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| © Shannon Langman |
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A Crystal Globe nominee, Maestro Enrique Carreón-Robledo has gained international recognition as a well-rounded interpreter of Opera, Ballet, and Symphonic repertoire performing at the helm of a great diversity of Orchestras in Europe, the Americas, the South Pacific, and the Middle and Far East. Thus he has stood at the podium of the Nice Philharmonic, Orchestre National du Capitole de Toulouse, Orchestre de Chambre de Toulouse, the University of London Symphony Orchestra, the Hong Kong Philharmonic, the West Australian Symphony Orchestra, the Baden-Württemberg State Orchestra, the Düsseldorf Symphony, the Ensemble of the Kfar-Blum Music Festival, the Tel-Aviv Symphony, the Jalisco Philharmonic, the Aguascalientes Symphony, and the Stamford Symphony to name a few.
He is Artistic Director of Opera in the Heights in Houston and has performed as a guest conductor with the Théâtre du Capitole de Toulouse, the West Australian Ballet, the Stuttgart Ballet, the Deutsche Oper am Rhein, the National Opera of Hong Kong, the American Opera Theatre, the American Ballet Theatre, the New York City Ballet, and the Kfar Blum International Music Festival. He is a sought after pedagogue and has performed and taught in prestigious academic institutions like the University of Texas, the National Conservatory of Mexico, and the University of Sonora.
Mo. Carreón-Robledo started formal studies in Mexico. 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. He completed doctoral studies at The University of Texas at Austin, obtaining the unanimous highest grade for his Doctoral Comprehensive Exams.
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. |
© Shannon Langman
Summer Concert with University of London Symphony Orchestra
© José Jorge Carreón
| 2011-Present |
Artistic Director. Opera in the Heights.
Don Carlo, La fille du régiment, Così fan tutte, Anna Bolena, Il Trovatore. Upcoming:
Otello, I Capuleti e i Montecchi, Macbeth, Falstaff. |
| 2009-Present |
Guest Conductor. Ballet Nice Mediterranée, Nice Philharmonic.
Don Quixote, Coppélia. Upcoming: Raymonda Grand Pas Classique/The Envelope/Suite en blanc |
| 2006-Present |
Guest Conductor. Ballet du Capitole de Toulouse. Don Quichotte (2006 and 2007). Coppélia (2009 and 2011).
Upcoming: Napoli Suite/La fille mal gardée. |
| 2007-2010 |
Guest Conductor. West Australian Ballet, West Australian Symphony Orchestra.
Don Quixote, Romeo and Juliet. The Nutcracker. Alice |
| 2009-2010 |
Guest Conductor. English National Ballet. The Nutcracker |
| 2006-2008 |
Conductor. Stamford Center for the Arts. George Balanchine’s The Nutcracker |
| 2004-2006 |
Guest lecturer and conductor. National Conservatory of Mexico Il Trovatore (Gala performance, star alumni), Il Barbiere di Siviglia Guest Master Teacher. Centro de Arte y Pedagogía, Mexico City. Master Classes and private instruction in vocal technique for actors and operatic repertoire for singers. Guest conductor, Orquesta Filarmónica de Jalisco, Orquesta Sinfónica de Guanajuato. |
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Guest conductor New York City Ballet. George Balanchine’s The Nutcracker Guest professor of Opera at the State University of Sonora Gianni Schicchi, Master Classes and private instruction in vocal technique and operatic repertoire. |
| 2003-2004 |
Resident vocal coach National Theatre Company of Mexico. Private coaching in vocal technique and voice classes for actors. |
| 2002-2003 |
Guest Conductor. The Stuttgart Ballet, Baden-Wüttemberg State Orchestra.
G. Balanchine’s Symphony in C. J Robins’ The Concert. G. Tetley Pierrot Lunaire Conductor. La Bohéme American Opera Theatre US East Coast Tour. |
| 2001-2002 |
Guest Conductor. Deutsche Oper am Rhein. Y. Vamos’ Swan Lake. |
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Conductor, US West coast tour. American Ballet Theatre Giselle. |
| 2000-2001 |
Guest Conductor. Hong Kong National Opera Tosca. |
| 1998-1999 |
Maestro Sostituto. Teatro Comunale Firenze. Assistant to Sir Antonio Pappano, Falstaff. Conductor and interim General Director, Orquesta Sinfónica Silvestre Revueltas. |
| 1997 |
Assistant Conductor to Sir Antonio Pappano with the Israel Philharmonic for concert performances of the opera Otello, and three symphonic programmes. Orchestra Sinfonica Guiseppe Verdi di Milano. Assistant conductor to Alberto Zedda. |
| 1996 |
Assistant Conductor. Rossini Opera Festival, Pesaro. Assistant to Carlo Rizzi, La Cenerentola. Hospitant in attendance to Alberto Zedda in lectures and master classes, Accademia Rossiniana. |
| 1994-1995 |
Oper der Stadt, Köln. Music preparation Il Trittico. La Bohème. La Traviata. |
| 1993 |
Music preparation and hospitant to Gianandrea Gavazzeni for La Rondine at Teatro alla Scala, Milan. |
| 1990-1993 |
Personal Assistant to Michelangelo Veltri in attendance for preparation and performances of La Bohème, Lucia di Lammermoor, and Madama Butterfly at Metropolitan Opera, NY. |
| 1990-1996 |
Deputy Artistic Director, Company Manager, and Conductor, Israel Vocal Arts Institute. In charge of all administrative and organisational aspects of this festival where world class operatic stars shared their experience with young talented artists. Besides his intense work as conductor and coach, he acted as Director of Development, Budget Co-ordinator, Head of Artist Relations, Casting Director, Rehearsal and Activities Director, Head of Music Staff, and Head of Technical Staff. Performance: La Bohème, Le Villi, Madama Butterfly, Rigoletto,Falstaff, L’Amico Fritz, Don Giovanni, Cosí fan Tutte, La Tragedie de Carmen, Werther. |
| 1986-1990 |
Assistant Instructor in the Music and Spanish departments of the University of Texas at Austin, General Manager of the University of Texas Symphony Orchestra, Artistic Administrator of the University of Texas Opera Theatre, and Assistant Director of Musical Activities of the same University. Conductor with the UT Symphony Orchestra, and UT Opera Theatre. Symphony Concerts and Gianni Schicchi, Rusalka, Le Nozze di Figaro, Cosí fan Tutte, La Bohéme, Susannah, Alice in Wonderland. |
- Houston Opera Companies Positioned for Growth: Click here to read the article
- Opera in the Heights finds the magic touch: New maestro and a rising star lift Il Trovatore: Click here
- 100 Creatives 2012: Click here
- Donizetti’s Anna Bolena at Opera in the Heights is Brilliantly Executed: Click here
- Opera de Nice Journal 2011: Click here
Nice Matin, 27 December, 2011. André Peyregne after Coppélia with the Ballet Nice Mediterranée: Opéra : un triple A pour Coppélia ! …tandis que de la fosse montaient les harmonies caressantes de la musique de Delibes, excellemment mise en valeur par le Philharmonique sus la direction du chef mexicain Enrique Carreón-Robledo. …Ce spectacle constitue une pause exquise dans l’actualité
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Houston Chronicle, 13 November, 2011. Buzz Bellmont after Così fan tutte with Opera in the Heights: What a joy it is to watch the vibrant and animated Maestro Enrique Carreón-Robledo on the podium who many times mouths the words to his singers as they follow his masterly direction. Words fail me when I am in the presence of such an accomplished genius. If you have not experienced the wonders and the brilliance of Opera in the Heights' new artistic director, then you have cheated yourself out of one of the finest experiences in the world of opera today. Certainly Opera in the Heights has upped the ante a thousandfold by hiring Maestro Enrique Carreón-Robledo as its new artistic director who will no doubt lead this small but magnificent opera company into a new place of certain greatness and resplendent prodigiousness. Welcome to the podium at Opera in the Heights, Maestro.
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Houston Press, 14 November, 2011. D.L. Groover after Così fan tutte with Opera in the Heights: |
Maestro Enrique Carreón-Robledo conducts orchestra and chorus with a jaunty passion, and the singers romp through Mozart with vigor and elegance, tuning his phrases into electricity.
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Houston Chronicle, November 16, 2011. Everett Evans after Così fan tutte with Opera in the Heights: Enrique Carreón-Robledo conducts with brio, his musicians capturing the ingenious color and delicacy of Mozart's orchestrations.
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Houston Press, 26 September, 2011. D.L. Groover after La fille du régiment with Opera in the Heights: Under its new artistic director and conductor, maestro Enrique CarreónRobledo, Opera in the Heights has found a Toscanini. The whole enterprise is fresh and awake and newly transfused. The tempi are faster, the staging simple yet effective, the costumes lush and complementary.
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Classic Toulouse. June 2011. Annie Rodriguez after Coppélia with the Ballet du Capitole: Enfin, |
et ce n’est pas une moindre chose, le ballet était accompagné par l’Orchestre de Chambre de Toulouse sous la direction du chef mexicain Enrique Carreon Robledo. Ce chef, que le ballet connaît bien puisqu’il a dirigé un mémorable Don Quichotte et ce même Coppélia, dirige avec beaucoup de finesse et surtout d’attention aux danseurs et à ce qui se passe sur scène. Son enthousiasme est contagieux. C’est la première fois que nous entendions l’Orchestre de Chambre de Toulouse dans ce répertoire et l’on doit dire que le résultat est remarquable. Jouant des nuances ou au contraire des brillances de la partition, il donne un relief tout particulier à la partition de Léo Delibes.
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Houston Press, 2 February, 2011. D.L. Groover after Don Carlo with Opera in the Heights: |
This is OH's most polished show yet, simple but elegant, radiantly sung by a thrilling young cast. Under the stirring leadership of Maestro Enrique Carreón-Robledo, the orchestra has never sounded so eloquent, nor has the chorus been so tight and focused. The orchestra allows Verdi's textured music to sound clear and bright, revealing intricacies even during the tumultuous passages.
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Houston Chronicle, 29 January, 2011. Buzz Bellmont after Don Carlo with Opera in the Heights: |
Maestro Enrique Carreón-Robledo passionately and powerfully commands the orchestra which must sound exactly the way Verdi intended his orchestra to sound---bright, bold, lyrical, and full of passion and beauty.
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Houston Arts Week, 28 January, 2011. John DeMers after Don Carlo with Opera in the Heights: |
Verdi filled Don Carlo with orchestral interludes that, as conducted here by Enrique Carreón-Robledo, become their own lush, lyrical chamber concerts.
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Danse. February 2011. Jean Desprats after the premiere of Don Quichotte with Ballet Nice Mediteranée: La salle bruisse d'excitation et d'impatience, la lumière baisse, l'orchestre qui s'ébrouera toute la soirée comme une nichée de rossignols survoltés sous la battue énergique, précise et variée d'Enrique Carreón-Robledo attaque une brève introduction... …un triomphe a toute la troupe, aux musiciens, au chef d’orchestre, à Eric Vu-An… …Bravo au Ballet Nice Mediteranée!
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Nice Matin, 25 December, 2010. André Peyregne after Don Quichotte with the Ballet Nice Mediterranée: L'orchestre est d'une parfaite fluidité sous la direction d'Enrique Carreon Robledo.
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The Australian. 10 May, 2010. Rita Clarke after Don Quixote with the West Australian Ballet: Combined with the West Australian Symphony Orchestra's rousing performance, it was a night to remember in the classical history of West Australian ballet.
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Australian Stage. 11 May, 2010. Sarah Green after Don Quixote with the West Australian Ballet: Guest artist, Maestro Enrique Carreón-Robledo led the West Australian Symphony Orchestra in the pit, providing the sounds of romance, passion and comedy. |
The Australian, 9 July, 2009. Rita Clarke after Romeo and Juliet with the West Australian Ballet: |
HUNGARIAN Youri Vamos’ Romeo and Juliet is a powerful drama, supported by the musicality on which Vamos says the success of dance storytelling depends. Vamos would be delighted at the brilliant performance of the West Australian Symphony Orchestra under guest conductor Enrique Carreon-Robledo. It is undoubtedly a key part of the success of West Australian Ballet's production. On opening night the orchestra played Sergei Prokofiev's tumultuous score so well, pitting strings against brass in a kind of abrasive beauty that crystallised Vamos's inspired 1930s mafia setting. The music seemed to prowl about the stage like the warring Capulets and Montagues, galvanising the dancers and filling their angular dance with a tension and energy that was quite stunning. The ravishing ballroom scene, with its explosive Latin American passion, is a show stopper.
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Dansomanie November, 2008. Cécile Tarot after Coppélia with the Ballet du Capitole: …l’Orchestre national du Capitole de Toulouse et de musiciens extérieurs (puisque la phalange toulousaine était en tournée), placés sous la baguette précise et vigoureuse du chef mexicain Enrique Carreón-Robledo, a magnifiquement servi la partition de Delibes, lui restituant ses rythmes variés, ses couleurs instrumentales contrastées, son élégance et son humour.
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Classic Toulouse. November 2008. Annie Rodriguez after Coppélia with the Ballet du Capitole: |
Et, cerise sur le gâteau, Enrique Carreon Robledo a mené de main de maître l’orchestre du Capitole.
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The Australian, 16 September, 2008. Rita Clarke after The Nutcracker with the WA Ballet: The West Australian Symphony Orchestra under conductor Enrique Carreon-Robledo was fabulous.
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The West Australian, 15 September 2008. Naomi Millet after The Nutcracker with the West Australian Ballet: Tchaikovsky’s immortal score played with sparkle by the WA Symphony Orchestra under conductor Enrique Carreon-Robledo.
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Post Time Out, September, 2008. Sarah McNeill after The Nutcracker with the West Australian Ballet: …Tchaikovsky’s music superbly performed by WASO under the baton of Enrique Carreon-Robledo. |
Classic Toulouse. December 2007. Annie Rodriguez after Don Quichotte with the Ballet du Capitole: Ajoutez à cela le bonheur d’avoir l’orchestre du Capitole, avec à sa tête le chef mexicain Enrique Carreon Robledo, totalement attentif au travail des danseurs, donnant l’éclat que mérite la partition, si souvent remaniée, de Ludwig Minkus. |
Altamusica. December 2007. Vincent LeBaron after Don Quichotte with the Ballet du Capitole: … Prima la musica, avant la danse, il faut saluer l'Orchestre national du Capitole qui accompagne son Ballet. La partition de Ludwig Minkus est facilement considérée comme sans intérêt par les musiciens. Au contraire, les musiciens toulousains s'investissent dans ces deux heures de liesse catalane, une collaboration qui manque parfois aux plus grandes compagnies. |
The Australian. 21 September, 2007. Rita Clarke after Alice with the West Australian Ballet: |
Dmitri Shostakovich's music, composed during Stalin's aberrant regime, is apt. Under guest conductor Enrique Carreon-Robledo the West Australian Symphony Orchestra, and in particular the brass, outdoes itself in inveigling the discordant music into the madness on stage. |
Post Time Out, September, 2007. Sarah McNeill after Alice with the West Australian Ballet: |
The orchestra performed the superbly selected Shostakovich compositions under the energetic baton of guest Mexican conductor Enrique Carreon Robledo. |
BALLET2000, January/February, 2007. Sonia Schoonejans after Don Quixote with the Ballet du Capitole: Sans oublier un orchestre enlevé par un chef d’orchestre aux tempi toujours justes, le Mexicain Enrique Carreon-Robledo. |
UT mi SOL, January, 2007. Véronique Comparin-Ainard after Don Quixote with the Ballet du Capitole: Tout au long de ce spectacle nous devons resister à l’envie de batter des mains et de taper du pied tant nous sommes emportés par la partition brillamment interprétée par un Orchestre du Capitole inspire sous la baguette de Enrique Carreón-Robledo. |
Danse. December 2006. Michel Odin after the premiere of Don Quixote with the Ballet du Capitole: Començons par passer en revue tout ce qui a permis le success de cette magnifique production. D’abord, le prestigieux orchestre du Capitole, dirigé par Enrique Carreón-Robledo. Magnifique direction, sans excès, qui met en valeur les très belles harmonies de Ludwig Minkus et la beautè de la palette orchestrale. Chaque intstrument est mis en valeur avec bon goût, depuis les bois, jusqu’à la harpe. Et j’insiste, pas de tintamarre, les cuivres et la grosse caisse ne recouvrent pas tout, du vrai Munkus! |
Classic Toulouse. November 2006. Robert Pénavayre after the premiere of Don Quixote with the Ballet du Capitole: Pour la première fois au pupitre de notre orchestre, le chef mexicain Enrique Carreon-Robledo accompagne avec beaucoup de finesse, d’attention, d’éclat aussi cette soirée qui restera parmi les plus réussies de notre corps de ballet. |
Le Quotidien du Medicin, 6 November, 2006. O. B. after Don Quixote with the Ballet du Capitole: Et quel luxe que d’avoir dans la fosse l’excellent orchestre du Capitole dirigé de façon experte par le chef mexicain Enrique Carreón-Robledo! |
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