Carnegie Hall
Cherubini: Médée

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

Bernard Holland, The New York Times

Carnegie Hall
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 enrgy..."

Martin Bernheimer, Financial Times

Carnegie Hall
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

Carnegie Hall
Mikis Theodorakis: Electra

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

Allan Kozinn, The New York Times

Knoxville Opera Company
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

Montreal, Quebec
Dvorak: Te Deum
Beethoven: Symphony No. 9, Op. 125

“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

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

“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
Translated by Aleksandra Klaput

Rzeszow Philharmony (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
Translated by Leon Unger

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

“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)

Carnegie Hall
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”

"Tiboris ambitious as ever" [Headline]
"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.'"

Bert Wechsler, Daily News (NY)

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

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

Bill Zakariasen, Daily News (NY)

Carnegie Hall
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

Avery Fisher Hall
Beethoven/Mahler: Ninth Symphony

“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)

Avery Fisher Hall
Tchaikovsky: Ode to Joy
Beethoven: Ninth Symphony, Op. 125

“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

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

Avery Fisher Hall
Handel: Israel in Egypt

“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

Avery Fisher Hall
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

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

“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

New York Debut at Lincoln Center
Rossini: Stabat Mater
Constantinides: Antigone
Hymnus Tou Pnevmatos

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

The New York Times

CD Reviews
Mozart: Symphonies No. 40 in G Minor, K. 550; No. 41 in C, 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…. [T]his 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