Alberto Miguélez Rouco

Countertenor

"His voice is beautiful, distinguished, virile and flexible; of extraordinary and clear diction"

Ópera Actual

"...Miguélez's voice is unbelievably beautiful..."

Scherzo

"...the unique tone, at once amber, warm and deep of Alberto Miguélez Rouco"

Forum Opera

Download full biography

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.

This season’s highlights include Monteverdi’s L’incoronazione di Poppea (Ottone) for the Palau de les Arts Reina Sofia Valencia under the direction of Leonardo García Alarcón, Bach’s Magnificat with René Jacobs and Kammerorchester Basel, Bomtempo Requiem with the Orquesta Sinfonica de Galicia under Carlos Mena and various concerts around Europe with Les Arts Florissants.

In opera, 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.

Conductors he has worked with include René Jacobs, William Christie, Christophe Rousset, Paul Agnew, Gabriel Garrido, Lionel Sow and Josep Pons collaborating with ensembles such as Les Arts Florissants, the Freiburger Barockorchester, Trondheim Baroque Orchestra, Les talens Lyriques, la Orquesta Sinfónica de Galicia, Ensemble Elyma, Musica Fiorita and Ensemble Semura Sonora.

As a soloist in oratorio, in addition to performing popular works such as Bach Passions and Handel’s Messiah, other pieces include Caldara’s Maddalena ai piedi di Cristo, Händel’s Israel in Egypt, Ode for the birthday of Queen Anne, and Il trionfo del Tempo e del Disinganno (Disinganno), Pergolesi’s Stabat Mater, Vivaldi’s Gloria, Magnificat and Beatus Vir, Charpentier’s Te Deum and Traetta’s Stabat Mater, Hasse’s Miserere in c-moll, Pasquini’s Il San Vito (at Boston Early Music Festival), Michael Haydn’s Requiem, Monteverdi’s Vespro della Beata Vergine, Saint-Saëns’ Oratorio de Noël and various Mozart’ Masses.

He regularly attends masterclasses with renowned singers and teachers including Margreet Honig, Sara Mingardo, Mariella Devia, Philippe Jaroussky, Valerie Guillorit, Christine Schäfer, Alessandro de Marchi, Sophie Daneman and Maria Cristina Kiehr.

In 2018 he founded his own ensemble Los Elementos which he directs from the harpsichord, and in September 2019 he recorded José de Nebra’s baroque zarzuela Vendado es Amor, no es ciego, for the label Glossa. In 2021 he released their second album of Nebra’s Donde ay violencia, no ay culpa. This season he will conduct Nebra’s Donde hay violencia, no hay culpa with Los Elementos at the Teatro de la Zarzuela (Madrid) staged by Rafa Villalobos.

In 2020 he recorded his first solo album Cantadas, including sacred Spanish music by José de Nebra and Francesco Corselli.

This biography is for information only and should not be reproduced.

MUSICAL DIRECTION: CD Nebra Donde hay violencia, no hay culpa, Los Elementos

Glossa GCD 923525 (October 2022)

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

CD Cantadas de José de Nebra y Francisco Corselli, Los Elementos

PanClassics PC10416 (November 2021)

The homogeneity of the voice and the fullness of the lower register, the way in which it delicately touches the treble as if to lavish a caress recalls Bejun Mehta, but the unique tone, at once amber, warm and deep of Alberto Miguélez Rouco seems to belong to a mezzo.

Forum Opera

Miguélez's voice is really beautiful, but to that intrinsic beauty he adds an overwhelming technical solidity, acquired in his years of perfecting in the Schola Cantorum Basiliensis.

Scherzo

Miguélez Rouco demonstrates his knowledge of the style both in directing and in singing, a super star who has also been in charge of reconstructing the instrumentation of some of the recorded pieces. His voice is beautiful, distinguished, virile and flexible; of extraordinary and clear diction, his Castilian is understood even in the scales and in the ornaments. He also knows how to apply a certain vibrato to his luminous timbre that gives it character.

Ópera Actual

Handel Partenope (Armindo)

Les Arts Florissants (2021/2022)

Countertenors Hugh Cutting and Alberto Miguélez Rouco fascinate with their aplomb and very sure technique. Sublime pianissimos and a strong ornamental taste for the first, superb projection and perfect management of the breath for the second reveal an extensive degree of preparation that allows great risk-taking.

Bachtrack

Cutting and Miguélez were especially brilliant in their respective roles. He composed a shy and in love Armindo with a truly moving capacity for expression both in the acting part and, very especially, in the vocal part.

Codalario

Alberto Miguélez Rouco offered a perfect Armindo vocally and dramatically, with a masculine tone and solid lower register.

El Periodico

Bach St John Passion

Nederlandse Bach Vereniging (2021)

The young Spaniard Alberto Miguélez Rouco, with his fresh voice, is in the angelic corner of the countertenor spectrum. He was accurate with tasteful ornamentation and phrasing and perfect consonants.

Volkskrant

MUSICAL DIRECTION: Nebra Vendado es Amor, no es ciego

Los Elementos

We must thank the countertenor Alberto Miguélez Rouco and his immense admiration for the work and its author for rescuing it, including a recording for the prestigious Glossa label.

Codalario

Another zarzuela by José de Nebra has been recovered

Scherzo

Zelenka Missa Votiva

Accademia Barocca Lucernensis (2019)

Where it used to be the castrato, today it is the trained countertenor who is trained in the head voice. Alberto Miguélez Rouco sings his female voices softly and naturally. The inset in “Credo” is intimate, elegantly touching on the supernatural. His colorful soprano voice seems tailor-made for today's gender discourse.

Luzerner Zeitung

Alberto Miguélez Rouco Operatic Repertoire

CAVALLI

La Calisto (Endimione)*

CESTI

L’Orontea (Corindo)

HÄNDEL

Giulio Cesare (Tolomeo)*
Orlando (Medoro)*
Ottone (Adelberto)
Partenope (Armindo)
Rinaldo (Goffredo)*
Rodelinda (Unulfo)*

LEGRENZI

La divisione del mondo (La Discordia)

MONTEVERDI

Il ritorno d’Ulisse in patria (Umana fragilità, Pisandro)
L’incoronazione di Poppea (Ottone)*
L’Orfeo (La Speranza, Pastore)

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*
Cantata BWV147
Cantata BWV170*
Christmas Oratorio*
Easter Oratorio*
Johannes-Passion
Magnificat

BUXTEHUDE

Jubilate Domino
Membra Jesu nostri*

CALDARA

Maddalena ai piedi di Cristo (Amor Celeste)

CHARPENTIER

Messe de Minuit
Te Deum

HÄNDEL

Belshazzar (Daniel)*
Dixit Dominus*
Il trionfo del Tempo e del Disinganno (Disinganno)
Israel in Egypt
Jephtha*
Messiah
Ode for the birthday of Queen Anne
Saul (David)*
Theodora (Didymus)*

HASSE

Confitebor tibi
Miserere

HAYDN

Harmoniemesse*
Nelsonmesse*

HAYDN, Michael

Requiem in C minor

MOZART

Coronation Mass
Mass in C Major
Missa Brevis in C
Requiem

NEBRA

Cantadas
Miserere*

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
Gloria RV589
Magnificat
Nisi Dominus

ZELENKA

Missa votiva

These photos are available to be downloaded.
Right click on a desired image and select the "Save Link As" option.