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Music delights at the 15th Festival of the Aegean: Strauss’s “Ariadne on Naxos” and a Beethoven concert
July 28, 2019
Editor: Konstantinos P. Karampelas-Sgourdas


Scene from the Prologue of the opera “Ariadne on Naxos”. Photo: Festival of the Aegean.

Elegant Syros once more opened its arms to welcome the International Festival of the Aegean, which, for 15 years, is organized with love and consistency by the Greek origin Conductor Peter Tiboris and his Finnish-Canadian wife, soprano Eilana Lappalainen.

For two weeks, each July, Syros is transformed to the probably most musical island of the Cyclades, hosting musicians from various places in the world who arrive with a singular aim: to give their best self to their art and their audience. Most of the events take place at the beautiful “Apollo” theater, a real masterpiece, built in 1864. On its stage, that same year, on 20th of April, Rigoletto by Giuseppe Verdi had been performed. This year’s Festival of the Aegean opened on 14/7 and ended on 26/7.

The opera production of this Festival was Ariadne on Naxos (Ariadne auf Naxos, Op. 60) by the important composer and conductor Richard Strauss, a composer who was born in 1864, exactly the same year that “Apollo” theater opened its doors to the public. There it is that, during this summer, we attended the production of this work.

Strauss’s love for Greece
Strauss loved Hellenic culture and was many times inspired during his compositional output by the Greek element. He visited our country twice, during 1892 and 1926. Actually, in 1926, he conducted four concerts in Athens and was awarded the merit of Grand Commander of Order of the Redeemer, while he met great personalities of Greece, among them poet Angelos Sikelianos, who hosted him in Delphi.

Later, in 1930, he was named honorable citizen of Naxos, in recognition of his above mentioned opera, which, in the form we know today was completed in 1916 and premiered in Vienna, at the Imperial and Royal Opera Theater of the Court of Vienna (Vienna State Opera), on October 4, 1916, as a second version of another earlier work (1912) which included music written for the end of the play Le Bourgeois gentilhomme by Moliere. The first Greek performance took place in Athens, by the National Greek Opera, at Olympia Theater, on 22 February 1974, with the famous soprano Antigone Sgourdas, as Ariadne.

Eilana Lappalainen as Ariadne. Photo: Festival of the Aegean.

The plot
Ariadne auf Naxos is one of the finest results of the not always easy collaboration between Strauss and his precious librettist, Hugo von Hofmannsthal (1874-1929). Full of charming melodies, rich and contrasting feelings, as well as a phenomenal compositional clarity, it is divided into two parts, the Prologue and the Opera.

Prologue. We are in the luxurius house of the richest man of Vienna, where we attend the preparations backstage for the musical part that will come after dinner. Two teams try hard to cooperate: the one will perform the serious opera (opera seria), Ariadne auf Naxos, and the other, totally different, with leader the coquette Zerbinetta, who will present an Italian comedy, with characters from commedia dell’ arte. A pandemonium among all the different characters follows regarding which work will be firstly presented. The Major-Domo announces that the serious opera will be performed first. The young and idealist composer does not want to believe that after his tragic work, a comedy will follow.

Zerbinetta manages with her charm to convince the composer that he should change the piece. The Prologue ends with the wonderful monologue by the Composer who praises Music’s virtues, naming it a “sacred art”. At the end of the Prologue, terrified, he understands that he should not have given in to transforming his work.

The opera. We see Ariande in a cave in Naxos, deserted by Theseus, mourning her lost love and longing for death as the only consolation. Zerbinetta and her four friends from commedia dell’ arte approach, singing and dancing, trying to entertain her and change her mood. She, constant in her wish, wants to stop existing. Zerbinetta tells her that the only way to get over a lost love is to find a new one.

The three nymphs, Naiad, Dryad and Echo, announce the arrival of a boat that brings an unknown man. Ariadne believes he is a god that will take her to the underworld. But, he is young Bacchus, who is charmed by her presence. A long beautiful love duet follows. Ariadne finds again a great love and is driven to happiness, confirming in this way Zerbinetta’s words.

Adrian Angelico (Composer) and Tu’u Pupu’a (Tenor). Photo: Festival of the Aegean).

The performance in Syros
The four main characters of the work, Ariadne, Bacchus, Zerbinetta and the Composer (who only appears in the Prologue) are very demanding vocally and musically.

We attended the performance of 19/7.

Successfully, Ariadne was sung by Eilana Lappalainen using very well her Wagnerian size voice as well as her stage presence. With experience, knowledge and attention, she brought forward the beauty of Strauss’s wonderful melodic writing and collaborated perfectly with the rest of the cast.

Next to her, as Bacchus, the talented Polynesian (born in Tonga) tenor Tu’u Pupu’a, supported at the beginning of his career by the famous New Zealand soprano Dame Kiri Te Kanawa, convinced us with his very particular color of voice, his very well studied part and his musical sensitivity. He had to sing a dramatic tenor role, with a lot of vocal traps, a high tessitura and many technical difficulties. We hope to hear him again in our country soon.

Danish soprano Louise Fribo pleased as Zerbinetta. Her acting and movement abilities (she started practicing classical ballet at the age of seven and, apart from opera, she has sung in musicals) had a lot to offer to the role. Through her immediate interpretation she won the audience, even though we thought that some of the high tessitura notes during her big aria (Großmächtige Prinzessin), one of the hardest arias in the whole of the coloratura soprano repertoire, could be shinier.

At the role of the Composer, we saw and heard the Norwegian mezzo-soprano (as he himself mentions in his biography in english: male operatic mezzo soprano) Adrian Angelico, who was exemplary in his role. ΑIn details, the warmth of his well trained voice, combined with the very detailful phrasing, a perfect intonation and a very spontaneous, full of honest, emotional and musical expressivity, really impressed us. We saw him to really live the agony of the Composer in the Prologue when he found out that his serious opera (opera seria) must co-exist with the Italian comedy. Wonderfully energetic and full of expressive courage he was also in his vibrant monologue (Sein wir wieder gut!), while with real emotion he interpreted the phrase that praises Music itself (Musik ist eine heilige Kunst).

Baritone Stefanos Koroneos, a serious opera singer who lives and works in New York for the past years, stood out with his deep of great quality voice in the Music Teacher role.

The German stage director and - in this performance - actor Michael Seibel interpreted faithfully, the idiomatic pronunciation of the German language (in Austrian dialect, as the role asks for) and the right dose of expressive coldness the ‘sprech’ role of Major-Domo.

The nymph trio was created by the beautifully voiced Sydney Kucine, soprano (Najad), Maya Pardo, soprano (Echo), and Caitlin Redding, mezzo (Dryad), who offered musical sophistication to their parts.

The smaller roles were sung and acted successfully with real wit by: Nikolaos Masourakis, bass-baritone (Wigmaker), Craig Sanphy, tenor (Brighella), Lifan Yang, tenor (Dancing Master), Joseph Calzada, baritone (Lackey), Viktor Rud, baritone (Harlequin), Antonis Mpatsakis, tenor (Scaramuccio), and Christian Tschelebiew, bass (Truffaldin).

Pan-European Philharmonia of Warsow was conducted by the distinguished Italian conductor who deeply knows the demands of this opera Giovanni Pacor, supporting carefully the singers and creating a music result of high standards.

Tu’u Pupu’a (Bacchus) and Eilana Lappalainen (Ariadne). Photo: Festival of the Aegean.

German director Detlef Soelter in collaboration with his compatriot set designer Jens Huebner brought the action to contemporary times and actually put the Prologueon the island of Syros. We saw Prologue’s prima donna (Lappalainen), walking through the stalls, getting on stage with flair, holding in her arms her charming dog. We realized that the “time and space” transfer did not prevent the plot and meanings of the opera from being highlighted and it underlined the timelessness of the emotions that so greatly are being explored in this wonderful opus. Soetler created the necessary atmosphere, respected the hellenic side of the work (during the opera we saw a huge archaic statue and Portara, the grand marble gate of Naxos) and offered intensity in the singers’ movement, adding to the success of the production we attended.

The ceiling decoration of Apollo Theater. Detail. Photo: ΚPΚS.

Concert with Beethoven works
The night after the opera (20/7), always at the same place, we attended a concert of the same orchestra, Pan-European Philharmonia, under the direction of Peter Tiboris. The maestro does not hide his love for music’s Titan Ludwig van Beethoven, by programing works of him very frequently in his concerts.

This summer’s symphonic concert that we attended opened with Concerto no. 1, op. 15 which was created in 1795 and was reworked in 1800. As it is known, even if it was not Beethoven’s first concerto for piano, it is stated as number 1 because it was the first one published. It is a very impressive composition, very solid and heroic, that gives the opportunity to the soloist, the orchestra and the conductor to show their abilities.

The soloist in this performance is the distinguished Cypriot pianist (and conductor) Marios Papadopoulos, who resides and performs in England. He was a favorite student of the virtuoso Gina Bachauer, who taught him, artistically supported him and inspired him at the beginning of his career.

His interpretation respected the classical style of the score, it was musically consistent and interesting throughout. The clear articulation and the technical fluency of the pianist were shown at the two fast movements of the concerto (Allegro con brio και Rondo-Allegro scherzando), while at the slow movement, Largo, he highlighted the lyricism and the romantic mood of the wonderful Beethovenian conception.

Tiboris and his orchestra gave a careful accompaniment full of meaning and formal sensitivity.

In the second part of the concert, the conductor gave us an interpretation of epic inspiration of the Symphony no. 7, op. 92, written in 1812. Especially, with wise economy in his hand movements, he drew from the musicians the sense of a deepest fulfillment and positivity, elements that appear in the opening movement, Poco sostenuto–Vivace, highlighting also the moments of agony that appear from time to time. He also made sure that the structure and its development came out perfectly.

In the highly moving second movement, Allegretto, majesty and melancholy, as well as the rhythmical elements (the way the score develops rhythmically is exemplary), came out to the front in a very thoughtful way. During the third movement, Presto–Assai meno presto, a fully lively scherzo, the wonderful elations and the Beethovenian sense of humour were perfectly approached.

During the last part, Allegro con brio, the intense danse element (it is a contredanse) and the intoxicating “Bacchus” mood (“this symphony is a dance apotheosis” Richard Wagner always said), were shown in a spectacular way, bringing to mind the charged, or better said, explosive interpretations of Leonard Bernstein, who, as we have mentioned in older reviews Tiboris really admires (and so do we).

During that night, always during the performance of the 7th Symphony we were thinking of Bernstein for one more reason, as it was the same work that he had conducted (with great difficulty because of his terrible sickness that had exhausted him and an insistent cough that was not letting him breathe) at the last concert in his life, on August 19, 1990, just a few months before departing forever (14/10/1990). We mark here that the concert exists CD (Deutsche Grammophon, 4317682).

2020 marks the 250th Anniversary of Beethoven’s birth. We are expecting that the 16th Festival of the Aegean will focus on the emblematic composer that will hopefully include his only opera Fidelio. Looking forward to it.

Pianist Marios Papadopoulos, conductor Peter Tiboris and Pan-European Philharmonia of Warsaw at the final applause. Photo: ΚPΚS.

About Konstantinos P. Karampelas-Sgourdas Critic of Music and Theater, professor of composition, piano and theory, president of the Board of Greek Critics of Music, Theater and Danse, president of the International Music Organization Gina Bachauer, president of the International Music Organization C.V. Alkan - P.J.G. Zimmerman, artistic director of the International Piano Competition C.V. Alkan - P.J.G. Zimmerman and artistic director of the Greek Music Competition Maria Chairogiorgou - Sigara

14th International Festival of the Aegean- Peter Tiboris' double success in Syros and Athens, August 9, 2018
Konstantinos P. Karabelas-Sgourdas, Critics Point


Syros, an island with rich history and culture, is a set summer point of visit for us. There we attend the events of the International Festival of the Aegean which this year completed - yes, it is a fact! - 14 years of existence, being a point of attraction for the tourists, Greek and foreign, but also for the island's citizens. Behind all this big organization which is created by a large number of choirs and soloists from many countries in the world, as well as accompanying pianists is the Greek-American conductor and impresario Peter Tiboris, creator of the Festival. With his wife on his side, the soprano and artistic director of the operatic productions of the Festival, Eilana Lappalainen, he has continued tirelessly for years in the production of concerts involving hundreds of performers.

The concerts and opera performances take place, with few exceptions, in the architecturally wondrous and beautifully decorated Apollo Theater, a real jewel on the island. The Festival of the Aegean was one of the few organizations in our country that honored the memory of Gioachino Rossini (1792-1868), as this year marked the 150th anniversary of his death. In his era, as we all know, Rossini was the most famous composer in Europe. Even by the age of 21, he was recognized as the most beloved opera composer. His sparkling music excited audience and critics, as did his charismatic personality . Nevertheless, even though he died when he was 76 years old (13 November 1868), he submitted his last opera many years before that, almost 40 years earlier in 1829, when he was 37 years old: his last opera was Guillaume Tell, and it was presented for the first time in August 1820, in Salle Le Peletier of Paris, his permanent home.

This year, the Festival of the Aegean decided to present two important works of the composer: the sacred masterpiece Stabat Mater and the charming opera La Cenerentola. On July 15, of course at the Apollo Theater, we heard the first of the two aforementioned works. Regarding the composition of Stabat Mater, the text is about Mother Mary and starts with the phrase "Stabat Mater dolorosa." Rossini began writing in 1831 and completed the work 10 years later, in 1841; even though by 1833 he had only written six movements of the work (the remaining 6 were written by his friend and collaborator Giovanni Tadolini, at the request of the composer who, because of illness, was not in a position to complete the composition). The work, fully completed by Rossini, was heard for the first time on January 7, 1842, in Salle Ventadour of the Théâtre Italien (Paris). The soloists were excellent performers of belcanto opera of the day: Giulia Grisi, soprano, Emma Albertazzi, mezzo soprano, Mario (Giovanni Matteo De Candia), tenor, and Antonio Tamburini, baritone. The reception of the amazing work, full ofinspiration and emotion, was triumphant.

Maestro Tiboris led a performance that highlighted the sacred but also the operatic elements of this majestic score. At his disposal he had a well formed quartet of soloists: Eilana Lappalainen, soprano, Katerina Roussou, mezzo-soprano, Alessandro Luciano, tenor, and Daniel Borowski, bass, which brought to the forefront the anguish and agony as the sensitive shades of the high musical inspiration. The choirs that participated took over the stage, placed behind the orchestra and the side balconies, offering a multi-dimensional sound experience. They sang with emotional intensity, great intonation and clarity; the choirs involved were: Choeur d'Enfants d'Île-de-France, Paris, France (director, Francis Bardot), Rincon/University High School Concert Choir, Tucson, (director, Mareena Boosamra Ball) Northeast Louisiana Chorus, Monroe (director, Deborah Chandler), Bethel College Voices of Triumph, Mishawaka (director, Jeshua Franklin), Second Presbyterian Church Sanctuary Choir, Indianapolis, (director, Michelle L. Louer) and Winston-Salem Youth Chorus / Salem College Choirs and Palmetto Voices, Winston-Salem, NC (director, Sonja Sepulveda). A special mention is owed to the Pan-European Philharmonia of Warsaw, which, made of mainly young musicians, pleased the audience with its musical efficiency for the Rossini work, as well for the second part of the concert, Symphony no. 5, op. 64 by Pyotr Ilyich Tchaikovsky, completed in 1888. More specifically, the members of the orchestra followed Tiboris in an inspiring interpretation, full of drama (First movement, Andante-Allegro con anima-Molto più tranquillo) and lyricism (Second movement, Andante cantabile, con alcuna licenza-Non allegro-Andante maestoso con piano). The conductor built the big phrases very carefully, and the tempi he chose were not hectic at all, and gave to the music the space it needed to develop, becoming epic in dimension. His approach brought to mind the ripe interpretation of the last period of Leonard Bernstein, who Tiboris had the luck to meet in person: a curious reader here can listen to the recording of Bernstein with the New York Philharmonic (Deutsche Grammophon, 0289 477 6704 6, The Leonard Bernstein Collectors Edition).

Continuing, during the concert we heard two days later on July 17, Tiboris and the orchestra interestingly interpreted the Symphony no. 3, op. 55, "Eroica" by Ludwig van Beethoven. In this work which was created during 1803 and 1804, the conductor led the orchestra to underline the elements of the form, especially during the well-played development of the first movement (Allegro con brio), as well as the rhythmic elements of the third movement (Scherzo: Allegro vivace), without omitting to bring the huge emotional depth of the score to the forefront , which with its unique inspiration changed the course of the western music. The second movement of the symphony (Marcia funebre: Adagio assai) was interpreted in a deep melancholic and tragic way. During the second part of the concert, the Stabat Mater by Rossini was repeated in an interpretation even more secure and alive, compared to the - high quality - first one which we had heard two days earlier.

La Cenerentola by Rossini

Τhe second work by Rossini which was presented in this year's Festival, as mentioned above, was the opera (or better put, the dramma giocoso, which means "playful drama"), in two acts, titled La Cenerentola (Cinderella). Composed within three weeks when the composer was 25 years old, it was presented for the first time in Teatro Valle in Rome, on 25 January 1817. Even if at the premiere the audience was less enthusiastic compared to the previous opera Il Barbiere di Siviglia (The Barber of Seville, 1816), the work soon after was recognized as one of the most complete works in the repertoire. The demanding arias, the wonderful ensembles and the characteristically fine and witty "Rossini sense of humor" are only some of the elements that create the wonderful score.

Scene from the performance of La Cenerentola

We attended the first performance given at the Festival of the Aegean, on July 16 (death anniversary of the unforgettable Austrian conductor Herbert von Karajan, 1908-1989). The Italian conductor and former artistic director of the National Greek Opera (2008-2010), Giovanni Pacor, gave us an idiomatic, full-of- details interpretation of the immortal music by Rossini. With knowledge of the vocal demands, he aided the singers to feel the depth in their roles. German mezzo-soprano Tamara Gura portrayed the role of Angelina with deep and well supported velvet voice. Don Ramiro, who was played by the Russian tenor Damir Zakirov, Dandini, by the French baritone Jerome Boutillier, and Don Magnifico, by the American (of Greek origin) bass Costas Tsourakis, were all full of humor and musicality: we have to specifically mention Boutillier for the grace in his style and his attention to the building of the musical phrases (he must be an exceptional Mélodies singer). But we will not hide here that the very pleasant actor Tsourakis unfortunately faced obvious difficulties in reaching his high notes, and even had issues with his middle register. Marilena Striftombola, soprano, as Clorinda, and Miranda Makrynioti, as Tisbe, were exceptional in the roles of the two wicked sisters: their acting was wonderful and their interpretations were technically secure and tonally perfect. Alidoro by David Malis, a veteran American baritone of Metropolitan Opera of New York, as expected, pleased in depth; musically and vocally impressive, he moved comfortably through all the ranges of his role. The members of the well-prepared male chorus Solartissimo of the Contemporary Conservatoire of Larissa and the Chorus of the Conservatoire of Toumpa Κ. Matsigkou, under the direction of Nikos Efthymiadis, who was on stage with the choir, interpreted it all with great wit.

Scene from the performance of La Cenerentola

The German director Detlef Sölter and his compatriot, set designer, lighting designer (and probably, without this being mentioned in the program, also costume designer) Jens Huebner, set the plot in the present day, created a television game show or beauty contest ("Good Girl of the Year" was on the ad banner), dressed Cinderella for the dance with an impressive red dress that reminded more of Carmen than the expected dress we know from the story and made the singers move with brio, and mainly humor, achieving a lot of smiles from the audience.

Opera Gala in the Athens Concert Hall (Megaron Mousikis)


Closing, we must mention one more of Tiboris's successes, the opening he made in Athens this year, presenting his long time efforts in the capital. More specifically, on July 23, in the Christos Lambrakis Hall of the Athens Concert Hall (Megaron Mousikis Athinon) he offered an Opera Gala (according to the program: A Grand Opera Gala of Great Opera Moments), with three soloists and a large number of choirs (according to the online program, 300 choir members from Greece and the USA, including those mentioned above), who literally took over the Megaron stage. We have attended the events of the Athens Concert Hall from its beginning and we have rarely seen so many people on stage. The soloists, Eilana Lappalainen, soprano, Gian Luca Pasolini, tenor, and Carry Persson, bass-baritone, came face to face with some of the most demanding arias in the operatic repertoire. The grand voice and the musical consistency of Lappalainen were very obvious in arias from operas by Giuseppe Verdi ("Ecco l'orido campo", from Un ballo in maschera, "Salce! Salce!" and "Ave Maria", from Otello) and Pietro Mascagni ("Regina Coeli", from Cavalleria Rusticana). Tenor Pasolini, with a career in international opera houses won our admiration with his beautiful color, his generous expression and his very precise high notes (Verdi's "La donna è mobile", from Rigoletto, Georges Bizet's "La fleur que tu m'avais jetée", from Carmen, Giacomo Puccini's "Nessun dorma", from Turandot, and "Recondita armonia", from Tosca). From Persson we keep the satisfactory performance of some of the parts he sang, but, we have to mention that, in many places, his breath was shortand his voice sounded tired, rough and hesitant regarding the high register notes, especially for the dramatic demands of the excerpts he chose: "Di Provenza il mar" from Verdi's La Traviata, Votre toast, from Bizet's Carmen, and "Te Deum", from Puccini's Tosca.

The large choirs left us an excellent impression giving a sound not only powerful but also very concise, very well prepared, and beautifully shimmering (e.g "Va pensiero", from Verdi's Nabucco, "Regina Coeli", from Mascagni's Cavalleria Rusticana, and "Te Deum", from Puccini's Tosca .The podium was shared equally between Tiboris and Pacor, conducting the demanding scores with steadiness, punctuality, and precision. Finally, we believe that the Pan-European Philharmonia of Warsaw played better than any other time we had heard them before, with a fine, warm and very malleable sound.

If Cinderella Lived Today, Her Life Would Be A Reality Show – Andro.Gr, 8.20.18


World-Class Artists on Syros for 14th Annual International Festival of the Aegean – GTP Headlines, 7.23.18


MidAmerica Productions Announces 35th Season at Carnegie Hall Celebrating Music Director Peter Tiboris – Broadway World, 2.1.18


Greek-American Conductor and Producer Peter Tiboris Marks 35 Years in a Global Career – Hellenic News of America, 9.14.17


One Man Turns Syros into a Classical Music Destination – Ekathimerini, 7.13.17


Hellenic News of America, February 17, 2017
News Feature about Peter Tiboris


Peter Tiboris: Carnegie Hall Maestro Brings Opera to the Aegean – The National Herald, 4.11.16


Review of Festival of the Aegean by Konstantinos P. Karabelas-Sgourdas for Critic's Point, 8/6/15


The Festival of the Aegean brings us annually to always charming Syros. Since we began attending the festival in 2005, we have witnessed exquisite programs of music attended by a loving public of residents and visitors. Founder and Artistic Director of the Festival is the Greek-American conductor Peter Tiboris. At his side is his valuable collaborator, his wife, the soprano Eilana Lappalainen. The Festival has featured famous soloists, composers, performers and artists, as well as emerging young musicians. And it is to Tiboris’ credit that in such a difficult period for Greece, he can offer a large number of quality musical events. Over the years, such international stars as John Rutter, Olympia Dukakis, Dimitris Sgouros, Keith Ikaia-Purdy, Dimitri Kavrakos and Mary-Ellen Nesi have brightened the Festival.

This year the Festival opened on July 12 and ended on 24 of the same month. We watched the program on two days, 15 and 16/7.

On the first night at the historic Apollo Theater we heard the Pan-European Philharmonia under the direction of Tiboris. The orchestra is based in Warsaw and consists mainly of young musicians. The program opened with Overture to Rosamunde, written as incidental music for the play by Helmina von Chézy and composed by Franz Schubert. The history of this piece is somewhat complicated: the score saw the light of day in 1890, several decades after the composer's death (1828) and included an introduction older than the one heard during the first performance of the work in 1823. In fact, the introduction came from a work the composer had composed in 1820 for an opera, Die Zauberharfe. Maestro Tiboris’ reading was imaginative. It is worth mentioning the excellent and highly expressive contribution of woodwind instruments.

Immediately after we heard the Concerto for violin, cello and piano, Op. 56, known as the “Triple Concerto” of Ludwig van Beethoven. The work, created in 1803, received a vigorous interpretation. The solo parts were played by the youthful Trio 92, which has its headquarters in Vienna (Maciej Skarbek, piano, Nadja Kalmykova, violin, and Lucia Loulaki, cello). The three soloists, all enthusiastic and very capable musicians, dived into the depths of the amazing Beethoven score to bring forth all the vigor of the Allegro, volume of the Rondo alla pollaca, and the lyrical romanticism of the Largo. It's really gratifying to see young people playing with such musicality and impeccable technical precision.

Maestro Tiboris, both here and in the following work, Beethoven’s Symphony No. 6, Op. 68, known as the “Pastorale” (1808), guided the orchestra with inspiration and attention. He encouraged the musicians of the orchestra to emphasize the descriptive nature of the work and to highlight the many wonderful solo passages. During the performance of the Beethoven symphony, the lighting of the room was dimmed in order to reveal the colors of the lights which were projected on stage, which were designed by Stella Kaltsou.

During afternoon of the second day (16/7) of our visit, in the same wonderful theater, we heard Trio 92 again, performing an educational concert of chamber music, consisting of Haydn’s Trio No. 39, Hob. XV / 25, known as “Gypsy;” and Dvořák’s Piano Trio No. 4, Op. 90 B. 166, known as “Dumky.”

In the first work, written in 1795, the three young artists revealed the essence of this bright work, especially the motivic development. I wish they will add other works by the composer in their repertoire. The School of Haydn is rarely explored by any musician, yet he was a teacher and an inexhaustible source of knowledge for many, among whom were the equally important Wolfgang Amadeus Mozart and Ludwig van Beethoven.

In the second part of the concert, which followed without intermission, the Trio delivered an interpretation full of majesty and expressive certainty of Dvořák’s masterpiece. Specifically, in each of the six parts, the Trio were able to penetrate the structure and the required emotional world. The narrative-epic strength of the players (let's not forget that this is essentially six ballads or six “dumky”) illuminated the work with meaning and atmosphere.

Every year since its inception, the Festival has presented a major work of the lyric operatic repertoire. We note that in previous years, the Festival has presented such popular operas as: Il barbiere di Siviglia (Gioachino Rossini), Don Giovanni (Mozart), Carmen (Georges Bizet), La traviata (Giuseppe Verdi), Salome (Richard Strauss), Così fan tutte (Mozart), and Rigoletto (Verdi). The same evening (16/7) we watched Medea by Luigi Cherubini.

The Italian Cherubini (1760-1842) is one of the most important composers of opera, religious music and chamber music. His contemporary Beethoven (1770-1827), argued that he was the greatest composer of the age.

Having already composed a large number of projects intended for the stage, Cherubini probably completed in 1797 his most famous work: the opera "Medea” (Medée), to a libretto by François-Benoît Hoffmann, based on the tragedy by Euripides and Pierre Corneille. The world premiere was given on March 13, 1797, in Paris (Théâtre Feydeau). Initially, the public reaction was not very enthusiastic; however, when the opera was translated from the French to the Italian, it was soon recognized as one of the masterpieces of world operatic repertoire. The premiere of the abridged Italian version took place in Vienna in 1809. After the death of Cherubini, there were new treatments: in 1855 the German version of Franz Lachner; 1865 the first presentation in London on June 6, adding recitative written by Luigi Arditi; and in 1909 the Italian premiere at La Scala of the Italian translation of the version of Lachner, curated by Carlo Zangari.

During the twentieth century, the most famous production (Italian version of the score, 1909), presented in 1953, in Florence, starred Maria Callas and conductor Vittorio Gui.

The legend is familiar. The action takes place in Corinth. During the first act, the Greek princess, Glauce, daughter of King Creonte is planning to marry Giasone, leader of the Argonauts, who with the support of Medea, the princess of Colchis, managed to steal the Golden Fleece. Medea had left her homeland behind and gave birth to two children with Giasone. In the opera, Giasone has abandoned Medea and the children in order to marry Giasone. When he refuses to return to Medea, Medea decides to seek revenge. In the second act Creonte commands Medea to leave town. Medea asks to stay in Corinth with her children for one more day and has Neris take two gifts to Glauce: a crown and a mantle. During the third and last act, Medea embraces her children. Plaintive voices are heard within the palace, and we soon learn that Glauce has been poisoned by the gifts of Medea. The people are angry. Medea, Neris and the children are hidden in the temple. Soon Giasone learns the truth. Surprised and unable to intervene, he faces Medea who is holding a knife full of blood. She has killed her two children. The temple and palace are wrapped in flames.

For the performance in Syros, the Italian version of the opera was chosen. The director Dirk Schattner, partnering with Jens Huebner (set and lighting design) and Eva Sefradiou (costumes), created a neoclassical set and costumes. We believe that this option complemented perfectly the elegant architecture and decoration of the theater.

The Finnish soprano Eilana Lappalainen portrayed the leading role with expert knowledge and aural comfort, offering a tragic and dynamic heroine. Her mature dramatic voice, expressive in the high range, gave an integrated musical interpretation.

Beside her, as Giasone, stood Ukrainian tenor Konstantin Andreiev, winner of many international operatic competitions and numerous appearances at renowned opera houses. He interpreted the role with attention to the formation of phrases, expressive directness and, where necessary, drama.

The young soprano Lydia Zervanos, in the important and quite extensive role Glauce, showed distinct musicality and acting prowess. She sang with respect for the style of the time, immediacy and taste, while her movement was always well aligned with the desired plot.

The bass Vassilis Kostopoulos, interpreting the role of Creonte, summoned a beautiful, deep voice and an imposing stature. This is a new artist with really special vocal qualities, which hopefully he will continue to cultivate and evolve.

A pleasant surprise was the participation of mezzo Fotini Athanasaki (Neris): her very first phrase stood out with a pithy, well-rested and a warm voice. She performed the role meaningfully and with attention. We'd like to hear her in German and French operatic repertoire. Maybe someday she will become an excellent Charlotte (Jules Massenet, Werther). The large-scale timbre of her voice, combined with expressiveness, would fit perfectly the Lieder of Robert Schumann and, especially, Gustav Mahler, as in Mélodies of Claude Debussy and Henri Duparc. We will remember the name.

In the remaining roles were Marilena Striftobola and Jaina Elgueta (Prima Ancella and Seconda Ancella), and Jonathan Boudevin (Un capo della Guardia).

The choir performed its parts consistently, while the orchestra (Pan-European Philharmonia), offered a convincing and fine accompaniment.

Maestro Tiboris led the score with knowledge and respect for the musical text. He supported the singers with real interest and aimed at an interpretation where the dramatic feeling was singled out and held the public's interest undiminished until the end.

We look forward to many more successes at the Aegean Festival in the coming years!

Review of Festival of the Aegean
by Kathimerini Athens 7/30/15


Press Release: Leadership 100,
February 25, 2015

The island of Syros is a very important destination for music lovers. The center for many performances is the “Apollo” Theater in Hermoupolis. It opened in 1864 and it is a small exotic treasure in the world of opera, as is the “Angela Peralta” Theater in Mazatlan, Mexico or the Manoel Theater in Malta. Since 2005, it has been the home of the Festival of the Aegean, which is organized by the Greek-American conductor Peter Tiboris with his wife, soprano Eilana Lappalainen, and is focused on opera. The auditorium, of approximately 350 seats, has beautiful acoustics and, of course, does not need very big voices. This year’s big production of the Festival was Medea by Cherubini, but we managed to be there for the second week’s performances only.

On Tuesday, July 21, the evening started with a recital of German Song given by the young artists of the Greek Opera Studio, the educational part of the Festival. Thirteen young singers interpreted 14 songs by Schubert, Schumann and Mahler, while on the piano, the lecturer of the Vienna Hochschule, Pantelis Polychronidis, coached and accompanied them. His role was obvious in the stylistic unity and correctness of the interpretations, while on the piano, he accompanied very carefully and with great sensitivity. The small size of the theater allowed for all the voices to sound clean, clear and beautifully articulated.

On the second half, we watched “Mediterra” a performance of music from the Mediterranean by the ZZ Trio: Soprano Myrsini Margariti, flutist Natalia Gerakis, and pianist Zoe Zeniodi, three really exceptional musicians. We heard some famous songs, but also others that deserve to be heard more, such as “Corsica” by the contemporary songwriter Petru Guelfucci, or the traditional Turkish a cappella song “Yagmur yagar tas üstüne,” freely interpreted as a song of a girl who sings about love while watching the rain. From the pieces for flute and piano, we should single out “Memories” and “Hard Day” by Abdalla El-Masri (b. 1962), inspired by the civil war in Lebanon.

We also heard a two-part program on Wednesday, 22 July 2015. During the first half, soprano Lydia Zervanos interpreted songs by Manolis Kalomiris, Theodoros Spathis, Georgios Labelet, and Theofrastos Sakellaridis. Watching Lydia, we were reminded of her mother and teacher, Martha Arapi, who had sung in the Olympia Theater. The similarities include the vocal technique and control, the complete expression and stage presence, and the light conservatory-type interpretation, that totally fit songs like “Lagiarni” (c.1925) by Spathis, a short scene inspired by the pastoral life. The singer interpreted the very demanding and complex vocal writing with a phenomenal technique and grand rhetoric–the total opposite of the very beautiful approach by Myrsini Margariti, who, during the previous evening, had sung the lullaby from Smyrna by Kalomiris, with a simplicity of a folk-like inspiration. The soprano Marilena Striftobola interpreted two songs by Spyros Samaras, “Spring” and “I love you,” and one by Sakellaridis, with a wonderful diction, drawing kudos from the audience. Pantelis Polychronidis was on the piano.

During the second half, the artists of the Greek Opera Studio, took part in the semi-staged one-act opera “Suor Angelica” (New York, 1918), by Giacomo Puccini, a unique drama that takes place in a convent. The artistic direction was by Eilana Lappalainen, the music direction was by Zoe Zeniodi, and the pianist was Graham Cox. Kathryn Wieckhorst as Suor Angelica and Fotini Athanasaki as a princess gave a great dramatic intensity to the conflict between the two women. The most important advantage though was the presence of so many and so perfectly tuned and balanced voices, so that the hearing result was honestly angelic.

On Thursday, July 23, Christos Papageorgiou on the piano, on stage, and Theodoros Kerkezos on the saxophone, backstage, greeted us with Ave Maria by Gounod, and then continued with works by: Errikos Vaios, Astor Piazzolla, Gershwin, Manos Hadjidakis, and Christos Papageorgiou: Tango, and three of the “Stylistic Variations on a song by Mikis Theodorakis” for solo piano. The playing by the pianist highlighted the Iberian roots of the impressionistic “Piece en forma de Habanera” by Ravel, while the perfect technique of both was fully shown in “Scaramouche” by Darius Milhaud and in “Czardas” by the Spanish Pedro Iturralde.

The Festival though remains focused on opera and on Friday, July 24, it closed with the Gala by the Greek Opera Studio. The Gala included a semi-staged performance with arias and scenes from famous operas by Mozart, Offenbach and others, but also rarer pieces such as Hindemith’s “Hin und Zurück” (Baden Baden, 1927). The pacing of the performance was good and the interpretations of a generally good level. In the interest of saving time here, let us mention the “Mad Scene” from Lucia di Lammermoor which was well interpreted and well-paced by the Australian soprano Jessica Boyd, the beautiful Mozartean song sung by the Belgian Lisa Meyvis, the easy and comfortable voice of the German baritone Andreas Post, and the boyish Cherubino by the extremely young Christina Tsourounaki.

Until we return to the Festival of the Aegean in 2016, summer in Syros continues with classical music, “eikastika” art, and other events.



George S. Tsandikos, Leadership 100 Chairman, addresses General Assembly.

The 24th Annual Leadership 100 Conference, which took place February 12-15, 2015, at The Ritz-Carlton Orlando, Grande Lakes in Orlando, Florida, featured the presentation of the Archbishop lakovos Leadership 100 Award for Excellence to the renowned Greek academician, artist and designer, Ilias I. Lalaounis, who passed away in December of 2013, accepted by his wife, Lila, at the Grand Banquet finale on Saturday evening, February 14, 2015.

Other recipients included program speakers and performers Dr. Eleni Andreopoulou, of the faculty at the Weill Cornell Medical College/New York-Presbyterian Hospital in New York City; Dr. Panagiota Andreopoulou, an Attending Endocrinologist in the Department of Medicine at Hospital for Special Surgery and Assistant Professor of Medicine in the Division of Endocrinology at the Weill Cornell Medical College; Michael Psaros, Co-Founder and Co-Managing Partner of KPS Capital Partners, LP; Peter Tiboris, the renowned conductor, and Eilana Lappalainen, the celebrated dramatic soprano; as well as to International Orthodox Christian Charities (IOCC), accepted by Constantine M. Triantafilou, Executive Director and CEO.

Earlier, the Executive Committee approved $1,250,243 in new grants for 2015 to the Greek Orthodox Archdiocese of America and $495,556 in new grants for 2015 to affiliated organizations. There are additional grant proposals still under review.

The new grants to the Greek Orthodox Archdiocese (GOA) include $300,000 over three years for the Archdiocesan Advisory Committee on Science and Technology (AACST) for the “Addressing Modern Challenges Initiative”; $270,000 for the fifth year of the Camping Ministry Program; $133,200 to the National Finance Committee for “The Orthodox Software Initiative”; $200,000 over two years for the Office of Inter-Orthodox, Ecumenical & Church-World Affairs for “Faith-Based Diplomacy and Advocacy Initiative”; $125,000 for the third year of the GOA “Strategic Plan Project”; $75,000 for the GOA “Faith and Safety Project”; $65,000 for the Department of Stewardship, Outreach & Evangelism for the “Outreach and Evangelism: Baseline Project”; $52,043 for the second year of the Department of Administration “Ministry Updates Project.”; and $30,000 to Ionian Village for the “IV On-the-Go” retreat program.

The new affiliated organization grants include $100,000 for the second year of the Metropolis of Atlanta “Family Life Ministry”; $125,000 over two years for Orthodox Christian Network for “Enhancing the Multimedia Offerings and Marketing Effectiveness of Key GOA Departments”; $118,621 over two years to International Orthodox Christian Charities (IOCC) for the “Serv-X-Treme! National Youth Service Leadership Development Initiative”; $88,200 to Orthodox Christian Ministry (OCPM) for “Proper Training for Ministering to Prisoners and Educational Outreach through Training and Inspirational Videos”; and $63,735 to Project Mexico-St. Innocent Orphanage to create and implement an Intern Development Program.

According to George S. Tsandikos, Chairman, more than 350 members and guests, together with their families, attended the Conference. “We chose Orlando to encourage family friendly activities and we were pleased to see so many children participate.”

In addition to the traditional Bible Study and Lecture by His Eminence Archbishop Demetrios, the program included a special presentation by Jerry Dimitriou, Executive Director of Administration of the Greek Orthodox Archdiocese, which addressed plans for the building of the Saint Nicholas National Shrine at the World Trade Center. A highlight of the Conference was the concert “Symphony at Sunset” with the Orlando Philharmonic Orchestra, conducted by Peter Tiboris and featuring Eilana Lappalainen.


Critic's Point
, Greece, July 31, 2012
Written by Constantine P. Karabelas-Sgourdas

"This year the eighth festival, from 9 to 22 July, hosted an impressive number of famous artists from around the world. "

"Specifically, with enthusiasm and passion, the Festival presented a series of events that satisfied every taste: opera (Richard Strauss' Salome ), symphonic and choral music, chamber music, piano recitals, and ballet, theater, and an opera workshop for young opera artists (Greek Opera Studio)."

"The iconic Bolero by Maurice Ravel followed [which] . . . revealed the immortal music by the important French composer and the imaginative choreography by Zanella. Tiboris conducted the orchestra with care and meaning."


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

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


GB Opera Magazine, Verona, February 18, 2012
Written by Olga Savenko

"Important was the performance of Peter Tiboris who, as music leader of the arena orchestra, was able to provide the perfect sound and choreographic rhythm to the Ravel music. "


"The Magic of Carnegie Hall"
Il Tempo
, Verona, February 2, 2012
Written by Lorenzo Tozzi

He is one of those individuals you never tire of listening to.  This Greek American conductor and producer, Peter Tiboris (already acclaimed on the podium for his performance production of Le Corsare and Peer Gynt at Teatro di Roma) is now in Italy for a series of five evenings of an all Ravel Ballet in Teatro di Verona (February 18-23).

Tiboris is not only a talented conductor but also a leading entrepreneur who has been producing and conducting classical music for 30 years at historic Carnegie Hall in New York City.

He is also the artistic director of a unique festival called Festival of the Aegean that takes place every July in Greece. Tiboris is also a collector of famous batons including those owned and used by Arturo Toscanini, Leonard Bernstein, Frederick Chopin, and Giuseppe Sinopoli and owns the first editions of Don Giovanni (full score) and Rossini's Stabat Mater (choral score).

Click to read interview


"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.”….

Click to read full article


Article on Festival of the Aegean (excerpt)
Andante Magazine, Istanbul, Turkey, July 2011
Written by Selen Yilmaz

“….Organization [of the Festival] was impressive; I can say the team’s work was almost flawless. Every year thousands of people visit the island to participate in the festival. Hotel reservations are made weeks in advance, and tickets are sold out quickly. There is a loyal audience of visitors who arrange their holiday plans around this festival.

Even though Syros Island is not one of the heavily visited Greek islands, such as Mykonos and Santorini, Hermoupolis can be called the “cultural capital of Cyclades.”….


"The Impact of Peter Tiboris"
Eleftherios newspaper, Athens, August 5, 2011
Written by C.P. Sgourdas

The Greek-American conductor Peter Tiboris is the founder and general director of the company MidAmerica Productions, the orchestras Manhattan Philharmonic and Pan-European Philharmonia, and the International Festival of the Aegean. The latest is an annual event, which takes place in Syros, Greece, every summer offering the opportunity to visitors and inhabitants of the island to enjoy music, theater and dance performances. While the audience of the Festival has grown through the years, this time we were also amongst the ones who had the pleasure of attending two of its many activities in two different spaces in the city of Hermoupolis.

La Traviata
On July 16 at the beautiful “Apollo” theater, which was designed according to the archetypes of famous Italian opera houses, we attended Verdi’s Traviata (it should be noted that this elegant theater was inaugurated on 20/4/1864 with the opera Rigoletto, another yet famous opera of the same composer).

With the right sense for style, and with a distinctive knowledge and respect to the needs of the singing voice, Mr. Tiboris presented us with a fully dramatic, lyric and sensitive performance of Verdi’s melodrama. Under his guidance, the Pan-European Philharmonia Orchestra, the Tulsa Oratorio Chorus and the University of Georgia Opera Ensemble, rendered brilliantly their parts. The same can also be said for the majority of the soloists.

Carmina Burana
The following night we attended in Miaouli square Carl Orff’s scenic cantata, Carmina Burana. The composition, which was completed in 1936, is one of the most renowned choral music works of the 20th century and most certainly the finest of the composer. It is based on twenty-four medieval poems and is composed for soloists, choirs and orchestra.

Mr. Tiboris led effectively the American choirs (Taghkanic Chorale, Durango Choral Society, Sardis Presbyterian Church Sanctuary Choir, The Knox Choir of Presbyterian Church, Warwick Valley Chorale, Brevard Community College, Tulsa Oratorio Chorus, Nova Voce). The Maestro managed to project the epic as well as the erotic tone of the score. The choirs performed vividly while as far as the soloists are concerned, Myrsini Margariti stood out, impressing us with her fresh voice, clean technique, tonic accuracy, and impeccable high notes in the parts “Siqua sine soclo,” “Stetit puella,” “In trutina,” and “Dulcissime.”

Zorba Suite
The concert was concluded with excerpts from the Suite by Mikis Theodorakis, Zorba, performed cheerfully and passionately by Mr. Tiboris and the orchestra. The excited applause of the audience in the end of the concert was well deserved.”

__________ - the portal of Italian theater,
March 4, 2011
Written by Gilberto Mion

Grieg: Peer Gynt and Complete Incidental Music
Teatro Filharmonica 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. One must also applaud the orchestra of the Fondazione Arena, which accompanied him with great skill in his beautiful musical exploration.”


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

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.’”   


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 second half of the concert was a completely different kettle of fish in every way. Conductor Tiboris, now working without a score in front of him, seemed liberated by Tchaikovsky’s relaxed and optimistic fifth symphony. While the symphony opens with a haunting, mournful clarinet melody (beautifully played by Lorraine Schulman and Julian Farrell), much of the music is in warm, major-key mode. Tiboris drew an open, transparent sound from the Philomusica (not always an easy thing to do in the Sheldonian), and expertly judged the underlying march tempi, so that woodwind solo passages had time to breathe.

“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.”


"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

"Over the past few days, at the Curci Theater of Barletta an extraordinary concert took place. The show was organized by the Friends of the Music "M.Giuliani," together with the Rotary Club Andrea Castelli Svevi e Trani, and the Club of Inner W. of Tranie il Rotaract.

“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." 


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..."


Noti da Leon, May 31, 2008
Written by Fabiana Raponi

Adam: Il Corsaro
Orchestra e Corpo di Ballo del Teatro Dell'Opera
Teatro dell'Opera di Roma, Rome, Italy

“...the dramatic pace remains dynamic and always tight, thanks to the book, here "lightened", and by the lively musical direction of Peter Tiboris ..."


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."


Avvenire, November 10, 2007

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

"Much attention was paid to detail and a connection with the stage was made by orchestra director Peter Tiboris."


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."


Mascagni: Zanetto (Greek Premiere)
Arias and duets by Verdi, Ponchielli, Bellini, Cilea, Rossini, and Donizetti
Festival of the Aegean, Island of Syros, Greece

"The gala revealed Tiboris to be a fine conductor. The overtures went with a swing, while he was a considerate colleague to his singers."


The New York Times
Written by Bernard Holland

Cherubini: Médée
Carnegie Hall

"Mr. Tiboris's effort...brought us something literate, comprehensible..."


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."


The Financial Times
Written by Martin Bernheimer

"Tiboris conducted with dauntless energy..."

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.”


The New York Times
Written by Allan Kozinn

Mikis Theodorakis: Electra
Carnegie Hall

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


The Knoxville News-Sentinel, TN
Written by Bob Barrett

Mozart: The Magic Flute
Knoxville Opera Company

“Maestro Peter Tiboris…led the orchestra and singers seamlessly through the work. Directing with crisp, definite cues, he ensured that the singers on stage and the musicians in the orchestra pit stayed right with each other.”


Le Devoir, Montreal, Quebec
Written by Carol Bergeron

Dvorak: 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.”


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….”


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!”


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.”


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….”


"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.'"


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.”


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.”


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.”


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.”


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….”


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.”


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.”


“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.”


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.”


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.”


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.”


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.”



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.”


"CD Picks," On The Air Magazine
Written by Richard Halley

Dvorák: The Spectre's Bride

“…a fine collection of…Dvorák tone poems and overtures including The Water Goblin, Symphonic Variations, Slavonic Rhapsody and Scherzo Capriccioso. Keep your eye on Elysium; future releases will include Mahler's rearrangements of well-known symphonies and a number of unjustly neglected Romantic and Classical-era masterpieces. This is good news for anyone who has already 'done' the top 100 classics."


Written by Barrymore Laurence Scherer

“Peter Tiboris conducts the Bohuslav Martinu Philharmonic and Bratislava Chorus with feeling and no little poetry."

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