Mexican Conductor of international recognition who has worked for a diversity of Companies and Orchestras around the globe including the American Ballet Theatre, the Stuttgart Ballet, the Ballet of the Deutsche Oper am Rhein, the American Opera Theatre, the National Ballet of Finland, the Hong Kong Grand Opera, the Hong Kong Philharmonic, the Kfar Blum International Chamber Music Festival in Israel, the Rossini Opera Festival, the Teatro Comunale in Florence, the Baden-Württemberg State Orchestra, the Düsseldorf Symphony, and the Orchestras of the Komische Oper Berlin, and the Rome Opera to name a few. In his native Mexico he has done extensive work in Symphonic Music conducting most major orchestras.
He closed the year becoming the first Mexican Conductor to perform with the New York City Ballet while taking part of the 50th anniversary season of THE NUTCRACKER at the New York State Theatre of New York's Lincoln Center.
In the 2003/2004 season he was a guest professor of opera at the Universidad de Sonora, one of Mexico’s top state Universities, and was in residence as head coach of vocal production and drama for the National Theatre of Mexico (Compañía Nacional de Teatro), undertaking as his first collaboration a new production of José Zorrilla’s DON JUAN that marked the return of the company to the National Theatre (Palacio de Bellas Artes). He had his first collaboration with the National Finnish Ballet, as a guest for their Balanchine Centennial celebration, and conducted two concert series at the helm of the Jalisco Philharmonic where audiences and press alike praised his performances. The newspaper El Público described them as “moving” music making while the Maestro displayed “complete control” of the orchestra.
In the previous two seasons, he conducted GISELLE on a West Coast Tour for the American Ballet Theatre. He went on to lead the Düsseldorfer Symphoniker in a new Youri Vàmos’ Production of SWAN LAKE for the Deutsche Oper am Rhein, and continued with his Stuttgart Ballet debut on a mixed program entitled AMERICAN MASTERS, where he attained great success conducting Symphony in C (Bizet/Balanchine), Pierrot Lunaire (Schönberg/Tetley), and The Concert (Chopin/Robins). More recently he served as Music Director for the American Opera Theatre, conducting their tour performances of LA BOHÈME, and he closed the 2002/2003 season in Mexico leading the forces of the National Conservatory for performances of IL TROVATORE with a cast of renowned alumni.
Highlights of previous commitments include the opening of the 2000/2001 season with a greatly successful new production of TOSCA at the Grand Theatre in Hong Kong. Public and critics praised his conducting of Puccini’s masterpiece calling it “inspired, precise and masterful”. He began the 1999/2000 season conducting the Lucerne Symphony to continue as collaborator of Mtro. Alberto Zedda in the presentation of a Rossini Gala Concert with the "Giuseppe Verdi" Symphony Orchestra of Milan before inaugurating the season of the Jalisco Philharmonic. After this successful opening concert with a Homage Gala program dedicated to Silvestre Revueltas, Carlos Chávez, Johann Strauss Jr., and Richard Strauss, the newspapers El Público and El Informador integrally dedicated the first page of their cultural section to the chronicle of the concert qualifying it as a "brilliant homage" with "Sonorous, moving and accurate conducting by Mo. Carreón-Robledo".
In the 1998-1999 season he was a guest at the Teatro Comunale in Florence, covering Mo. Antonio Pappano in Willy Decker’s new production of FALSTAFF and a symphonic concert, and Mo. Giuseppe Sinopoli in a performance of Beethoven’s 9th Symphony, with the orchestra and chorus of the Maggio Musicale Fiorentino, commemorating the 70th anniversary of the orchestra. He also collaborated with Mo. Pappano in four concerts with the Israel Philharmonic Orchestra in November-December 1997, and with Mo. Carlo Rizzi in a new production of LA CENERENTOLA at the 1998 Rossini Opera Festival in Pesaro. During that same festival he followed Mo. Alberto Zedda’s sessions at the Accademia Rossiniana in order to further polish his interpretation of the Rossini repertoire.
Mo. Carreón-Robledo made his operatic debut as a teenager in Mexico City. He has since, conducted a wide variety of repertoire in contrasting and diverse places and situations. He has been on the podium of most major orchestras in Mexico including the Orquesta Sinfónica Silvestre Revueltas, Orquesta Sinfónica de Aguascalientes, Orquesta Sinfónica de la Universidad de Guanajuato, and Orquesta Filarmónica de Jalisco.
In opera he has concentrated on the Italian repertoire. Besides his own performing, he has worked with great conductors of the Italian tradition. He has been thoroughly involved in the preparation, study and performance of major pieces in that repertoire such as Verdi’s RIGOLETTO, LA TRAVIATA, IL TROVATORE, UN BALLO IN MASCHERA, OTELLO, and FALSTAFF; Puccini’s LE VILLI, LA BOHÈME, MADAMA BUTTERFLY, TOSCA, LA RONDINE, IL TRITTICO, and TURANDOT; Mozart’s COSÌ FAN TUTTE, LE NOZZE DI FIGARO, and DON GIOVANNI; Rossini’s IL BARBIERE DI SIVIGLIA, LA CENERENTOLA, and L’ITALIANA IN ALGERI to name a few on a list that extends not only to other major Italian composers but that includes pieces like Mozart’s DIE ZAUBERFLÖTE and DER SCHAUSPIELDIREKTOR; Massenet’s WERTHER; Bizet’s CARMEN; Dvorák’s RUSALKA, C. Floyd’s SUSANNAH, et al.
In the last few years he has devoted a great part of his calendar to ballet, bringing a balance of intensity and flexibility to his performances, his repertoire includes some of the full-length classics, among others THE NUTCRACKER, SWAN LAKE, ONEGIN, ROMEO AND JULIET, and GISELLE, as well as shorter repertoire pieces like CARMINA BURANA, L’APRÈS-MIDI D’UN FAUNE, THE FIREBIRD, SERENADE, CARMEN, PIERROT LUNAIRE, SYMPHONY IN C, and RUBIES to list a few. As an important part of his repertoire, some of the Mexican classics should be mentioned, such as HUAPANGO, DANZÓN No. 2, ZAPATA (Tierra de Temporal), and HORSE POWER.
In the Theatre, he is actively involved providing vocal and dramatic training to actors and actresses, and constantly serving as an adviser and coach to a diversity of straight Theatre productions.
He was awarded the 1997-1998 Annual Grant for Orchestral Conductors of the Fondo Nacional para la Cultura y las Artes FONCA (National Foundation for the Arts and Culture) in Mexico.
For seven seasons, from 1990 to 1996, Mo. Carreón-Robledo was Deputy Artistic Director and Company Manager of the Israel Vocal Arts Institute, based in New York with yearly Summer Festivals in Tel-Aviv, Israel. Since the beginning of his association with the IVAI, besides his conducting, he acted in a combined capacity as Casting Director, Rehearsal and Activities Director, Budget Co-ordinator, Head of Artist Relations, and Head of Technical Staff. He oversaw the production and performance of over forty different operas, and divided between New York and Tel-Aviv, he worked in the fields of pedagogy, artistic administration and music direction along with great international artists like Sherrill Milnes, Elena Obraztsova, Renato Capecchi, Federico Davia, Alfredo Kraus, Maria Cleva; and voice teachers Vera Rözsa, Patricia McCaffrey, Barbara Honn, Virginia Zeani, and Rita Patanè among others.
In the 1993/1994 season he worked with the late Mo. Gianandrea Gavazzeni in the music preparation of a new production of LA RONDINE, directed by Nicolas Joël, at the Teatro alla Scala. The following season he did the same for the opening new production of IL TRITTICO, directed by Willy Decker and conducted by James Conlon, at the Oper der Stadt Köln.
As a vocal coach and teacher he has prepared young singers to win international competitions and have successful debuts at theatres including the Hamburgische Staatstoper, the Bayerische Staatsoper in Munich, the Teatro alla Scala, the Oper der Stadt, Köln, and the Opera de Bellas Artes in Mexico.
Mo. Carreón-Robledo started formal studies in Mexico. After forming his first orchestra while still a teenager with a concert calendar in Mexico City and touring parts of the country, he attended the Instituto Nacional de Bellas Artes, and the Universidad Nacional Autónoma de México, as he studied conducting with Francisco Savín and Enrique Diemecke, Music Directors respectively of the National Ballet and the National Symphony. He continued undergraduate studies in Composition and Music Theory at California State University-Northridge, earned a Master of Music degree in Opera Production from the University of Mississippi. The University of Texas at Austin, became his Alma Mater with the completion of two Doctorates in Drama (Stage Directing) and Musical Arts (Conducting), obtaining the unanimous highest grade for his Doctoral Comprehensive Exams.
Striving for artistic excellence has been a constant attitude through the development of his career, an attitude that is continuously shown in the refinement obtained by his interpretations. Experience has provided him with knowledge and the ability to master diverse styles in the performance of Opera, Ballet, Theatre, and Concert Music. Having incurred in all four since an early age, he awoke an interest to know the tradition and performance practices and developed a need to be closely acquainted with such tradition. This need has been constantly satisfied by getting as close as possible to the very source.
His first mentors got him in touch with an artistic line that, through the historic past, traces liaisons with the composers themselves, mainly of Italian Opera. From the beginning of his career Mo. Carreón-Robledo has had first hand contact with Conductors that head a list of excellence in the profession from three generations. He has been close collaborator and assistant to, among others, Maestri Michelangelo Veltri, Walter Ducloux, Gianandrea Gavazzeni, Alberto Zedda, Nello Santi, Giuseppe Sinopoli, James Conlon, Carlo Rizzi, and Antonio Pappano.
Orchestras, Theatres, and Companies
American Ballet Theatre. 2001
American Opera Theatre. 2002
Baden-Württemberg Staatsorchester. 2002
Compañía Nacional de Danza, Mexico. 1982, 1983, 1984
Compañía Nacional de Opera, Mexico 1983, 1984
Deutsche Oper am Rhein. 2001, 2002
Finish National Ballet. 2004
Hong Kong Philharmonic. 2000
Hong Kong Grand Opera. 2000
Israel Vocal Arts Institute, Tel-Aviv, Israel. 1990, 1991, 1992,
1993, 1994, 1995, 1996
Kfar Blum Chamber Music Festival, Israel. 1995, 1996
Luzerner Sinfonieorchester. 1998
Noga Theatre, Tel-Aviv, Israel (Opera House)
1990, 1991, 1992, 1993, 1995
Ollin Yoliztly, Sala de Conciertos, Mexico City. 1996
Opera House. New Performing Arts Center,
Tel-Aviv, Israel. 1996
Orchester der Komischen Oper Berlin. 1996
Orchestra del Maggio Musicale Fiorentino,
Firenze, Italia. 1997
Orchestra del’Opera de Roma, Italia. 1996
Orquesta Filarmónica de Jalisco. 1999, 2000, 2003, 2004
Orquesta Sinfónica de Aguascalientes. 1997, 1999
Orquesta Sinfónica de la Universidad de Guanajuato.
1999, 2000, 2001
Orquesta Sinfónica Nacional, Mexico. 1998
Orquesta Sinfónica Silverstre Revueltas, Mexico 1996
Orquesta Sinfónica Vida y Movimiento. Mexico
1982, 1983, 1984
Rossini Opera Festival, Pesaro, Italia. 1998
Stuttgart Ballet, Germany. 2002
Teatro Comunale, Firenze, Italia. 1997
Teatro Degollado, Guadalajara, Mexico. 1999, 2000
Teatro Juárez, Guanajauto, Mexico. 1999, 2000, 2001
Teatro Martí, Madrid, Spain. 1983
Tel-Aviv Symphony Orchestra. 1993, 1995, 1996
University of Texas Opera Theatre. 1986, 1987, 1988,
1989, 1990
University of Texas Symphony Orchestra, Austin, TX
1986, 1987, 1988, 1989, 1990
Soloists
Beatrix Bode, Flute. Stuttgart
Nico Castel, Tenor. Israel
Stefano de Peppo, Bass. Israel
Juan Diego Florez, Tenor. Rossini Opera Festival
Barabara Frittoli, Soprano. Florence
Elizabeth Futral, Soprano. Florence
Cristina Gallardo-Domâs, Soprano. Israel, Mexico,
Private Coaching
Francis Gouton, Violoncello. Stuttgart
Steven Harrison, Tenor. Hong Kong
Salome Kamer, Mezzo-soprano. Stuttgart
Vasselina Kasarova, Mezzo-Soprano.
Rossini Opera Festival
Jean Philippe LaFont, Baritone. Florence
David Mosqueda, Guitar. Mexico
Gunther Pönisch, Clarinet. Stuttgart
Susana Poretsky, Mezzo-soprano. Israel
Glenn Prince, Piano. Stuttgart
Luis Ledesma, Baritone. Israel, Mexico, Private Coaching
Guadalupe Parrondo, Piano. Mexico
Zoltan Paulich, Violoncello. Stuttgart
Louis Quilico, Baritone. Israel
Christopher Robertson, Baritone. Florence
Dorothea Röschmann, Soprano. Israel
Roberto Sacá, Tenor. Florence
Gabriel Sadé, Tenor. Israel
Joachim Schall, Violin. Stuttgart
Genaro Sulvarán, Baritone. Hong Kong
Ramón Vargas, Tenor. Mexico City.
Encarnación Vázquez, Mezzo-Soprano. Israel,
Mexico City, Private Coaching
Diana Vidú, Soprano. Hong Kong
Yen Yen Wang, Soprano. Hong Kong
Elena Zaremba, Mezzo-soprano. Florence
Jiany Zhang, Tenor. Hong Kong
Dancers and Choreographers
Guy Albouy. Deutsche Oper am Rhein
Alicia Amatriain. Stuttgart Ballet
Alexandra Ansanelli NYCB
Reid Anderson. Stuttgart Ballet
Marina Antonova. Deutsche Oper am Rhein
Victor Barbee. ABT
Ashley Bouder NYCB
Bridget Breiner. Stuttgart Ballet
José Manuel Carreño. ABT
Angel Corella. ABT
Joyce Cuoco. Deutsche Oper am Rhein
Joaquin DeLuz NYCB
Tamas Dietrich. Stuttgart Ballet
Megan Fairchild NYCB
Marcelo Gomes. ABT
Paloma Herrera. ABT
Susan Jaffe. ABT
Susan Jones. ABT
Sue Jin Kang. Stuttgart Ballet
Yseult Lendvai. Stuttgart Ballet
Kevin McKenzie. ABT
Gillian Murphy. ABT
Colleen Neary. Stuttgart Ballet,
Finnish National Ballet (Balanchine Trust)
Theresa Reichlen NYCB
Valentina Savina. Stuttgart Ballet
Ethan Stiefel. ABT
Glen Tetley. Stuttgart Ballet
Elena Tentschikowa. Stuttgart Ballet
Robert Tewsley. Stuttgart Ballet
Youri Vàmos. Deutsche Oper am Rhein
Friedeman Vogel. Stuttgart Ballet
Roland Vogel. Stuttgart Ballet
Michelle Wiles. ABT
Damian Woetzel NYCB
