchestra
“Aleksandar Marković 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. Marković’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 Marković (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
Haydn, Mozart, Beethoven, Scottish Chamber Orchestra
“Marković'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, Marković 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, Marković 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
Work
Releases
Oleg Kaskiv, Aleksandar Marković and Sinfonia Varsovia
Pierre Wissmer - The Violin Concertos
We are delighted to share the exciting news of our latest release, "Pierre Wissmer: Complete Violin Concertos," now available under the esteemed Claves Records label. This exceptional recording features the brilliant violinist Oleg Kaskiv, alongside the renowned Sinfonia Varsovia, bringing Wissmer’s exquisite compositions to life.
About the Album
Pierre Wissmer, a masterful composer, crafted violin concertos that are both enchanting and profound. This complete collection offers listeners a chance to experience the full spectrum of Wissmer’s artistry. Our recording aims to highlight the nuances and emotional depth of these works, providing a truly immersive listening experience.
Nathanaël Gouin, Aleksandar Marković and Sinfonia Varsovia
Caprice - Rachmaninoff's Paganini Rhapsody
"There is certainly no shortage of excellent Paganini Rhapsodies in the recording catalogs. And one of the best may well be the recording by Trifonov and Nézet-Séguin, but it is no more attractive than the new recording with Gouin and the Sinfonia Varsovia under Aleksandar Markovic. The latter has a mischievous mood that constantly makes the listener smile. This Paganini Rhapsody is, at least for me, musical fun, even if pensiveness, nostalgia and melancholy are not missing"
Pizzicato.lu, Remy Franck, November 2023
The recording of Caprice with Nathanaël Gouin, Aleksandar Marković and Sinfonia Varsovia has been released via the French label Mirare Productions. Listen to the album below, and buy it now.
Anna Agafia, Aleksandar Marković and Sinfonia Varsovia
Nielsen and Szymanowski Violin Concertos
"With conductor Aleksandar Marković, Sinfonia Varsovia offers a sensitively attentive accompaniment. Marković gives the soloist the lead, but also knows how to position himself with gripping access."
Pizzicato.lu, Uwe Krusch, March 2023
"Belgrade-born conductor Aleksandar Marković channels his troops to the benefit of Nielsen's obviously idiomatic and modernizing language…. without depriving him of his unalterable romantic sources. The final section, Rondo. Allegro scherzando finds its typical, uncompromising thematic and rhythmic energy."
Jean- Luc Caron, ResMusica, May 2023
"...Szymanowski’ modernism begs for exaltation and it finds it through Aleksandar Marković's precise, implacable baton."
Artamag, Jean-Charles Hoffelé, September 2023
"Karol Szymanowski's second concerto fascinates with its smooth orchestral sound, magnificently conjured by Aleksandar Markovic and Sinfonia Varsovia."
24Heures.ch, Matthieu Chenal, May 2023
The recording of Nielsen and Szymanowski Violin Concertos with Anna Agafia and Sinfonia Varsovia has been released via the Swiss label Claves Records. Listen below, and buy now.
Dagmar Peckova
Sinful Women
"Conductor Aleksandar Marković and Slovak Philharmonic Orchestra provide much more then routine accompaniments, and his orchestral interludes are notably dynamic and fresh."
Michael Scott Rohan, BBC Music Magazine
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. "