Born in Florence, Pier’Alli he studied architecture and he directed the “Ouroboros” Theatre Company, with which he was instrumental in many productions for major avant-garde theatres. These performances were also frequently presented at prestigious international theatre festivals, such as Nancy, Avignon, Warsaw, Caracas, Wroclaw, and Amsterdam (Holland Festival).

1982. Erwartung, Die glückliche Hand, Pierrot lunaire three works by Arnold Schönberg, La Scala, Milan. Vanitas and Lohengrin by Salvatore Sciarrino, La Scala, Milan. The Fall of the House of Usher, based on the famous text by Edgar Allan Poe, with music by Claude Debussy, La Scala, Milan. For the first time Pier’Alli uses film language as a fundamental element for the “mise en scène”, creating a important precedent for his future style.
1987. The Ring cycle by Richard Wagner, at the Teatro Comunale di Bologna, developing even further his previous experience acquired in film design, combining image in movement with the concept of visual theatrical scenery with spectacular results. The success of this masterpiece is considered a milestone in staging Wagner.
1989. Die Walküre by R. Wagner, Teatro Comunale di Bologna 1991. Simon Boccanegra co-produced with Teatro La Fenice, Venice and Teatro Carlo Felice, Genova.
1992. Götterdämmerung, conducted by Riccardo Chailly, Teatro Comunale di Bologna.
1993. Beatrice di Tenda, La Scala, Milan. Dido and Aeneas by Purcell and Il Ballo delle Ingrate by Monteverdi, at the Teatro Massimo, Palermo. Following the huge success of Boito’s Mefistofele at La Scala, Milan with Riccardo Muti (co-production with Staatsoper of Vienna), he stages a new production of Le Nozze di Figaro at the Teatro Carlo Felice and a cycle which includes La fida Ninfa by Vivaldi, La finta semplice by Mozart, Il Ballo delle Ingrate and L’Anfiparnaso by Vecchi at the Teatro Filarmonico of Verona.
1996. Pelléas et Mélisande, at the Opéra de Lille, recipient of the prestigious “Les Victoires de la Musique” award in France. He then was responsible for the new successful production of Matilde di Shabran, at the Rossini Opera Festival of Pesaro.
1997. Pelléas et Mélisande at the Teatro Regio of Turin then at Deutsch Oper in Berlin for the La Scala production, Beatrice di Tenda.
1998 – 1999. After re-staging Simon Boccanegra at the Teatro Comunale di Bologna and at the National Theatre of Warsaw, he produces Der Freischutz at the La Scala, Don Giovanni at the Teatro Regio of Turin, Oberto, Conte di San Bonifacio, Verdi’s first opera, at the Macerata Opera Festival and he then repeats Pelléas et Mélisande at the Teatro Comunale di Bologna, where the success of one of his most memorable productions is reconfirmed.
2001. Aida at the Teatro Comunale di Bologna (staged again in 2002 at the Teatro Carlo Felice of Genova), was a very modern interpretation of the famous opera, not only for the advanced technology used in the scenery, but also for the computerized projections which branched out to a new chapter in the visual language used by the director.
2002. Aida, at the Teatro Carlo Felice of Genova.  Il Principe Costante by Caldéron de La Barca, at the Fabbricone Theatre of Prato I Masnadieri at the Teatro Massimo di Palermo.
La memoria perduta by Flavio Scogna at the Teatro dell’Opera in Rome, where the computerized digital projections demonstrate new extraordinary possibilities in scenic design.
2004. Produces the visual design of Verdi’s Requiem at Piacenza with the Arturo Toscanini Orchestra conducted by M. Rostropovic.
2005. New presentation of Pélleas et Mélisande at the Teatro Massimo di Palermo and Simon Boccanegra at the Teatro de la Maestranza of Seville are followed by the new productions of Ernani at the Teatro Regio di Parma and the Das Rheingold at the Teatro dell’Opera in Rome.
2006. He inaugurates the Palau de Les Arts, in Valencia, with Fidelio by Beethoven, conducted by Zubin Mehta, obtaining an incredible international acknowledgment. At the Teatro dell’Opera in Rome he performs two new productions: Tristan und Isolde and Carmen. In these three operas Pier’Alli once again successfully creates scenery based on the use of digital computerized projections.
2007. Il Pirata by Bellini at the Teatro delle Muse of Ancona. Also in 2007, Pier’Alli is involved, at the Teatro Regio of Turin, with the re-staging of Ernani and at the Los Angeles Opera House with Fidelio, which was originally staged in Valencia, and then again with a new edition of Oberto Conte di San Bonifacio at the Busseto Theatre, as part of the Verdi-Festival of the Teatro Regio di Parma.
2008. Requiem by Verdi at the Teatro Comunale di Bologna was performed, conducted by George Pretre. Thereafter, he staged I Puritani at the Teatro Massimo di Palermo with the co-production of the Teatro Comunale di Bologna and the Teatro Lirico of Cagliari, where the opera was performed between 2009 and 2010.
2009. Tristan und Isolde at the Teatro de la Maestranza of Seville. 2010. Moïse et Pharaon by Rossini. Pier’Alli collaborates with Riccardo Muti at the Teatro dell’Opera in Rome.
2011. While Pier’Alli is eagerly expected abroad with I Puritani in Japan, thanks to a Teatro Comunale di Bologna tour, once again Fidelio in Valencia and Tristan und Isolde in Bilbao; Rossini is still the composer who inspires him in a new production at the ROF of Pesaro with Adelaide di Borgogna, which had never been performed in Italy.
Recently he has obtained an extraordinary result with two productions: first at the Maggio Musicale Fiorentino, with La Metamorfosi, Silvia Colasanti’s contemporary opera, from Kafka’s tale, for which Pier’Alli also wrote the libretto. Soon after, he creates the visual design for Alexander Nevsky by Prokofiev, conducted by Yuri Temirkanov, at Le Terme di Caracalla for the Teatro dell’Opera in Rome.