Considered "one of the most interesting and innovative conductors of the new Italian school", both in the opera repertoire and in the symphonic-choral and baroque one, Filippo Maria Bressan is one of the few Italian conductors to be regularly invited to conduct and collaborate with the most prestigious institutions such as Accademia Nazionale di Santa Cecilia Orchestra & Choir, Teatro La Fenice Orchestra & Choir, RAI National Symphony Orchestra in Turin.
Indicated by Maestro Giulini as a conductor "of noble and elegant simplicity", eclectic, discreet, unconventional, sporty, he has chosen to follow his own passions and work mainly in Italy. However, he also conducted in many theaters and concert halls of Europe and South America and he is usual guest of the greatest Italian Festivals of early, symphonic and contemporary music (Accademia Chigiana in Siena, Biennale di Venezia, Monteverdi Festival in Cremona, MiTo Settembre Musica, Sagra Musicale Umbra and many others). Among the many and varied experiences, he worked alongside C. Abbado, F. Brüggen, M.W. Chung, C.M. Giulini, E. Inbal, N. Järvi, P. Maag, L. Maazel, G. Prêtre, M. Rostropovich, G. Sinopoli, J. Tate, and with L. Berio, G. Bonato, N. Campogrande, M. Nyman, A. Pärt, R. Vlad.
Permanent conductor of the Orchestra Sinfonica di Savona, conductor in residence of Orchestra dell'Accademia di Schio, has been guest conductor for five years at the Teatr Wielki in Poznàn and for two years at the Teatro Lirico in Cagliari, principal conductor of the Academia de li Musici and currently Voxonus. He headed, founded, and dedicated himself for nearly twenty years, Athestis Chorus&Orchestra – baroque ensemble with ancient instruments – by which he has become one of the protagonists of the early music revaluation in Italy and of the renewal of the choral and symphonic repertoires. Moreover, from 2000 to 2002 he was the conductor of Coro dell’Accademia Nazionale di Santa Cecilia in Rome - the youngest in the 500 history's years of the Choir.
He has conducted almost all the best Italian orchestras with a broad and selected repertoire spacing from the Ouvertures by J.S. Bach to Rendering by L. Berio, performing with soloists such as G. Andaloro, R. Baborák, A. Ballista, P. Berman, R. Brautigam, R. Buchbinder, M. Campanella, B. Canino, A. Carbonare, G. Carmignola, G. Cassone, C. Colombara, R. Cominati, P. De Maria, B. De Simone, E. Dindo, M. Fröst, B. Lupo, S.Mingardo, D. Nordio, M. Pletnev, G. Pretto, R. Prosseda, C. Sampson, E. Szmytka, etc.
Also the opera repertoire is very wide: from Paride ed Elena by C.W. Gluck conducted at Opéra Royal de Wallonie-Liége, Teatro del Giglio in Lucca and others, to Nabucco by Verdi conducted at Teatr Wielki in Poznàn, from Alcina by Händel conducted at Teatro Verdi in Trieste to Semiramide by Rossini conducted at Teatro of Pisa, Livorno, Rovigo and Trento, from Don Giovanni by Mozart conducted at Teatro Filarmonico in Verona, Teatro Giovanni da Udine and others, to unknown operas like Doña Flor by N. Van Westerhout conducted in Bari, Ifigenia in Tauride by Galuppi conducted in Venice, Il mondo della luna by Paisiello, conducted in Trieste, where he conducted some mounths ago Gluck's Orfeo and Euridice.
Trained pianist, also singer and composer, conductor by vocation and study, pupil in Wien of Karl Österreicher, of masterclasses, among others, with Sir J. E. Gardiner and F. Leitner, assistant of Jurgen Jürgens, devoted also to musicology and historical performance technique, Bressan represents an extremely forceful synthesis - quite unique today - of great knowledgement of the vocal Italian tradition and of the great German symphonic school. This double pedigree, the experience matured in the various fields and a highly refined sensibility in the voices treatment, makes him an ideal conductor in XVIII and XIX centuries Opera - including Rossini and Verdi - and in the symphonic/choral repertoire, that always passionate him.
Among the many concerts, are to report the standing ovation at the Teatro Colòn in Buenos Aires, the performances of Alexander's Feast by Handel with the Choir and the Orchestra of Accademia Nazionale di S.Cecilia in the 2008 season at the Auditorium Parco della Musica in Rome, The Christmas Vespers, conducted in december 2006 in Venice Basilica di San Marco with Teatro La Fenice Orchestra & Choir, the worldvision concert for the Pope. Nominated in the Publishing Committee of the critical editions of Rossini Foundation in Pesaro, he broadcasted various premiéres and live concerts by RAI (Italian radio-television) and radio-televisions of Austria, Belgium, Estonia, France, Holland, Slovenia and Brazil. He has recorded for Decca, Deutsche Grammophon, EMI, Virgin labels; Chandos Records has released 4 boxes (Benedetto Marcello’s Requiem and the oper Arianna, Baldassarre Galuppi’s Mass for San Marco, Antonio Calegari’s La Resurrezione di Lazzaro with important responses by critics and audience. In February 2012 released a CD for Amadeus magazine with Bruch’s Violin concerto and Mendelssohn's Schottish Symphony.
(Triathlon’s atlete for many years, he is also involved in teaching, solidarity and protection of trees).

Refined conductor, has a technical confidence and a true depth that manage to marsh all the orchestras; in his conduction there is the right relationship with the stage, the capability of seconding the voices, and the balance of the timing, in order to draw the great musical architectures, the dramatic tension of both the colors and the phrasing, the proper definition of any atmosphere;
(Arrigo Quattrocchi - IL MANIFESTO - Rossini: Semiramide).

Aside from being a perfect musician, is a wonderful conductor too: he caresses the air with his hands, as if he feared to disturb the enchantments coming out from his musicians. Transparence, as a moral criterion, lifts up Bressan's reading.
(Stefano Ragni - LA NAZIONE - Stravinsky: Symphony of Psalms, Brahms: Symphony n.1)

A fluid and precise performance at one time, magnified by the gesture of the conductor Filippo Maria Bressan. Lucidity, precision, monitored force, charisma of rare workmanship : these are the traits of this kind of "Magus Musicae", which all have responded with attention and convinced participation. Long, hearty and touched applause.
(Marco Maria Tosolini - IL GAZZETTINO - Bach: Johannes Passion).