Chief Conductor – Hungarian National Symphony Orchestra
Music Director – Bergamo Donizetti Opera Festival
Music director of the Bergamo Donizetti Opera Festival since 2017, Riccardo Frizza is regularly engaged by the most important theatres, musical institutions, and festivals in the world, where he conducts many of the principal international orchestras. From the Metropolitan Opera House in New York to the Opéra National in Paris, not to mention La Scala in Milan, La Fenice in Venice, the San Carlo in Naples, Teatro dell’Opera in Rome, Maggio Musicale Fiorentino, Teatro Regio in Turin, Rossini Opera Festival in Pesaro, Macerata Opera Festival, the Lyric Opera in Chicago, Dallas Opera, San Francisco Opera, Müpa in Budapest, the New National Theatre in Tokyo, Opernhaus Zürich, Bayerische Staatsoper, Gran Teatre del Liceu in Barcelona, ABAO Bilbao Opera, the Teatro Real in Madrid, Castell de Peralada Festival and many other theatres in Italy, Spain, Germany, Japan, China, Switzerland, France and the United States of America, where he has conducted operas from Italian repertoire by composers such as Donizetti, Bellini, Rossini, Verdi and Puccini.
Orchestras he has conducted in symphonic concerts include the Orchestra dell’Accademia Nazionale di Santa Cecilia, the Dresden Sachsische Staatskapelle, the “G. Verdi” Milan Symphony Orchestra, the Mahler Chamber Orchestra, Saint Petersburg Philharmonic, Russian National Symphony Orchestra, London Philharmonia, the Tokyo Symphony Orchestra and the Tokyo Philharmonic Orchestra.
Recently he has been awarded the Best Conductor prize at the International Opera XXI Awards.
Riccardo Frizza has recorded for labels such as Decca, Sony, Dynamic and Naxos.Read more
Among other engagements, last season’s highlights included Roberto Devereux at La Fenice in Venice, Belisario and Marino Faliero at the Donizetti Opera Festival, his return to the Gran Teatre del Liceu in Barcelona with Les Contes d’Hoffmann and The Three Queens (a concert with arias from Anna Bolena, Maria Stuarda and Roberto Devereux) alongside Sondra Radvanovsky, a bel-canto concert in Montecarlo with Karine Deshayes and Marina Rebeka, Rigoletto at the Maggio Musicale Fiorentino, La sonnambula at the Théâtre des Champs-Élysées in Paris and L’elisir d’amore at the Teatro San Carlo in Naples.
The current season is marked by the grand-Opening of the 100th Season of the Teatro Real in Madrid conducting Rossini La Cenerentola, a new production of Donizetti Lucia di Lammermor at the MET in New York, his symphonic return to Budapest leading the Hungarian Radio Symphony Orchestra at the MUPA, a symphonic concert in Venice conducting the Orchestra of Teatro La Fenice, and his return to the Accademia Nazionale di Santa Cecilia in Rome. Alongside, he will conduct the Maggio Musicale Fiorentino in Verdi Rigoletto and Mascagni L’Amico Fritz, Mozart La Clemenza di Tito at the ABAO Bilbao Opera, and Rossini Il Barbiere di Siviglia at the Teatro San Carlo in Napoli.
“On this evening he showed why he is one of the most sought after Bel Canto conductors. His music making was always about the drama and moving the music forward.”
“With Lyric newcomer Frizza at the helm, no musical gesture was perfunctory, no interpretive decision ill-chosen. The Italian conductor’s marshaling of musical details as they related to dramatic expression — the color and duration of orchestral chording, for instance — was typical of his thorough understanding of Bellini’s score. His seamless pacing and rhythmic exactitude went far toward countering static moments in the staging. Such was the quality of the orchestra’s responses to Frizza.”
It was left to conductor Riccardo Frizza to elicit the beauties of the score, and he did so at every turn, drawing luxuriant playing from San Francisco’s responsive orchestra and lending sensitive support to DiDonato and Cabell.