"Marco Parisotto steps onto the podium [Montreal Symphony Orchestra] and the enchantment commences… In Francesca da Rimini his formidable musical power radiated...What a performance! Better yet, this is the signature of an artist who stands among the greatest."
• Le Devoir
Born in Montreal of Italian lineage, Marco Parisotto is among Canada's foremost conductors on the international scene. A frequent guest with orchestras around the globe, with unrelentingly high standards of performance he continues to thrill audiences with his passionate musicmaking.
His close association with orchestras is manifested through the strong relationships he has maintained with ensembles under his leadership. In 2014 he was unanimously elected as Music Director of the Jalisco Philharmonic, transforming this ensemble into one of Latin America’s most distinguished orchestras. Under his direction, the Jalisco Philharmonic garnered international attention with its virtuosic performances and participated in recordings, tours, international festivals and major events such as Placido Domingo’s Operalia. During his tenure the orchestra performed on tour in leading concert halls in Berlin, Munich, Essen, Vienna, Los Angeles, San Francisco, Busan and Mexico City which were received with great critical and public acclaim. As well, through Maestro Parisotto, the orchestra undertook significant commercial recording projects, starting with the philharmonic’s first release under the SONY Classical label.
“Amidst this exciting pillar of sound growing constantly, stands Marco Parisotto. Under his control, directing the orchestra with the greatest finesse, like an architect he gives precise instructions that develop into a majestic edifice of sound… He ingeniously manages the full spectrum of colors of his orchestra… We hope that this fantastic orchestra with this dynamic conductor will visit our German concert halls more frequently, bringing with them their style of spicy and fiery music-making.”
• Klassik Begeistert, Raphael Eckardt
Following a special concert celebrating Canada-China relations in 1999 at the Grand Theatre in Shanghai, Marco Parisotto was appointed Principal Conductor and Artistic Advisor of the Shanghai Symphony Orchestra, a position he held until 2003. He has also been Music Director of the Ontario Philharmonic in Canada since 1996 and is credited with building this orchestra to the high standard it enjoys today. Under his leadership Ontario Philharmonic has received superlative audience and media recognition.
“…a fantastic orchestra [Ontario Philharmonic] being led by a first-rate conductor”
• Musical Toronto
Marco Parisotto has won critical and public praise for his interpretations of the great Austro-German repertoire - as R.Strauss, Bruckner, Wagner - and as an avid Mahlerian, he is honoured to have been made titular member of the Mahler Society Mexico. He has also been acclaimed for his readings of Russian masters as Tchaikovsky, Shostakovich, Stravinsky, and for his passionate performances in the operatic field. He has led productions including, among others, Pagliacci, Cavalleria Rusticana, Carmen, Otello, Madama Butterfly, Tosca, La Boheme, Aida, Rigoletto, Don Giovanni and Turandot.
“The star of the evening was without a doubt Marco Parisotto…inspired, passionate and in a virtual state of grace, impressing a supreme flow and agility to this extremely challenging opera [Puccini’s Turandot].”
• Opera World
Marco Parisotto has appeared in major concert halls throughout the world, conducting many leading orchestras including the Montreal Symphony Orchestra, Philharmonia Orchestra of London, Orchestra Sinfonica di Milano "La Verdi", Orchestra Haydn di Bolzano, New Jersey Symphony, Toronto Symphony, Calgary Philharmonic, Edmonton Symphony, Vancouver Symphony, National Arts Center Orchestra in Ottawa, Quebec Symphony, Orquesta Filarmónica de Bogotá, Busan Philharmonic, Osaka Philharmonic, Tokyo Symphony, Tokyo Philharmonic, Seoul Philharmonic, Louisiana Philharmonic, Belgrade Philharmonic, Georges Enescu Philharmonic, Janacek Philharmonic, Orchestre National de France, Orchestre National du Capitole de Toulouse, Opéra de Bordeaux, Opéra de Marseille, Orchestre Philharmonique de Strasbourg and Philharmonique de Liège. He was received with great enthusiasm at the international Festivals of Evian, Menton, Besançon, Wieniawski International Festival (Poland), May Festival of Guadalajara, Festival of Opera in Jalisco, Skaneateles Festival New York, Busan Maru International Music Festival and Bolzano Festival; at the Montreal Opera, Shanghai Opera, Opera Giuseppe Verdi di Trieste, Serbian National Theatre; in Mexico with the Mexico City Philharmonic, Orquesta Filarmonica de la UNAM, Orquesta Sinfonica Sinaloa de las Artes, Orquesta Sinfonica de UANL, Camerata de Coahuila, Sinfonica Carlos Chavez, Camara de Bellas Artes, Orquesta de Baja California; in China with the Shanghai Symphony, China National Symphony and Gui Yang Symphony. He has also led to acclaim the Polish National Radio Symphony, Monte-Carlo Philharmonic, Orchestra Nazionale della RAI of Torino, Orquesta de Cordoba, Orchestre de Bayonne Cote-Basque. On several occasions, at Théâtre des Champs Élysées in Paris, he was a guest of Orchestre des Concerts Lamoureux.
Marco Parisotto is the winner of seven major international competitions. He crowned these achievements in 1997 with the ‘Besançon International Competition for Conductors’, joining the ranks of maestros like Seiji Ozawa and Michel Plasson. A first in this elite events history, he was awarded the Grand Prix as well as the Prix du Public. Other top prizes have included the Tokyo International Conductors' Competition in Japan, Constantin Silvestri Competition in Romania and the Antonio Pedrotti in Italy. He was moreover conferred with all other special awards at these events.
He took his training both as a violinist and pianist and studied conducting with eminent maestros including Leonard Bernstein, Carlo Maria Giulini, Leonard Slatkin, Charles Brück, Yuri Temirkanov, Georg Tintner and, initially, with Raffi Armenian at the Conservatoire de Musique du Québec in Montreal.
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In a few words…
A Selection of Concert Reviews
• The star of the evening was without a doubt Marco Parisotto…inspired, passionate and in a virtual state of grace, impressing a supreme flow and agility to this extremely challenging opera [Puccini’s Turandot]. From the very first notes, the music made a vehement, vigorous and emotional statement emanating from the masterly baton of an illuminated being. The communication between Parisotto and his instrument was impressive. Great triumph!
• Place des Arts’ Wilfrid-Pelletier Hall is full, Marco Parisotto steps onto the podium and the enchantment commences... What a musician! Under his baton, Haydn found all the verve and humour one could hope for...he made the Montreal Symphony Orchestra sound like a marvel.
...In Francesca da Rimini Marco Parisotto’s formidable musical power radiated, revealing the mastery of this score to the audience. The infernal and menacing dissonances, the demonic syncopations, all were rendered with a fearsome energy and evocative force which literally left one shaking... To hear him efficiently animate this sonic canvas with all its warm or harsh colours was electrifying... What a performance! Better yet, this is the signature of an artist who stands among the greatest.
• In my long career I've heard The Rite of Spring at least 50 times with most of the major orchestras and conductors. Starting with Pierre Monteux[...] Karajan, Boulez, Bernstein[...] Well! Marco Parisotto held me spellbound from one end to the other. He succeeded in realizing a performance that was masterful both musically and technically... It was indeed a commanding Rite[...]
• This young conductor belongs to the greatest. Not since the debuts of Chailly and Rattle have I been so impressed.
• Amidst this exciting pillar of sound growing constantly, stands Marco Parisotto. Under his control, directing the orchestra with the greatest finesse, like an architect he gives precise instructions that develop into a majestic edifice of sound… He ingeniously manages the full spectrum of colors of his orchestra [Jalisco Philharmonic]… This conductor demonstrates…all the spectrum of this wonderful Art... We hope that this fantastic orchestra with this dynamic conductor will visit our German concert halls more frequently, bringing with them their style of spicy and fiery music-making.
Klassik Begeistert, Raphael Eckardt
• ...Marco Parisotto could take on the world... I heard Parisotto lead this ensemble [Ontario Philharmonic] last Saturday at Koerner Hall. To say I was surprised is putting it mildly.
Everything about Parisotto's exacting and fluid style on the podium suggested a major international talent.
• Longtime music director Marco Parisotto has slowly, steadily built this ensemble [Ontario Philharmonic] into a noteworthy big-city orchestra… The Mahler [Symphony no.1] was shaped, paced and coloured by Parisotto with the care and assurance of a true master… Details came to life in a performance that, under Parisotto’s firm leadership, was direct, transparent and mesmerizing.
Parisotto´s [presence on the podium] confirmed that his recent appointment as Music Director of the Jalisco Philharmonic was the perfect decision, and that the ensemble has achieved an extraordinary sound: the best, perhaps, in the last 50 years.
• ...…Another 150th Anniversary resulted in the best symphonic concert of 2014 [in all of Mexico] and it was the homage to Richard Strauss with which the Orquesta Filarmonica de Jalisco closed its annual season. With imagination and determination, Marco Parisotto has brought the orchestra to an astounding level of excellence.
• ...The performance was remarkable. The symphony [Schumann Second] had a dramatic intensity and an aura of anguish which was aptly Schumannesque. The Scherzo was lively and sparkling, the Adagio sublimely expressive and the clearly defined tempo and balance in the Finale allowed for admirable control of all its contrapuntal intricacies. The audience responded with a monster ovation.
• Marco Parisotto may get on the list to succeed Saraste [at the Toronto Symphony] ...Saturday night in Roy Thomson Hall, the Montreal-born conductor leapt into a high position on the list.
The Toronto Star
• This work [Mahler’s 5th Symphony] requires a brilliant orchestra and an exceptional baton. From the podium, Marco Parisotto’s performance was out of this world. His was a profound rendition. His masterly approach of sound and intensity at every moment projected his deep understanding of the score to the ensemble and audience, which celebrated the evening with a monster ovation.
• ...Performing at Mexico City’s Bellas Artes Palace with an all-Beethoven program, the Orquesta Filarmonica de Jalisco and Music Director, Maestro Marco Parisotto, gave a lesson in how an orchestra should sound. Without a doubt this is the indisputable merit of the Maestro Parisotto… With certainty, I can state that the Jalisco audience should not only feel proud of its orchestra but also claim it as the leading orchestra of our nation… And all of this thanks to Maestro Marco Parisotto who has placed his musicians on a pedestal that perhaps not even they had ever dreamt of.
Critica Musical En Mexico
• The standing ovation that followed [Mahler’s 2nd Symphony] was one of the most prolonged and enthusiastic that the Jalisco Philharmonic has ever enjoyed at Teatro Degollado… Marco Parisotto’s use of the baton was as though a paintbrush tracing a harmonic mosaic.
• ...Parisotto, an award-winning young globetrotter, restyled the RPO into a fine Classic-era ensemble - no small achievement. He summoned the requisite clean, buoyant, transparent sound - even some remarkable delicacy and lushness - in the symphonies - Mozart’s No.39 and Haydn’s No.104... The RPO applauded Parisotto and kept their seats, allowing him to take the spotlight during his final bows.
Democrat and Chronicle
• ...Marco Parisotto effectively reaffirmed his impressive talent as a conductor and as an interpreter... With full grasp of the score and in full control of the orchestra, he navigated with the greatest mastery and ease through the different pagan and religious episodes of Respighi’s Feste Romane. He brought the orchestral mass to the highest peak of intensity as well as exposing ravishing moments of musical poetry. From a purely technical point of view he made the orchestra sound continually brilliant... Earlier in the concert Parisotto was to show himself an exemplary accompanist.
• ...Another master stroke, the account of Strauss’ Till Eulenspiegel proved the conductor’s artistry. Parisotto knows his way, mounts the OSM like a proud horseman and guides it to destination with a sense of marvel.
• ...Marco Parisotto’s very dynamic conducting clearly stimulates the musicians and inspires the audience. His innate sense of rhythm was manifested right from the start of the Glinka [Ruslan and Ludmila] beginning the concert with striking effect... Swan Lake was tackled with such voluptuousness and drama that one got the impression that the actual ballet was emerging right before ones eyes.
• The fifth program of the season [...] was a triumph for the debuting conductor, Marco Parisotto... A conductor of stellar qualities, he is a serious musician, profound in his visions, highly communicative to the members of the orchestra... Parisotto gave a strong characterization of Pictures at an Exhibition [Mussorgsky], eloquently conveying its Russian soul with subtle details. The OFUNAM responded with virtuosity, massive sound and moments of delicacy and finesse... Nezahualcoyotl Hall was full and Parisotto along with his musicians received a fitting tribute to these superb interpretations.
• ...Invited several times by Charles Dutoit, Marco Parisotto has won the favour of the musicians, the public’s affection and the esteem of the critics... His performance, entirely conducted from memory, was a great success... Each piece was followed by a standing ovation...
• ... Marco Parisotto, a young and already great conductor... He gave a concert which the audience will never forget... The orchestra was electrified... The Concerto per Archi by Nino Rota was a delight. The phrasing was so highly expressive and the tempi led with such dizzying vigour that the audience was left in a stupor... A concert that will doubtless remain as one of this city’s most memorable artistic events.
• ...The performance of Beethoven’s 6th Symphony, all of its own, made the evening truly worthwhile. Parisotto, with the highest degree of artistry... brought forth the symphony’s emotional expressiveness and dramatic intensity... The conductor and orchestra were outstanding.
• ...Marco Parisotto led an idiomatic and totally convincing account of the score [Shostakovich’s Chamber Symphony op.110a], an account that boasted some of the finest playing ever to come from Thirteen Strings.
• ...[Cavalleria Rusticana and I Pagliacci]: extraordinary performance... real opera and deeply moving... Marco Parisotto drew undreamt-of refinement from the OSM... The best opera performance of the year.
• Parisotto supervised a red-blooded rendition of Dvorak’s New World Symphony. Ominous... this performance left little to be desired, in detail or over-all conception. The Largo was distinguished by string-playing of the utmost delicacy. This was an impressive revival of a dangerously overplayed classic.
• Conducted as they were last night, the Moldau and New World Symphony found their true dimension as immortal masterpieces. Marco Parisotto communicates intensely, the musicians’ response is immediate and all-embracing.”
• Conductor Marco Parisotto… secured committed, emotionally involved playing from the string force. His terraced dynamics and succinct molding of phrase assured a high interest level throughout… This is a young conductor to follow closely.
• …both soloists [Igor and Valeri Oistrakh] were greatly assisted by extremely supportive playing from the Philharmonia Orchestra under Marco Parisotto.
• Parisotto was fully equal to his task, his gracious conducting style changing to highly dramatic gestures as the music required [Shostokovich Symphony No.5]. This was a splendid performance of a long and challenging work; the stark emotions of the opening movement beautifully contrasted with the ironic wit of the well-known scherzo movement.
The Calgary Herald
• This magnificent concert opens with high-voltage on stage…Marco Parisotto possesses the charisma to generate the most explosive as well as refined sounds from the orchestra. The First Symphony [Shostokovich] was revealed with an intense lyricism and moments of great jubilation. An unforgettable concert…
• This is a fantastic orchestra [Ontario Philharmonic] being led by a first-rate conductor
• Parisotto has a wonderful command of whatever music he tackles. He is a confident, expressive conductor who doesn’t use any more movement than is absolutely necessary.
• Parisotto conducted the piece from memory, showing total command of every detail and, numerous times, showing great skill in building the sound in graceful arcs.
• Bruckner’s long, long musical developments need a steady hand that also can take a long view of where the music is going. Silences are as important as the loud swells. And Parisotto revealed himself to be the master of all he surveyed.
• Maestro Parisotto’s control of his forces made a pandemonium of orchestral colours... A finish that brought the audience to its feet.
Opus One Review
• Maestro Marco Parisotto delighted the listeners charging each concert minute with bravura of unmatchable musicianship. Indeed he is an artist who stands among the best... He is indeed an inspiration to watch conduct the entire ensemble, emanating from his baton, his energy and charm.
Ontario Arts Review
• The orchestra's role was realized by an exceptional conductor, Marco Parisotto, who managed to bring the orchestra out of the pit which definitely it deserves and made it the main protagonist on the stage. His role in putting together all the different elements of the performance was extraordinary.
• Marco Parisotto, conducting, deftly caught and accompanied him [Igor Oistrakh]. The orchestra [Philharmonia Orchestra], particularly the strings, seemed to caress the soloist, offering palpable support and applauding warmly at the end.
• I can't even begin to count the number of recordings of the work [Petrushka] I've heard, but nothing came even close to the transparency and vivid coloration of conductor Marco Parisotto's and the orchestra's collaboration.
Classical New Jersey Society