Alain Altinoglu
© Marco BorggreveArtist

"Mr Altinoglu was the hero of the evening, conducting a pulsing, compelling “Otello” ..."

New York Times
2 / 24


Alain Altinoglu has been appointed as Music Director of the Théâtre Royal de la Monnaie in Brussels, assuming his new role in January 2016. As guest he regularly conducts such distinguished orchestras as the Chicago Symphony, Philadelphia Orchestra, Orchestre National de France, Orchestre de Paris, Orchestre Philharmonique de Radio France, Orchestre National de Lyon, City of Birmingham Symphony Orchestra, Gothenburg Symphony, Staatskapelle Dresden, Staatskapelle Berlin, Rundfunk-Sinfonieorchester Berlin, Bamberger Symphoniker, Wiener Symphoniker, Radio-Symphonieorchester Wien, the Tonhalle Orchester Zurich and the Orchestre de la Suisse Romande.

Last season’s opera highlights included a successful debut appearance at London’s Royal Opera House (Don Giovanni). Altinoglu lead new productions of Manon Lescaut at Bayerische Staatsoper München and a world premiere production of Christian Jost’s new opera Rote Laterne in Zurich. This summer Altinoglu gave his debut at Bayreuther Festspiele (Lohengrin). The 2015/16 season will include debut appearances with orchestras such as Montreal Symphony Orchestra, Stockholm Philharmonic, Danish National Symphony, MDR Sinfonieorchester, Sinfonieorchester des Bayerischen Rundfunks as well as the Philharmonia Orchestra London as well as new productions at Vienna Staatsoper (Macbeth), Deutsche Oper Berlin (Salome), Zurich (Pélleas) as well as Dimitri Tcherniakov’s new double bill production of Tchaikovsky’s Jolanta & The Nutcracker.

A regular guest at the world’s leading opera houses, Altinoglu appears at Metropolitan Opera New York, Royal Opera House Covent Garden, the Lyric Opera of Chicago, the Teatro Colon Buenos Aires, the Staatsoper Wien, Opernhaus Zürich, the Deutsche Oper Berlin, the Staatsoper unter den Linden, the Bayerische Staatsoper München and all three opera houses in Paris. He has also appeared at the festivals in Salzburg, Orange and Aix-en-Provence.


Alongside his conducting, Altinoglu maintains a strong affinity and command over the Lied repertoire. Regularly accompanying mezzo-soprano Nora Gubisch, their most recent recording for Naïve includes folk songs by de Falla, Obradors, Granados, Berio and Brahms. Other recordings together have included a disc of songs by Henri Duparc (Cascavelle) and Maurice Ravel (Naïve). Naïve also released a recording of Henryk Gorecki’s third symphony together with the Sinfonia Varsovia as well as Tangy’s cello concerto with the Orchestra National de France and Dusapin’s Perelà. Furthermore, Altinoglu recorded with Deutsche Grammophon and Piotr Beczala. Past releases include Lalo’s Fiesque with the Orchestre National de Montpellier and Roberto Alagna for Deutsche Grammophon and Liszt’s Piano Concertos with the Rundfunk-Sinfonieorchester Berlin and Nareh Arghamanyan for PentaTone. A DVD recording of Honegger’s Jeanne d’Arc au bûcher was released by Accord in 2007 and most recently, a recording of Wagner’s Der fliegende Holländer was released on Deutsche Grammophon.

Born in Paris in 1975, Alain Altinoglu studied at the Conservatoire National Supérieur de Musique de Paris where he now teaches.

SEASON 2015/2016



“Alain Altinoglu conducted powerfully and with fire. He hits exactly the sinister tone of the piece ["Macbeth"] and, together with the eager orchestra, works out the pale colours of Verdi’s unusual instrumentation with precision.”

Kleine Zeitung, Ernst Naredi-Rainer, 06.10.15

“That these portentous questions arise from a staging that’s poignant, exciting, witty, even campy in the watching attests to the creativity and confidence of Mr. Neuenfels’s vision, ideally supported by Alain Altinoglu’s intense yet refined conducting, the winds given revealing prominence in the orchestral textures.”

New York Times, Zachary Woolfe, 28.07.15

“The orchestra played superbly for Altinoglu, whose reading of the score emphasizes its lightness, elegance and ironic qualities […] He is clearly a ‘singers’ conductor’ in that he allows them time to shape their music and refrains from engaging in the blood sport of tenor-torturing.”

MusicOMH, Melanie Eskenazi, 13.06.15

“The orchestra, under the direction of Alain Altinoglu, sounded sensational.”

New York Times, Corinna da Fonseca-Wollheim, 28.11.14

“The French conductor Alain Altinoglu led a beautifully restrained account of the score [Massenet's 'Werther'], drawing supple, deep-textured and nuanced playing from the Met orchestra.”

New York Times, Anthony Tommasini, 19.02.14

“Mr Altinoglu was the hero of the evening, conducting a pulsing, compelling “Otello” [….]”

New York Times, Anthony Tommasini, 31.03.13

“[…] Alain Altinoglu elicited pure spun silk from the Met orchestra: luxuriantly shimmering, with iridescent highlights gleaming in the form of one instrumental solo after another.”

New York Times, Steve Smith, 31.03.13

“Altinoglu brought out the voluptuous colors and sensuous atmosphere of Schmitt's [La Tragedie de Salome] rich orchestration, building the sinuous melodic lines to orgiastic intensity in the final 'Dance of Terror'. To judge from their shapely and committed performance, Altinoglu made true believers of the orchestra players.”

Chicago Tribune, John von Rhein, 24.02.12

“Sehr erfreulich: Dirigent Alain Altinoglu am Pult des feinsinnig und farbenreich aufspielenden Staatsopernorchesters. Hier ist ein echter Maestro am Werk, der alle Schönheiten der Partitur [Gounod's Faust]auskostet, ohne je ins Plakative abzugleiten. Kompliment.”

Kurier, 2.02.12

“Der noch junge Alain Altinoglu motivierte das Orchester der Deutschen Oper von Beginn an zu einem derart hingebungsvoll beseelten Spiel, dass sich selbst ein diesem Werk [Samson und Dalila] vielleicht ob seiner vermeintlichen Tendenz zum Kitsch distanziert gegenüberstehender Zuhörer sicher gern von den besonderen Qualitäten der so fein instrumentierten Partitur überzeugen ließ. Die Sänger wie auf Händen tragend, breitete Altinoglu einen elegischen, farbenreichen Klangteppich aus, der doch immer gleichberechtigter, die Handlung fortspinnender und kommentierender Partner war.”

Das Opernglas, R. Tiedemann, 06.11

“Musikalisch rund wird alles durch den hier Bestnoten einfahrenden, locker und leicht dirigierenden Alain Altinoglu.”

RBB Kulturradio, Kai Luehrs-Kaiser, 16.05.11

“Der Lichtblick war aber Dirigent Alain Altinoglu, der am Pult des guten Orchesters feinsinnig musizierte [Gounod’s Romeo et Juliette]. Er möge bitte wiederkommen.”

Kurier, Peter Jarolin, 7.02.11

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Folk SongsAlain Altinoglu with Nora Gubisch, music for piano and voiceMay. 2014, naïve, CD, Available on: Amazon
Ravel MélodiesAlain Altinoglu with Nora Gubisch, music for piano and voiceDec. 2012, naïve, CD, Available on: Amazon
Liszt: Piano concertosNareh Arghamanyan plays with the Rundfunk-Sinfonieorchester Berlin and Alain Altinoglu Liszt's piano concertos, Totentanz and the Hungarian Fantasy.Oct. 2012, Pentatone, CD, Available on: Amazon
Bernhard Herrmann: Les Hauts de HurleventAlain Altinoglu conducts the Orchestre National de MontpellierOct. 2011, Universal, CD, Available on: iTunes Amazon
Duparc: MélodiesAlain Altinoglu with Nora Gubisch and works by DuparcJun. 2010, Cascavelle, CD, Available on: iTunes Amazon