The New York Times
Written by Will Crutchfield

Verdi: Requiem
Carnegie Hall

“Mr. Tiboris was clearly at home in the score, and the quality of choral tone in the fortissimo climaxes was thrilling. Throughout the concert, the choruses seemed strikingly well prepared for such a large and heterogeneous group.”

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The Daily News, New York, NY

Written by Bill Zakariasen

Beethoven/Mahler: Symphony No. 9, Op. 125 ("Choral")
Avery Fisher Hall

“Tiboris’ performance was one of the most exciting and inspiring I’ve ever heard of this masterwork, whatever the edition.”

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The Daily News, New York, NY

“Tiboris…proved to be a conductor of decisive authority…. [T]he choruses in two tiers of boxes on either side of the hall contributed to an enchanting effect.”

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Peter Tiboris' New York Debut at Lincoln Center
The New York Times


Rossini: Stabat Mater
Constantinides: Antigone
Constantinides: Hymnus Tou Pnevmatos

“…vigorous…alert, energetic conducting…the ‘Lament of Antigone’ in a New York Premiere, proved an impassioned utterance.”

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The Daily News, New York, NY
Written by Bill Zakariasen

“…a first-rate…conductor…. In…the Overture to ‘The School for Scandal,’ ‘Adagio for Strings’ and ‘Second Essay for Orchestra,’ every measure was alive with love for the music, and the playing was as technically expert as enthusiastic….”

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L'Arena, Verona, February 20, 2012
Written by John Villani

"The performance of Peter Tiboris was fine....it was a great success."

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"Aegean Festival raises a glass"
International Herald Tribune, July 16, 2011

Written by Elis Kiss

“As raised glasses heralded the 'Drinking Song,' the signature 'La Traviata' toast set the tone--both on and off stage.

Directed by Italian choreographer and newly appointed artistic director of the Greek National Opera Renato Zanella, the popular opera served as the curtain raiser of the 7th Annual International Festival of the Aegean, taking place in Ermoupoli on Syros, the capital of the Cylades, until July 25.”….

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"Peer Gynt at Teatro Filarmonico"
L'Arena: Il Giornale di Verona

(www.larena.it/stories/cultura)
March 7, 2011

"The responsibility for the music is with Peter Tiboris. He reaches with Verona's Arenian Orchestra [Teatro Filharmonica] a beautiful, clear sound and shapes the colors so to make you remember ‘the forest’ of [Grieg's] Great North, ‘the morning’ which was transparent as the African sky, the very introspective and sad pages of ‘the mother's death’ and the exuberant, concentrated, and dramatic ‘dances.’”

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The Oxford Times, Oxford, UK, February 4, 2009
Written by Giles Woodforde

Cherubini: Overture to Lodoiska and Médéa (selections)
Tchaikovsky: Symphony No. 5 in E minor, Op. 64
Oxford Philomusica, Sheldonian Theater

“Before the arias, the Oxford Philomusica played two Cherubini overtures, Lodoïska and the overture to Médée itself. Both lull you into a sense of false security, with a leisurely start before the music whips into a frenzy. Guest conductor Peter Tiboris drummed up lots of dramatic expression and emotion from Cherubini’s scores...

“The fifth is not without Tchaikovsky’s trademark periods of desire and passion, and these, too, were well marked, as were the blazing brass highlights – the orchestra’s brass section was in particularly exuberant form. Throughout, ensemble was tight and controlled. “Bravo!” shouted Philomusica music director Marios Papadopoulos, sitting near me in the audience, at the end of the performance. Quite right too.”

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"Tiboris' Music Held the Public at Curci Spellbound"
La Gazetta del Nordbarese, Barletta, Italy, January 30, 2009


Beethoven: Overture to Fidelio, Op. 72
Beethoven: Piano Concerto No. 3 in C minor, Op. 37
Beethoven: Symphony No. 5 in E minor, Op. 6
Orchestra Sinfonica della Provincia di Bari, Teatro Curci, Barletta, Italy

“The Symphony Orchestra of the Province of Bari led by the masterly skills of the great Greek-American music director Peter Tiboris, started the concert with the Ouverture of "Fidelio" and immediately caught the attention of a public that in Barletta is getting always more competent yet demanding.

“The penetrating and expressing rhythmic force that Tiboris gave to the execution clearly produced the intent of the great composer of Bonn, and utilized to the fullest the all the sections of the Barese's orchestra….

The performance, thanks to the excellent accompaniment of Tiboris, came out charged with meaning yet quite contagious."

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Opera News, August 2008
Written by Stephen Francis Vasta

Mascagni: Zanetto (Elysium Recordings)
Bohuslav Martinu Philharmonic
Jennifer Larmore (Zanetto), Eilana Lappalainen (Sylvia)

“Peter Tiboris guides the piece with style. He doesn't mistake this smaller scale writing for full-blown verismo of the Cavalleria variety, and he allows the climaxes to build steadily and surely. The Bohuslav Martinu Philharmonic... sounds warm and vibrant, without [an] air of swarthiness and heaviness..."

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La Gazzetta del Mezzogiorno, November 23, 2007
Written by Nicholas Baisa

Mozart: Requiem
Basilica di San Nicola
Bari, Italy

"From the beginning, the work that Tiboris had done to obtain the best results was clear. His vision of the oratorio (intended as a creation pervaded by a passionate emotion, a warm humanity, and free from inner excesses) was completely realized, with an involving ardor, that was enlivened again with a sincere guiding of the soloists, chorus, and orchestra. The perfect balance of the artists in playing their role was clearly worthy of the director, who was able to sculpt the phrasing and melodic lines for a passionate and involoving expressivity, absolutely worthy of the sublime dramatic tension that animates the score."

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Il Giornale, November 10, 2007

Edvard Grieg: Peer Gynt
Teatro dell'Opera di Roma
(Theater Premiere, new ballet production)
Rome, Italy

"The conducting of Peter Tiboris was incisive and tasteful."

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The New York Times
Written by Allan Kozinn


Taneyev: Agamemnon
Carnegie Hall

"Mr. Tiboris moved the performance along ably, drawing some fine playing...and a robust choral sound."

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Gazeta Regionalna, Poland
Translated by Aleksandra Klaput

Beethoven: “Coriolan” Overture
Beethoven: Symphony No. 7
Saint-Saëns: Piano Concerto
Bydgoszc Philharmony (Poland)

“Peter Tiboris[’s] powerful and highly emotional interpretation had such an emotional impact on the audience…. What became the most important was a vivid action, dramatic narration and well-executed high point of the drama…. The interpretation of the American conductor showed the deep understanding not only of the musical forms of the separate movements, but also in the whole piece….”

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Ruch Muzyczny, Poland
Written by Jozef Kanski
Translated by Leon Unger


Tchaikovsky: Symphony No. 5
Rzeszow Philharmony (Poland)

“Peter Tiboris…conducted with tremendous impetus and dynamic passion. I must admit it has been a long time since I have heard the introduction to the first movement being rendered in this incredibly dense, collected, undistracted spirit, full of awe, as if a premonition of something tragic and frightful to happen…and then those undescribably passionate outbursts of the tempestuous drama in the otherwise lyrical second movement!”

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The New York Times
Written by Allan Kozinn


Barber: Overture to The School for Scandal, Op. 5;
Barber: Adagio for Strings, Op. 11
Barber: Second Essay for Orchestra, Op. 17
Glass: The Canyon: A Dramatic Episode for Orchestra
Tchaikovsky: Symphony No. 4 in F minor, Op. 36
Niedersächsisches Staatsorchester Hannover (Germany)
Avery Fisher Hall

“At Avery Fisher Hall, the [Niedersachsisches Staatsorchester Hannover] gave the American conductor Peter Tiboris…alert, lush-toned playing…. The bright textures of the Overture to ‘The School for Scandal’ (Op. 5) came through with unusual transparency, and the thematic expansions and elaborations of the ‘Second Essay' (Op. 17) were rendered cohesively…. Mr. Tiboris led the Adagio for Strings…[and] elicited a dignified, tonally rich performance…. Mr. Tiboris closed the concert with a sizzling and precise… performance of the Tchaikovsky Fourth Symphony.”

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"Tiboris Ambitious As Ever"
The Daily News, New York, NY

Written by Bert Wechsler

Prokofiev: Romeo and Juliet (scenes from the ballet)
Schnittke: Concerto for Piano and Strings
Tchaikovsky: Symphony No. 1 in G minor, Op. 13 ("Winter Dreams")
Carnegie Hall

"It would have been foolhardy to begin with six scenes from Prokofiev's ballet Romeo and Juliet, because of its exposed brass and often raw sound, but all went exceedingly well. Tiboris led with a thorough understanding of the music and…we had a performance that was virile, lyric, compassionate and lush…. The concert ended with an idiomatic, enjoyable reading of Tchaikovsky's First Symphony, 'Winter Dreams.'"

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The New York Times
Written by Michael Kimmelman


Tchaikovsky: Ode to Joy
Beethoven: Symphony No. 9, Op. 125 ("Choral")
Avery Fisher Hall

“Mr. Tiboris relished any opportunity to turn his chorus loose …. [H]e elicited from his orchestra a smooth, gentle introduction to the ‘Ode to Joy’ section, and it was stirring to hear all those singers at full tilt roaring out the symphony’s climax.”

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The New York Times
Written by John Rockwell


Walton: Coronation Te Deum
Bruckner: Te Deum
Berlioz: Te Deum
Avery Fisher Hall

“Mr. Tiboris led strong, secure performances, with solid playing from the orchestra and sure singing from the nine…choruses involved. The Walton, with its antiphonal effects, was especially stirring. But the Bruckner took on a nice, almost strident urgency, too, and the Berlioz sounded grand and moving….”

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The Daily News, New York, NY
Written by Bill Zakaraisen

“An added plus was the admirably well-paced conducting of Tiboris and the splendid orchestral playing—virtues which would remain constant throughout the program…. The finest performance, though, was granted Berlioz’ massive masterwork—not only were the sonics often grand in the extreme, but the vast performing lineup sang and played with amazing alertness and precision.”

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The New Yorker, New York, NY
Written by Andrew Porter


Handel: Israel in Egypt
Avery Fisher Hall

“There was no pretense at instrumental ‘authenticity’: great choral music was fervently, eagerly, and accurately sung, it proved stirring…. There was life and warmth in the music-making.”

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“The Polished Fire of Verdi’s Requiem”
“The World and I,” Washington Times

Written by Emerson Randolph


“Verdi’s Requiem as performed by the American Symphony Orchestra…under conductor Peter Tiboris…was sheer fire. Tiboris’ execution of the massive score…was alive with such sincerity as must transport any expression…. Polished fire. Great Performance.”

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The New York Post
Written by Harriett Johnson


Verdi: Messa da Requiem
Avery Fisher Hall

“Tiboris is far more than a talented maestro…to combine strengths and ameliorate the differences of visiting ensembles; to perform as a united and thrilling whole.”

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The New York Post
Written by Harriett Johnson


Kodaly: Budarvi Te Deum
Nielsen: Hymnus Amoris, Op. 12
Chopin: Piano Concerto No. 1 in E minor
Carnegie Hall

“Tiboris is a Pied Piper who is able to get hundreds and even hundreds more with a singing heart to follow his baton down an endless line.”

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Fanfare Magazine
Written by Michael Jameson


Mozart: Symphony No. 40 in G minor, K.550
Symphony No. 41 in C major, K.551 ("Jupiter")
Beethoven: Leonora Overture No. 3, Op. 72a

“… widely recognized as the foremost proponent of Mahlerian performance editions. He secures solid and…accomplished performances here…. This release triumphs time after time. I can only commend it to you in the strongest possible terms.”
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