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Giacomo Sagripanti

Giacomo Sagripanti

Music Director at Tbilisi State Opera GM ART & MUSIC
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Giacomo Sagripanti
Giacomo Sagripanti
Giacomo Sagripanti
Giacomo Sagripanti
Giacomo Sagripanti

Music Director at Tbilisi State Opera, he is considered one of the most interesting conductors of his generation among the international panorama. He won in 2016 the Opera Awards as Best Young Conductor of the year, in London.

He began his conducting career in Italy and Germany with his debuts at the Festival della Valle d’Itria, Associazione Lirica e Concertistica Italiana and the Lübeck Theatre. He soon caught the attention of houses throughout Europe and has conducted Semperoper in Dresden ( La Cenerentola), Teatro La Fenice di Venezia (Madama Butterfly) Opernhaus in Zürich (L’ Elisir d’amore), Palau de les Arts Reina Sofia in Valencia (Stabat Mater), and in some of the most important Festivals (Rossini Opera Festival, Arena di Verona), being successful with public and critics.

He has a constant symphonic activity, being regularly invited to symphonic seasons of many prestigious orchestras as Orchestra Sinfonica Nazionale della RAI Turin, Orquesta Simfonica des Iles Balears, Orchestra Sinfonica Siciliana, ROSS Sevilla, Orchestra Haydn Bolzano and many others. Royal Opera House London (La Traviata, Don Pasquale),

In January 2016 he had an enormous success conducting Werther at Opéra Bastille in Paris jumping in at last moment,  then in March he made his debut at the Philharmonic Orchestra of St. Petersburg. 

He’s constantly present in the biggest Opera Houses, as Operá de Paris (Il Barbiere di Siviglia, La Traviata, Capuleti e Montecchi, La Cenerentola, Rigoletto, Madama Butterfly, L’Elisir d’amore), Wiener Staatsoper (La Traviata, Tosca, Anna Bolena, Werther, Il Barbiere di Siviglia, La Cenerentola), National Theater Munich (La Cenerentola, La Favorite), Bolshoi Moscow (Un Ballo in maschera, Don Carlo, Tosca), Gran Teatre del Liceu (Tosca, Viaggio a Reims, Lucia di Lammermoor), Teatro de la Maestranza Sevilla (Cenerentola), Teatro di San Carlo (Puritani, concerts) 

He recently conducted Moise et Pharaon for the opening of the Rossini Opera Festival, Verdi Requiem with the Hungarian National Philarmonic Orchestra and with the Seattle Symphony Orchestra, Turandot in new production at Hamburgische Staatsoper and made his house debut at Teatro Real de Madrid.

Future engagements include: La Sonnambula, La Boheme and a new production at Wiener Staatsoper,  Il Turco in Italia (new production), Verdi’s Otello and La Bohème at Teatro Petruzzelli di Bari, La Traviata at Operá de Paris, Metropolitan Opera debut (2025), Gran Teatre del Liceu (La Cenerentola and new production in 2026) Ein Deutsches Requiem with Orchestra Sinfonia Siciliana, Royal Opera House London (Lucia di Lammermoor,  Il Trovatore, La Traviata), Rossini Opera Festival in 2025, alongside with many symphonic concerts in Spain, France, USA, Georgia and Italy.

General Management

Gianluca Macheda
ul. Grzybowska 43a, lok. 72 00-855
Warsaw Poland
gmacheda@gmartandmusic.com

Logistics

Stefania Ramacciotti
Via Romana 578/B 55100 Lucca Italy
+39 3479762848
sramacciotti@gmartandmusic.com

Reviews

“The orchestra, led by Giacomo Sagripanti, sounds as happy to be playing Rossini as everyone else is singing it. Rossini’s score is bouncy and light on its feet, but Sagripanti slackens the pace judiciously, giving room for lovestruck arias to blossom, or for Alidoro to proceed in his stately way toward a redistribution of social status.”
Michael van Baker, The Sunbreak

“The Orchestra of Teatro Comunale of Bologna are used to playing Rossini but perhaps never so neatly and so seemingly effortlessly as they did under Giacomo Sagripanti’s baton. Watch out for the name of this young conductor. More especially if you live in Paris. He’s imminently about to be heard at the Opéra Bastille, conducting this same opera.”
Jack Buckley, Seen and Heard International

“Despite his youth, he brings extensive experience in the bel canto repertoire. Directing entirely from memory, his knowledge of the subtleties and variations within this score are encyclopaedic. He urged restraint upon the orchestra to have them lightly float through many passages treated more heavily by others. He established shades and colours of immense variety and complexity which added new meaning to music we thought we knew well. His reading of the score is fast and at times furious. His control of the densely written ensemble passages masterful and the overall effect of the performance was fresh, lively and bright.”
Gregory Pritchard, Concerto.net