“Sul podio SERGIO ALAPONT è stato molto bravo nel saper equilibrare le esigenze più popolari dell’operetta, all’esigenza malinconica della melodia, utilizzando con maestria gli effetti del “rubato” e delle sonorità languide tipici di questo genere.”
Ieri Oggi Domani, Opera

“La sinfonia bellissima è ben suonata con vigore e luminose note ben sorrette da fiati precisi dall’orchestra Città di Ferrara, nota compagine ferrarese guidata da un giovane ma valentissimo e vigoroso M. Sergio Alapont che sa dare un’impronta molto viva all’immortale musica belliniana. Infiamma nei momenti eroici (come il coro “ Guerra Guerra”) e sa tratteggiare con nuance lunari e squisitamente languidi i momenti di sentimento.”

“The musical direction of Sergio Alapont, makes a very interesting proposal of the music of Giuseppe Verdi and the tragedy of Shakespeare.” – Otello

“Sergio Alapont gave good account of himself with a lively interpretation, never over the top, which gave the whole a fruitful unity of atmosphere, getting by the Orchestra of the Teatro Massimo Bellini well calibrated tones that are deployed in a very wide range of sonorities… Clear gesture, precise indications in gestures and above all a definite idea of the sounds and deliberate interpretation; no one can say that at Alapont lack energy and personality to spare and which has not estrinsecate on this occasion… Fluidity of great effectiveness, then, that has resulted in a vibrant atmosphere created by an incisive wand and inventive.”

“A virtuous Sergio Alapont conducts the Orquesta de Valencia in style, so clear and precise, with musical intention and inspiration.”
El Periódico Mediterráneo

“Sergio Alapont, at the height of its important conducting career, took the podium transmitting security to the musicians and especially inspired interpretation.”
Levante EMV

“Alapont has given a vivid and precise reading: the relentless pace of the Andantes initial march, with the “cold” sound of horns and brass and sparkling lightness and sensuality “demonic” of the seducer in the Allegro molto of the second part… Alapont has given considerable impetus to the execution, emphasizing the character in a sense “Dionysian” of this symphony, thanks to the dense style of the strings and the vividness of colors. Audience excited and perfectly right.”
Domenico Del Nero – Totalità.it

“The cohesion and precision which Sergio Alapont draws from every member of the orchestra is praiseworthy. Musical phrases are sculpted and details are subtle and nuanced. ”
Emmanuel Dupuy, Diapason

“ …the energetic conducting of Sergio Alapont, with its attention to detail, captures the spirit and the enchanting harmonies of Mozart. ”
Laurent Barthel,

“Loved the direction of Sergio Alapont, Spanish Maestro from Benicassim in Sassari that is already his home and where he was fortunately emerged with important debuts. Debut for Aida as well, but supported by a confident gesture, attention to the stage with ideal support voices, and with attention to both dynamics, never prevaricating and colors, particularly inspiring in the opening scene of the third act on the banks of the Nile and in the grave, in the dreamy and tragic end. Surging and held that the valiant Orchestra Ente Concerti was able to translate into sounds always precise and clean.”
Impiccione Viaggiatore

“Attentive and focused direction of the young but already experienced Sergio Alapont, who led a hard and intense score reading with the excellent orchestra Concerti Ente Marialisa de Carolis.”

“The performance of this Aida was headed by Sergio Alapont, already seen at work on the Ente Concerti De Carolis. His conducting has interpreted the” climate “of Aida, his musical setting – very rich in precious refinements stubbornly pursued Verdi – with considerable care and variety of attitudes, qualities essential for a work that always oscillates between the grandiose and the public dimension of the story of the intimate private life.”
La Nuova Sardegna

“The show on Friday night at the Teatro Comunale of Capuccini also said that the voices were right, as was convincing the direction of The Orchestra Concerts by Sergio Alapont, a veteran now for Sassari, also great ballet of the second act. Just short of saying that it was a success? The yes is granted and also a duty.”
Sardegna Dies

“The musical preparation and execution could not have been bettered with Sergio Alapont leading an assured, propulsive, ebullient reading that cascaded off the page and tickled the ear with richly detailed, incisive comic force. Maestro Alapont’s consummate skill was that he could turn on a dime and establish sudden new tempi ‘en masse’ with the balancing skill of an air traffic controller. Also, he was highly adept at partnering his soloists whether in limpid moments of respite from the general madness, in rapid flights of coloratura, or in (sometimes over-extended) cadenzas that never lost forward direction. There are patter sections in the piece that rival the very best Rossini, and Alapont led them with exacting control. The overall shape of the opus was a satisfying build of tension and humor from beginning to end, making Don Bucefalo one of the best musical comedy evenings I have spent in Wexford. Oh hell, make that ‘in the world.’”
James Sohre, Music and Vision

“Alapont conducted from memory and with total control.”
Fernando Herrero, El Note de Castilla

“Spanish conductor Sergio Alapont was impressively collected and commanding in the pit. Conducting the Wexford Festival Opera with brio and clarity, Alapont managed the breakneck tempi with unruffled éclat, and made the busy score dance nimbly. ‘Totally bonkers yet immensely entertaining’ best sums up both the opera and Newbury’s production.”
Opera Today, Claire Seymour

“At the head of a brilliant Wexford Festival Orchestra, the Spanish conductor Sergio Alapont brings out the elegance and the freshness of Cagnoni’s writing.”
Emmanuel Andrieu – Opera Online (France)

“The Wexford Opera Festival Orchestra, under the direction of Sergio Alapont totally captured the light-hearted style of Cagnoni. At the end, not only was there a wildly jubilant reception for the orchestra, but also a standing ovation for a production and staging that had the audience literally leaping from their seats.”
Thomas Molke – Online Musik Magazin (Germany)

“The musical director was Sergio Alapont, who directed Il Capello di Paglia di Firenze at Wexford last year. His very lively conducting perfectly captured all the buffoonery of the opera.”
José M. Irurzun – Opera World

“Under conductor Sergio Alapont the principals – Filippo Fontana (Don Bucefalo), Marie-Ève Munger (Rosa), Matthew Newlin (Belprato) and Jennifer Davis (Agata) – take to their tasks with brio and glee, with Munger providing the evening’s show-stopping vocal acrobatics.”
Michael Dervan – The Irish Times

“Offenbachian in spirit, Donizettian in style, it’s a deliciously orchestrated score, packed full of patter songs, puns, coloratura pyrotechnics and melting serenades, with one sequence that Bucefalo “composes” as he sings and another where he directs. Who knew diegesis was so big in the 1840s? Exquisitely played by the orchestra under Sergio Alapont.”
Anna Picard – The Times

“This is an effervescent score, yet it takes a conductor such as Sergio Alapont to unlock all its potential. The Spaniard has a natural understanding of this repertoire, with the deft technique needed for those passages of breakneck speed and an instinct for the music’s inherent delicacy. Alapont draws playing of brilliant lightness and virtuosity.”
John Allison – The Telegraph

“Sergio Alapont, kept the music on a tight rein”
Andrew Clark – The Financial Times

“Sergio Alapont’s pacy conducting allows the score to dance over the footlights”
George Hall – The Guardian

“In the pit, Sergio Alapont whizzes the orchestra efficiently through the notes”
Rupert Christiansen – The Telegraph

“Sergio Alapont drives the pastiche with panache, with balance between stage and pit gelling perfectly”
Irish Independent

“Sergio Alapont oversaw the electrifyingly played, tongue-in-cheek score, full of intelligent and witty borrowings.”
Roderic Dunnett –