Corrado Rovaris has been Music Director of Opera Philadelphia since 2004, and regularly collaborates with major Italian and foreign music institutions. At the beginning of 2011 Corrado Rovaris was appointed Music Director and Chief Conductor of Artosphere, an annual Spring Festival presented at the Walton Arts Center in Arkansas.
After completing his musical studies at the G. Verdi Conservatory in Milan, he began a career that led him to collaborate with various institutions including Teatro alla Scala, Teatro del Maggio Musicale Fiorentino, Teatro La Fenice in Venice, Teatro Regio in Parma, Teatro Regio in Turin, Teatro Comunale in Bologna, Frankfurt Opera, Opéra de Lyon, Théâtre Municipal de Lausanne, Japan Opera Foundation, Rossini Opera Festival, Pergolesi Spontini Festival in Jesi, Festival of Valle d’Itria in Martina Franca, Monteverdi Festival of Cremona, Garsington Opera Festival, Glimmerglass Opera Festival, Santa Fe Opera Festival.
In the symphonic field he has collaborated with various Orchestras including Filarmonica della Scala, Rai National Orchestra, Orchestra of the Santa Cecilia Academy, Metropolitan Orchestra of New York, Orchestra of the Maggio Musicale Fiorentino, Orchester de Chambre de Lausanne, Danish Radio Sinfonietta of Copenhagen, “Giuseppe Verdi” Symphony Orchestra of Milan, Haydn Orchestra of Trento and Bolzano, “I Pomeriggi Musicali” Orchestra of Milan.
After the debut in Galuppi’s Il filosofo di campagna – an As.Li.Co. production at the Teatro Comunale of Florence and in various Italian theaters – Corrado Rovaris has mainly dedicated himself to the baroque and belcanto repertoire, to then approach authors such as Mozart, Haydn, Paisiello, Rossini, Donizetti, Bizet, Verdi, Puccini. In 1997 he debuted successfully at the Rossini Opera Festival, conducting Il signor Bruschino, and return in 1998 with Otello. At the Teatro alla Scala he conducted Un giorno di regno, Il Barbiere di Siviglia, L’Italiana in Algeri and Il Signor Bruschino.
Recent engagements include: Elizabeth Cree by Kevin Puts, La Bohème, L’elisir d’amore, Turandot, Tancredi, Le nozze di Figaro, Die Zauberflöte, Don Carlo, Cold mountain by Higdon, La Traviata in Philadelphia; Una cosa rara by Martin y Soler at the Theater of Saint Louis; Das Liebesverbot by Wagner at the Glimmerglass Opera Festival, Il Barbiere di Siviglia in Trieste, Pordenone and Montecarlo; Don Carlo in Oviedo; Artaxerxes of Hasse at the Festival of Valle d’Itria in Martina Franca; La Betulia Liberata at the Wratislavia Cantans Festival in Wroclaw; Gott segne den König by Spontini in the first modern recovery in Jesi; Ainadamar by Osvaldo Golijov at the Opera Company of Philadelphia and in Oviedo where he then returned for Così fan tutte; Roberto Devereux in Toronto; Anna Bolena, Donizetti’s Requiem and an opera concert at the Donizetti Festival in Bergamo; Lucia di Lammermoor in Nancy and Santa Fe; a series of symphonic concerts in Milan with the Orchestra “I Pomeriggi Musicali” and with the Orquesta Sinfónica of the Principado de Asturias; L’Italiana in Algeri at the Santa Fe Opera Festival; Anna Bolena at the Canadian Opera Company in Toronto, La Bohème, L’amore delle tre melarance, Madama Butterfly in Philadelphia Don Pasquale in Siviglia and Tokyo.
Among future engaments Macbeth e Requiem in Philadelphia, L’elisir d’amore in Lausanne, Il Barbiere di Siviglia in Santa Fe, La fille du régiment in Bergamo, La Cenerentola in Houston