Alberto Miguélez Rouco studied singing at the Musik Akademie Basel under the mezzosoprano Rosa Domínguez. He also studied harpsichord and basso continuo with Francesco Corti, Giorgio Paronuzzi and Jesper Christensen. He is a laureate of the Jardin des Voix Academy’s 10th edition (2021) and was a member of Philippe Jaroussky’s voice Academy for the 2020-2021 season. In 2022 he won Ópera Actual’s award for most promising young artist, presented at Teatro Real.
In opera, he most recently made his debut at Oper Köln in the role of Ottone in Ted Huffman’s production of L’incoronazione di Poppea under the direction of George Petrou, which he also performed for the Palau de les Arts Reina Sofia Valencia under Leonardo García Alarcón.
This season Alberto sings Nireno in Calixto Bieito’s Giulio Cesare for his debut at the Liceu, Barcelona under the direction of William Christie. He has previously sung Telemann’s Orpheus (Ascalax) with René Jacobs, Händel’s Partenope (Armindo) conducted by William Christie (Paris Philharmonie, Valencia, La Coruña, Bucharest, Budapest, Luzern); Ottone (Adelberto) at the Innsbrucker Festwochen; Legrenzi’s La divisione del mondo (La Discordia) at Strasbourg, Nancy and Versailles conducted by Christophe Rousset; Monteverdi’s Il ritorno d’Ulisse in Patria (Umana fragilità and Pisandro) at the Teatro Olimpico di Vicenza and Purcell’s Dido and Aeneas (Sorceress and Spirit), conducted by Paul Agnew.
In 2018 he founded his own ensemble Los Elementos which he directs from the harpsichord. This season Alberto, together with his group Los Elementos he will be Resident Artist at the National Centre for Mucical Difusión (CNDM) in Madrid where he will present five different programmes both singing and conducting. They have most recently given a programme for the Innsbrrucker Festwochen der Alten Musik featuring works by the greatest representatives of Spanish Baroque, Francisco Corselli and José de Nebra.
In 2020 he recorded his first solo album Cantadas, including sacred Spanish music including these great composers.
On the concert platform recent highlights have included Bomtempo Requiem with the Orquesta Sinfonica de Galicia under Carlos Mena, Bach’s Weihnachtsoratorium
in Switzerland, singing and guest conducting a Spanish programme with Barokkanerne Norwegian Baroque Ensemble and various concerts around Europe with Les Arts Florissants.
This biography is for information only and should not be reproduced.
MUSICAL DIRECTION & SINGING: Christmas cantatas by Francisco Corselli, Los Elementos
CNDM (December 2024)
…we must highlight that “Rompa, Señor, mi acento” by Francisco Corselli is a beautiful cantada, the name in Spanish with which we must get used to calling the Italian term “cantata”, which gave title to the homonymous album with which the young countertenor made his debut as a soloist in 2020. This fact shows the meteoric rise of the extraordinary artistic talent of Alberto Miguélez Rouco, and gives a sample of what his musical personality is, since this first cantada is a beautiful piece by Francisco Corselli that the countertenor from A Coruña has incorporated in a completely natural way to his repertoire, and that any other performer would consider as a rara avis…
Simón Andueza, Ritmo.es
MUSICAL DIRECTION: La cautela en la amistad o el Robo de las Sabinas by Francisco Corselli, Los Elementos
CNDM (November 2024)
Thus, as if by chance, the insultingly young and very talented musician from A Coruña, Alberto Miguélez Rouco, countertenor and harpsichord conductor, and director of the ensemble that he himself formed under the auspices of the Schola Cantorum Basiliensis, where he received his final musical training, has achieved two other very important milestones in his career in one fell swoop, and that just after reaching the age of thirty: first, inaugurating the Universo Barroco cycle – probably the most successful of all those presented in the capital of Madrid by the Centro Nacional de Diferencia Musical [CNDM]… An evening of very important artistic results, a happy start to the residency and, above all, a much-needed heritage recovery of a large-scale work by this Italian, but very Spanish, who dominated a good part of the Madrid music scene in the mid-18th century. Without a doubt, a very successful start, both artistically and in the perception shown by the attendees.
Mario Guada, Codalario.com
“Una misa en la Real Capilla", Los Elementos
Innsbrucker Festwochen der Alten Musik (August 2024)
The reverberation of instruments and Alberto Miguélez Rouco’s voice in the church hall immediately melded into a blanket of blissful introspection… Rouco’s countertenor was gentle and empathic.
Jennifer Pyron, OperaWire
Monteverdi L'incoronazione di Poppea (Ottone)
Palau de les Arts Reina Sofía Valencia (May 2023)
Alberto Miguélez Rouco 's Ottone is more than correct , who amazes at his still early age, combining his career as a countertenor with his performance as a conductor in the pit, as we were able to see just a few weeks ago at the Teatro de la Zarzuela, in La violación de Lucretia of Nebra.
Alexander Martinez, Platea Magazine
…the countertenor from A Coruña Alberto Miguélez Rouco portrayed a stylized and well played Ottone.
Levante
MUSICAL DIRECTION: Donde hay violencia, no hay culpa by Nebra
Teatro de la Zarzuela de Madrid (March 2023)
The musical part had already been magnificently recorded last October for the Glossa label by the excellent ensemble Los Elementos, directed by the brilliant young director Alberto Miguélez Rouco, as part of his commendable project to recover the music of Nebra, who also assumes the musical direction on this occasion in an outstanding way. [...] In addition to the brilliance of the musical direction of the splendid Los Elementos orchestra —made up largely of young musicians trained in Basel, many Spanish, and the best of the night—, we owe Miguélez the edition and reconstruction of the work [...] The orchestra was, without a doubt, the best of the night, under the brilliant and imaginative direction of Alberto Miguélez, who was attentive from the pit to everything that happened on stage.
Manuel de Lara, Scherzo
… the presence in the pit of a musician fully convinced that he is defending something important and that, like the Los Elementos ensemble, he does so with a rare fearlessness. At the premiere last night, bravos and lots of applause were heard.
Alberto González Lapuente, ABC Cultura
Alberto Miguélez Rouco conducts his Ensemble Los elementos with historical instruments whose performance in the pit is admirable. Knowing him and his multi-instrumental execution lead to a precious interpretation that returns us to the purity of chords, atmospheres and dreams of other centuries.
Manuel Espin, El Obrero
In terms of music, there is that prodigy that is the young Galician countertenor (he only conducts here) Alberto Miguélez Rouco and his magnificent Ensemble Los Elementos.
Rosa Montero, El Cultural
MUSICAL DIRECTION: CD Nebra Donde hay violencia, no hay culpa, Los Elementos
Glossa GCD 923525 (October 2022)
We are surely before one of the most important historical orchestras that has surged in the last few years… Founded and directed under the baton of Spanish countertenor Alberto Miguélez Rouco, they already managed to make an impact a couple of years ago with the publication of the baroque zarzuela by José de Nebra Vendado es amor, no es ciego. Los Elementos return now (almost all of them graduates of the Schola Cantorum Basiliensis) with another Nebra baroque zarzuela: Donde hay violencia, no hay culpa. And with the same excellent results. Or even better, because in those months the group has been developing poise and refinement.
Eduardo Torrico, Scherzo
Alberto Miguélez Rouco, brand new winner of the 2022 ÓPERA ACTUAL Award, leads the baton of this little jewel with a firm and creative hand before an ensemble, Los Elementos, with a transparent sound both in the most intimate parts and in the ensemble, almost with an atmosphere typical of classicism, always sumptuous.
Pablo Meléndez-Haddad, Ópera Actual
Rouco’s direction inspires Los Elementos to playing of lively freedom and strong character, the strings using subtle hints of portamento, the brass blaring and outspoken, without causing the least suspicion of unbalance to Glossa’s clear recording. Tempi are right, important dynamic contrasts marked but not overdone, allowing de Nebra’s instrumentation its full part in the drama. The short choruses, adding three extra ‘tiples’ and three tenors to the four principals, are immaculately done. The conductor’s scrupulously detailed notes specify all the sources for his edition and the zarzuela’s performing history, while conveying huge enthusiasm for its quality. His care adds to the international appeal of an important set, which also boasts the full Spanish sung texts with buoyant English translations. Let’s hope yet more theatre scores by José de Nebra may turn up… this excellent Glossa CD set brings a superb work back into the light of day, with thrilling success.
Christopher Webber, zarzuela.net
MUSICAL DIRECTION Nebra Vendado es Amor no es ciego, Los Elementos
Auditorio Nacional Madrid (November 2022)
Miguélez, at the harpsichord and controlling even the smallest detail of what happened in the orchestra, is the great architect of what is, to a large extent, quite a musical miracle. Because Los Elementos is, in effect, a small musical miracle… [Míguelez] we could consider the Spanish Klaus Mäkelä: blond…due to the enormous talent that both treasure.
Eduardo Torrico, Scherzo
The young Spanish-Swiss ensemble, led by a brilliant Alberto Miguélez Rouco, built a solid, intelligent and theatrical vision of this great baroque zarzuela signed by one of the great European composers of the moment: José de Nebra… And he cannot hide his enthusiasm or energy in abundance, because yes, Alberto Miguélez Rouco is, in addition to a very considerable musical talent –described as a genius, even, by some of the musicians in his orchestra–, one of those directors who spreads a total dedication and powerful honesty on stage… Miguélez Rouco, as a singer, must have a particularly fine ear for voices, not only for their quality, but also to ensure that they adapt as adequately as possible to the various roles… Undoubtedly, Miguélez Rouco, as the architect of all this, but of course also the other "elements", can be very proud of what has been achieved on this evening, not only because they have raised the name of the Nebra stage in large format -something not very common in our country, incredible as it may seem– to the heights it deserves in its own right, but also for becoming, in a very obvious way, the highest reference worldwide for the interpretation of theatrical music by the Aragonese composer, something which is not a trifle at all.
Mario Guada, Codalario.com
MUSICAL DIRECTION: Nebra Vendado es Amor no es ciego, Los Elementos
Auditorio Nacional Madrid (November 2022)
Miguélez, at the harpsichord and controlling even the smallest detail of what happened in the orchestra, is the great architect of what is, to a large extent, quite a musical miracle. Because Los Elementos is, in effect, a small musical miracle… [Míguelez] we could consider the Spanish Klaus Mäkelä: blond…due to the enormous talent that both treasure.
Edward Torrico, Scherzo
Caldara Maddalena ai piedi di Cristo
Freiburger Barockorchester (April 2022)
Alberto Miguélez Rouco is a very particular countertenor: with a beautiful, high-pitched —mezzo-soprano— and light voice, ideal for the role of Amor Celeste, he sings with exquisite taste and, what is most noteworthy, he sings amazingly naturally, without the anguished efforts that weigh down other falsettists.
Scherzo
Alberto Miguélez (Celestial Love), who made it clear that he is a rising star. The young countertenor delighted us with his homogeneous color, beautiful timbre and facility for agility, at the same time that he offered us his skill playing the triumphant castanets, in his last aria of the 2nd act 'Sè, lieti festeggiate'.
Opera World
…countertenor Alberto Miguélez-Rouco who wins the bet in the eyes of Maddalena. Everything is subtlety, simplicity, and very clever, who could resist it.
Forum Opera
Cantadas de José de Torres, Los Elementos
Teatro de la Zarzuela (2022)
…Miguélez's voice is unbelievably beautiful compared to that of a good part of the countertenors of our days. And perhaps that beauty lies in his naturalness: his emission is never forced; he doesn't have to holler to hit the highest notes.
Scherzo
Alberto Miguélez Rouco Operatic Repertoire
| CAVALLI | La Calisto (Endimione)* |
|---|---|
| CESTI | L’Orontea (Corindo) |
| HÄNDEL | Giulio Cesare (Tolomeo)* |
| LEGRENZI | La divisione del mondo (La Discordia) |
| MONTEVERDI | Il ritorno d’Ulisse in patria (Umana fragilità, Pisandro) |
| MOZART | Ascanio in Alba (Ascanio)* |
| PURCELL | Dido and Aeneas (Sorceress, Spirit) |
| TELEMANN | Orpheus (Ascalax) |
| * denotes studied but not performed |
Alberto Miguélez Rouco Concert Repertoire
| BACH | B minor Mass* |
|---|---|
| BUXTEHUDE | Jubilate Domino |
| CALDARA | Maddalena ai piedi di Cristo (Amor Celeste) |
| CHARPENTIER | Messe de Minuit |
| HÄNDEL | Belshazzar (Daniel)* |
| HASSE | Confitebor tibi |
| HAYDN | Harmoniemesse* |
| HAYDN, Michael | Requiem in C minor |
| MOZART | Coronation Mass |
| NEBRA | Cantadas |
| PASQUINI | Il martirio dei Santi Vito, Modesto e Crescenzia |
| PERGOLESI | Stabat Mater |
| PLATTI | Magnificat |
| SAINT-SAËNS | Oratorio de Noël (Mezzosoprano, alto) |
| SELLITTO | Stabat Mater |
| TELEMANN | Passionkantate |
| VIVALDI | Beatus vir RV598 |
| ZELENKA | Missa votiva |
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