The New York Times
Written by Will Crutchfield
May 31, 1989

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 New York Times
Written by John Rockwell
May 7, 1987

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

“Mr. Tiboris led strong, secure performances…The Walton, with its antiphonal effects, was especially stirring…and the Berlioz sounded grand and moving….”

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The New York Times
Written by Allan Kozinn
June 22, 2004
Taneyev: Agamemnon
Carnegie Hall

“Conductor Peter Tiboris has shown a talent for spectacle…Mr. Tiboris moved the performance along ably, drawing some fine playing...and a robust choral sound.”

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The New York Times
Written by Allan Kozinn
July 14, 1990

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

“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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The New York Times
Written by Allan Kozinn
June 13, 2000

Mikis Theodorakis: Electra
Carnegie Hall

“[Peter Tiboris] drew a polished and unflaggingly energetic performance from the Manhattan Philharmonic.”

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The New York Times
Written by Allan Kozinn
November 23, 1989

Liszt: “Dante” Symphony

“Mr. Tiboris gave us a taut, dramatic reading of ‘Inferno’…For [the Magnificat at the end], a setting for women’s voices, Mr. Tiboris put the sopranos and altos from all 14 choirs in the second balcony…The idea was inspired, and the effect was heavenly.”

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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
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…”

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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

“Tiboris led… 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 Daily News, New York, NY
Written by Bill Zakaraisen

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

Dello Joio: Nativity: A Canticle for the Child
Handel: Messiah (Christmas portions)
Carnegie Hall

“Tiboris’ upbeat, bracing conducting of ‘Messiah’ paid dividends—his tempos…were markedly similar to those of Sir Thomas Beecham.”

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

Written by Emerson Randolph
Avery Fisher Hall, Lincoln Center

Verdi: Messa da Requiem

“Tiboris’ execution of the massive score…was alive with such sincerity as must transport any expression… polished fire. Great performance.”

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Critics Point (Athens, Greece)
Written by Konstantinos P. Karabelas-Sgourdas

Tchaikovsky: Symphony No. 5 in E minor, Op. 64
The Apollo Theater

“The members of the orchestra followed Tiboris in an inspiring interpretation full of drama and lyricism. The conductor built the big phrases very carefully... and gave to the music the space it needed to develop, becoming epic in dimension.”

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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. 67
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… The penetrating and expressing rhythmic force that Tiboris gave to the execution clearly produced the intent of the great composer of Bonn...”

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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 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, Op. 11
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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The Oxford Times, Oxford, UK, February 4, 2009
Written by Giles Woodforde

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

“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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Teatro.org – the portal of Italian theater, March 4, 2011
Written by Gilberto Mion

Grieg: Peer Gynt and Complete Incidental Music
Teatro Filharmonia di Verona, Italy

“…a note about the way Peter Tiboris has interpreted the [music]: meticulous and balanced in tempi, at times a bit exaggerated to emphasize the disturbing and ghostly sweetness of some pages or the grotesque and demonic flavor of others. For this Greek-American director, the world of imagination and poetry seems to be made of light and shadow that alternate incessantly and leave us with a subtle feeling of anguish.”

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ClassicsToday.com
Written by Robert Levine

Rossini: Ermione
Carnegie Hall

“The Manhattan Philharmonic…played…with great passion and accuracy for conductor Peter Tiboris…The audience went understandably wild at the opera’s close.”

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Le Devoir, Montreal, Quebec
Written by Carol Bergeron

Dvořák: Te Deum
Beethoven: Symphony No. 9, Op. 125 (“Choral”)
Montreal, Quebec

“Under the direction of American conductor Peter Tiboris, the orchestra of La Société Philharmonique de Montréal staged a rather rare event: Beethoven’s Ninth Symphony in the edition retouched by Gustav Mahler…. The results were, all in all, spectacular.”

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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)

“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 in E minor, Op. 64
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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