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Aegean Festival raises a glass “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.”…. __________ Article on Festival of the Aegean (excerpt) “….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.”…. __________ Verdi: La traviata The Impact of Peter Tiboris La Traviata 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 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 C.P. Sgourdas, Eleftherios (newspaper in Athens, Greece) __________ Grieg: Peer Gynt “…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 (headline) __________ Cherubini: Overture to Lodoiska and Médéa (selections) “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.” Giles Woodforde, The Oxford Times, Oxford, UK __________ Beethoven: Overture to Fidelio, Op. 72 “TIBORIS’ MUSIC HELD THE PUBLIC AT CURCI SPELLBOUND" “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." La Gazetta del Nordbarese, Barletta, Italy __________ Mascagni: Zanetto (Elysium Recordings) “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..." __________ Adam: Il Corsaro “...the dramatic pace remains dynamic and always tight, thanks to the book, here "lightened", and by the lively musical direction of Peter Tiboris ..." Fabiana Raponi, Noti da Leon __________ Mozart: Requiem "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." Nicholas Baisa, La Gazzetta del Mezzogiorno __________ Edvard Grieg: Peer Gynt "Much attention was paid to detail and a connection with the stage was made by orchestra director Peter Tiboris." Avvenire "The conducting of Peter Tiboris was incisive and tasteful." Il Giornale __________ Mascagni: Zanetto (Greek Premiere) "The gala revealed Tiboris to be a fine conductor. The overtures went with a swing, while he was a considerate colleague to his singers." TheStage.co.uk __________ Cherubini: Médée "Mr. Tiboris's effort...brought us something literate, comprehensible..." Bernard Holland, The New York Times __________ Taneyev: Agamemnon "Mr. Tiboris moved the performance along ably, drawing some fine playing...and a robust choral sound." Allan Kozinn, The New York Times __________ "Tiboris conducted with dauntless energy..." Martin Bernheimer, Financial Times __________ Rossini: Ermione “The Manhattan Philharmonic…played…with great passion and accuracy for conductor Peter Tiboris…. The audience went understandably wild at the opera’s close.” Robert Levine, ClassicsToday.com __________ Mikis Theodorakis: Electra “[Peter Tiboris] drew a polished and unflaggingly energetic performance from the Manhattan Philharmonic.” Allan Kozinn, The New York Times __________ Mozart: The Magic Flute “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.” Bob Barrett, The Knoxville News-Sentinel __________ Dvorak: Te Deum “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.” Carol Bergeron, Le Devoir __________ Beethoven: “Coriolan” Overture “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….” Gazeta Regionalna , Poland __________ Tchaikovsky: Symphony No. 5 “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!” Jozef Kanski, Ruch Muzyczny, Poland __________ Barber: Overture to The School for Scandal, Op. 5 “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.” Allan Kozinn, The New York Times __________ “…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….” Bill Zakariasen, Daily News (NY) __________ Prokofiev: Romeo and Juliet (scenes from the ballet) "Tiboris Ambitious As Ever" [Headline] Bert Wechsler, Daily News (NY) __________ Dello Joio: Nativity: A Canticle for the Child “Tiboris’ upbeat, bracing conducting of ‘Messiah’ paid dividends—his tempos…were markedly similar to those of Sir Thomas Beecham.” Bill Zakariasen, Daily News (NY) __________ Verdi: Requiem “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.” Will Crutchfield, The New York Times __________ Beethoven/Mahler: Symphony No. 9, Op. 125 ("Choral") “Tiboris’ performance was one of the most exciting and inspiring I’ve ever heard of this masterwork, whatever the edition.” Bill Zakariasen, Daily News (NY) __________ Tchaikovsky: Ode to Joy “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.” Michael Kimmelman, The New York Times __________ Walton: Coronation Te Deum “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….” John Rockwell, The New York Times __________ “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.” Bill Zakariasen, Daily News (NY) __________ 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.” Andrew Porter, The New Yorker __________ “The Polished Fire of Verdi’s Requiem” [Headline] “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.” Emerson Randolph, “The World and I,” Washington Times __________ Verdi: Messa da Requiem “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.” Harriett Johnson, New York Post __________ Kodaly: Budarvi Te Deum “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.” Harriett Johnson, New York Post __________ “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.” The Daily News __________ Peter Tiboris' New York Debut at Lincoln Center “…vigorous…alert, energetic conducting…the ‘Lament of Antigone’ in a New York Premiere, proved an impassioned utterance.” The New York Times __________ CD REVIEWS “… 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.” Michael Jameson, Fanfare __________ 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." Richard Halley, "CD Picks," On The Air Magazine __________ “Peter Tiboris conducts the Bohuslav Martinu Philharmonic and Bratislava Chorus with feeling and no little poetry." Barrymore Laurence Scherer, Gramophone |
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