Gheorghiu & Pirgu | Liceu, Barcelona, Spain | April 2014
"Angela Gheorghiu and Saimir Pirgu at Gran Teatre del Liceu in Barcelona."

LA VANGUARDIA's review of the concert with Angela Gheorghiu and Saimir Pirgu at Gran Teatre del Liceu in Barcelona, Spain:

"Wonderful the performance of Liceu's Orchestra, conducted by Ramón Tebar, who made his debut at the Gran Teatre on a very strong footing."

- - - - - SPANISH

Crítica en LA VANGUARDIA del concierto con Angela Gheorghiu y Saimir Pirgu en el Gran Teatre del Liceu en Barcelona, España:

"Espléndida la interpretación de la Orquesta del Liceu, dirigida por Ramón Tebar, que debutaba en el Gran Teatre con muy bien pie."

LA VANGUARDIA | See Article ×
Tosca, FGO | April 2014
"Tosca, FGO | April 2014"

"…it was the orchestra who shone the most in this occasion, under the excellent baton of Ramón Tebar."

NEWSWEEK | Go to article

"Florida Grand Opera did much more than this on opening night Saturday at the Arsht Center in Miami, with terrific singing in the title role, inspired stage direction and another distinguished performance by the orchestra under conductor Ramón Tebar. Under music director Tebar, FGO's orchestra seems incapable of turning in a bad performance these days. But even in that context, the orchestra's work was outstanding Saturday, with ominous, atmospheric music in the second act, sensitive accompaniments that provided luster to arias without overpowering the singing, and consistently rich textures and a feeling for Puccini's long phrases."

MIAMI HERALD | Go to article

" 'Tosca', a deserved ovation. The most enthusiastic gave a standing ovation at the end of the performance in order to applaud the cast and the brilliant maestro Ramón Tebar, who has achieved from the orchestra to sound better than ever, specially in a score as complex as this one…
[the singers] were supported by the stupendous orchestra,…"

EL NUEVO HERALD | Go to article

"Maestro Ramón Tebar conducted the orchestra with his trademark sensitivity to the singers on stage. He is a world class conductor and it shows in every performance he gives."

EDGE MIAMI | Go to article

"The impact of the FGO Orchestra under maestro Tebar continued to reign supreme, embracing every note of Puccini's score with intensity and finesse."

MIAMI ART ZINE | Go to article

"Florias, Marios and one Scarpia: Who wins in Puccini's Tosca?

Too often audiences fail to notice that Tosca is not just a face-off among three voices in a crime drama that seems to support the assertion that opera plots boil down to "a tenor and a soprano want to make love, but are prevented from doing so by a baritone." but a symphonic portrait of Rome, its sunrises, nights and dawns. The task of revealing the symphonic Puccini went to Ramón Tebar and his orchestra, which displayed a splendid palette of colors. The company's musical director deserves double praise, as he "sang" with the orchestra and let the singers sing, supporting them admirably. It's also important to note the progress the orchestra exhibits with every production – the fearsome entry of the brass and the risky phrasing of the cellos in the prelude to the third act providing irrefutable proof – a progress so remarkable that it competed for the evening's starring role, and at times was the clear winner."

KNIGHT ARTS | Go to article

"I would be remiss if I didn't mention Maestro Ramon Tebar. As always he is a joy to watch and his orchestra is a pleasure to listen to. Puccini's composition is a monster and he manages to strike a graceful balance of instrument and voice with ease. It's obvious he enjoys what he does and the smile you see every time he steps up to the podium comes through in his conducting."

SHOT GLASS GROUP | Go to article

"The single most important element of this production is Ramon Tebar's orchestra. So often a conductor treatsTosca as a piece of Grand Guignol musical theatre. Granted, the second act is loaded with a lot of violent talk and action but throughout is some of Puccini's most tender and sad music. Tebar understands the piece and its many abrupt changes in mood. Because it is so popular, we see it regularly and become accustomed to the bombast. For Tosca veterans there is something thrilling about hearing instruments you never before realized were included in the orchestration."

CONCERTONET | Go to article

"One advantage of Florida Grand Opera mounting a beloved classic is the audience knows when it's being done well, and the audience opening night certainly recognized the current revival of the Tosca as a thoroughly entertaining, satisfying and solidly-executed edition.
The production Saturday benefited from three powerhouse singers making their FGO debuts and who know the score well, plus an orchestra that embraced Giacomo Puccini's lush and lovely score like an old lover, all under conductor and music director Ramon Tebar.
The result could be seen and heard in the audience ovation…"

FLORIDA THEATER ON STAGE | Go to article

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Tosca, FGO | April 2014 | Spanish
"Tosca, FGO | April 2014"

"…la orquesta, que fue la que más brilló en esta ocasión, bajo la excelente batuta de Ramón Tebar."

NEWSWEEK | Go to article

"Florida Grand Opera hizo mucho más que eso en la noche de estreno del Sábado en el Arsht Center de Miami, con una fantástica cantante en el rol principal, dirección de escena muy inspirada y otra distinguida interpretación de la orquesta bajo la dirección de Ramón Tebar.
Últimamente, bajo el director titular Tebar, la orquesta de FGO parece incapaz de dar una mala interpretación. Pero incluso en este contexto, el Sábado, el trabajo de la orquesta fué espectacular, con música siniestra y evocadora en el segundo acto, sensibles acompañamientos que aportaron lustre a las arias sin cubrir a las voces, y consistentemente ricas texturas y sensibilidad por las largas frases Puccinianas."

MIAMI HERALD | Go to article

" 'Tosca', una merecida ovación. Los más entusiastas se pusieron de pie al final de la función para aplaudir al elenco y al brillante maestro Ramón Tébar, quien ha logrado que la orquesta suene como nunca, especialmente en una partitura compleja…
[los cantantes], apoyados en la estupenda orquesta…"

EL NUEVO HERALD | Go to article

"El Maestro Ramón Tebar dirigió la orquesta con su característica sensibilidad hacia los cantantes sobre la escena. Es un director de primera clase y lo demuestra en cada interpretación que ofrece."

EDGE MIAMI | Go to article

"El impacto de la orquesta de FGO bajo la dirección del maestro Tebar continuó reinando con supremacía, abrazando cada nota de la partitura de Puccini con intensidad y sutileza."

MIAMI ART ZINE | Go to article

"Florias, Marios y un Scarpia: quién gana en Tosca?
Demasiado a menudo pasa inadvertido que Tosca no es sólo […] "soprano ama a tenor y barítono se opone", sino que es una pintura sinfónica de Roma, de sus mañanas, noches y amaneceres. Y la tarea de revelar ese Puccini sinfónico corrió por cuenta de Ramón Tebar y su orquesta que desplegó una inaudita paleta de colores. El mérito del director musical de la compañía fue por partida doble ya que Tebar "cantó" con la orquesta y dejó cantar a los cantantes, sustentándolos admirablemente. Vale destacar el progreso que la orquesta evidencia con cada título – la temida entrada de los bronces y la expuesta frase de los cellos del preludio al tercer acto fue prueba irrefutable – un avance tal que compitió por el protagonismo de la velada, y que en instancias fue claro vencedor."

KNIGHT ARTS | Go to article

"Pecaría de negligente si no mencionara al Maestro Ramón Tebar. Como siempre, observarle es un deleite y su orquesta es un placer escuchar. La composición the Puccini es un monstruo, y él obtiene con facilidad un elegante balance entre instrumentos y voz. Es obvio que disfruta de lo que hace, y la sonrisa que se le ve cada vez que sube al podio se refleja en su manera de dirigir."

SHOT GLASS GROUP | Go to article

"El elemento más importante de esta producción es la orquesta de Ramón Tebar. Muy a menudo los directores tratan Tosca como una pieza de teatro musical de Gran Guiñol. Entendemos, que el segundo acto está cargado con multitud de acciones y diálogos muy violentos, pero también con alguna de la música más tierna y triste de Puccini. Tebar entiende esta obra y su tantos cambios abruptos de carácter. Precisamente por su popularidad, nos hemos acostumbrado y solemos verla con grandilocuencia. Pero para los veteranos en Tosca, hay algo apasionante en escuchar instrumentos que uno nunca se había dado cuenta que estaban incluídos en la orquestación."

CONCERTONET | Go to article

"Una ventaja para Florida Grand Opera al representar un querido clásico de repertorio es que el público sabe cuando ha sido bien interpretada, y ciertamente el de la noche del estreno reconoció la reposición completamente entretenida, satisfactoria y sólidamente ejecutada.
La producción del Sábado se benefició de tres fantásticos cantantes que conocían bien la partitura bien y debutaban en FGO, y de una orquesta que abrazó la preciosa y exuberante partitura de Giacomo Puccini como a un viejo amante, todos bajo la dirección del director musical titular Ramón Tebar.
El resultado se pudo ver y oir en la ovación del púbico…"

FLORIDA THEATER ON STAGE | Go to article

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Palm Beach Symphony | April 2014
Season Finale with Palm Beach Symphony

"PB Symphony finale shows Tebar's orchestra-building success.
Ramón Tebar must be exhausted. Twinning conductorships of Palm Beach Symphony and Florida Grand Opera in Miami would sap the energy of another man. Not so the 35-year-old Tebar. He must have the strength of Hercules.
He conducted a superb concert…
He is also a capable orchestra builder. […] his glorious band filled every corner of the Kravis stage. Normally, it takes a couple of years to build an orchestra of this quality. But Tebar has managed to build an excellent ensemble in very little time.
(Berlioz) Tebar's first energetic downbeat set the tone for the afternoon. And the lovely playing put everyone on notice we were in for an orchestral treat.
(Sibelius) Tebar made the music sound heavenly, and yes, brassy, too.
Tebar seems to make the music emanate from his very hands and fingertips, shaping each phrase lovingly. It was met by thunderous applause by an audience in sync with the underlying theme of this march toward freedom and independence.
(Grieg) (2nd movement) It begins quietly, the first violins playing mournful music during which one could have heard a pin drop.
(3rd movement) The sound produced was ethereally beautiful, helping put the "world-class" stamp on the afternoon's very fine orchestral playing. (4th movement) Tremendous applause again as Tebar had each section take a well-deserved bow.
(Tchaikovsky's Fifth Symphony, in E minor, Op. 64). Now came the real test of Tebar's quick-time orchestra-building enterprise, which held up magnificently. (1st movement) …first and second violins were perfectly drilled.
(2nd movement) Again, the strings were perfection as they took over the horn love song.
(3rd movement) Tebar drew extraordinarily fine playing from the orchestra.
(4th movement) The finale got off to a fine start in the strings with the Fate motif. Tebar brilliantly timed the big rallentando before the big, life-affirming march that ends the symphony.
Cheers greeted orchestra and conductor, the decibel level equaled, even surpassed, by the decibel level he got from a Miami audience at a performance of Tosca I saw. A bouquet of flowers was presented to him, which he passed to the concertmaster, Evija Ozolins, who represents the orchestra. A handsome gesture.
Each section took a bow, and the standing ovation went on for a long time. People were not rushing for the doors, which says a lot about how they loved the music-making."


PALM BEACH ARTS PAPER 04/2014 Go to article

"The orchestra, inspired by conductor Ramón Tebar's energetic conducting style, established the tempos and would not give in to any dragging by the players.
Berlioz's Le Carnaval Romain Overture gave the orchestra an opportunity to show its talent. Attacks and releases were all well done and precise, thanks to the conductor's generous cues throughout the concert.
In Tchaikovsky's Symphony No. 5 in E minor, the audience was treated to some of the most beautiful melodies in the literature, enhanced by just the right amount of rubato when needed.
The work ended with orchestral fireworks that resulted in an immediate standing ovation, which was richly deserved."


PALM BEACH DAILY NEWS 04/2014 Go to article ×
Palm Beach Symphony | April 2014 | Spanish
Final Temporada con Palm Beach Symphony

"Último concierto de PB Symphony demuestra el éxito como constructor de orquestas.

Ramón Tebar debe estar agotado. Dos titularidades en Palm Beach Symphony y Florida Grand Opera minarían la energía de cualquiera. No así con el Tebar de 35 años. Debe tener la fuerza de Hércules.
Dirigió un concierto soberbio…Además es un constructor de orquestas competente. Su magnífica orquesta llenó de sonido cada rincón del escenario del Kravis. Normalmente, toma varios años en construir una orquesta de esta calidad. Sin embargo, Tebar ha conseguido construir este excelente grupo en muy poco tiempo.
(Berlioz) El primer ataque de Tebar estableció el estilo para el resto del concierto. Y la maravillosa interpretación de la orquesta nos alerto al público de que estabamos por ver un milagro orquestal.
(Sibelius) Tebar hizo que la música sonara celestial, y sí, metálica, también.
Parece como si la música emanara directamente de las manos y la punta de los dedos de Tebar, moldeando cada frase cariñosamente. Todo estó se recibió con un estruendoso aplauso…
(Grieg) (Movimiento II) Empezó tan silenciosamente, que la durante la música triste tocada por los primeros violines se podía escuchar un alfiler caer.
(Movimiento III) El sonido producido era etéreamente bello, ayudando a poner el calificativo de "primera categoría" al tan buena interpretación de la orquesta. (Movimiento IV) Tremendo applause otra vez mientras Tebar reconocía a cada sección de la orquesta.
(Tchaikovsky, Sinfonía No. 5 en mi minor, Op. 64). Con esto llegaba el auténtico examen a Tebar como rápido constructor de orquesta, el cual superó magníficamente. (Movimiento I) … primeros y segundos violines estaban perfectamente sincronizados.
(Movimiento II) … perfección de las cuerdas…
(Movimiento III) Tebar dibujó extraordinariamente bien la buy buena interpretación de la orquesta.
(Movimiento IV) El finale igualó el buen inicio de las cuerdas en el tema del destino. Tebar calculó brillantemente el rallentando antes de la gran marcha con la que finaliza la sinfonía.

Los aplausos a la orquesta y director, el nivel de decibelios igualó, incluso superó, el nivel de decibelios que consiguió del público de la función de Tosca a la que asistí. Un ramo de flores se le entregó, el cual regaló a la concertino, Evija Ozolins, en representación de la orquesta. Un espléndido gesto.
Cada sección tomó su saludo individual, y la ovación en pié continuó por un largo tiempo. La gente no se apresuró a las puertas, lo que dice mucho de como gustó la interpretación."​


PALM BEACH ARTS PAPER 04/2014 Go to article

"La orquesta, inspirada por el estilo energético de dirección de Ramón Tebar, estableció los tiempos y ninguno de sus músicos sucumbió quedandose atrás.
La Obertura Le Carnaval Romain de Berlioz dio a la orquesta la oportunidad de demonstrar su talento. Todos los ataques y cortes estaban bien ejecutados y precisos, gracias a todas las generosas indicaciones del director durante todo el concierto.
En la Sinfonía No. 5 en mi menor de Tchaikovsky, la audiencia fué expuesta a algunas de las más bellas melodías en la literatura, realzadas precisamente por la exacta cantidad de rubato cuando fue necesario.
La obra terminó con unos fuegos artificiales orquestales que provocaron una inmediata ovación de pié, que fue altamente merecido."


PALM BEACH DAILY NEWS 04/2014 Go to article ×
Palm Beach Symphony | March 2014
Astanova with Palm Beach Symphony

"Animated conductor Ramón Tebar is also just as entertaining to watch. He led the symphony in an exemplary supporting performance to Astanova's solo; altogether, the group was a perfect blend. […] The symphony ended the evening with Brahms' four-movement Symphony No. 1 in C Minor, Opus 68. The performance was exquisite."

PALM BEACH ILLUSTRATED 03/2014 Go to article

"Strong Brahms, radiant Chopin.
The opener was Beethoven's Leonore Overture No. 3 (Op. 72). Taken at a fairly fast pace, conductor Ramón Tebar got his string section to play as purely as the crystal in the overhanging chandeliers. […] brilliant tight ending.
The concerto opens with a nice balance between orchestra and piano […] orchestra's wonderful dramatic passages […] The orchestral accompaniment was excellent in these difficult passages. […] The co-operation between soloist and conductor made this a great success.
Brahms Symphony No. 1 (in C minor, Op. 68) ended the night. […] Tebar was able to bring out the finer points needed to make this movement sound strong and urgent. I haven't heard such fine teamwork in a long time; […]
The brass, […] sounded wonderful here. The string section played as one and the woodwinds were terrific. This is some of the best playing from the orchestra in a long time. […]
Tebar gave this symphony a damn fine reading, making the night a memorable occasion of music making. The orchestral playing was splendid, and it was greeted by a standing ovation."

PALM BEACH ARTS PAPER 03/2014 Go to article ×
Palm Beach Symphony | March 2014 | Spanish
Astanova con Palm Beach Symphony

"El director Ramón Tebar era igualmente digno de ver. Dirigió la orquesta en una interpretación ejemplar de acompañamiento a Astanova; juntos, eran una perfecta combinación. […] La sinfónica concluyó la noche con la Sinfonía No.1 en do menor, Op. 68, en cuatro movimientos de Brahms. La interpretación fué exquisita."

PALM BEACH ILLUSTRATED 03/2014 Go to article

"Sólido Brahms, radiante Chopin.
Se abrió con la Obertura Leonora No.3, Op.72 de Beethoven. Tomada a un tiempo bastante rápido, el director Ramón Tebar consiguió que la sección de cuerdas tocara tan cristalinamente como el vidrio de los candelabros que colgaban de la sala.
[…] final con una tensión brillante.
El concierto abrió con un buen balance entre orquesta y solista […] maravillosos pasajes dramáticos de la orquesta […]
El acompañamiento de la orquesta fué excelente en los pasajes difíciles. […] La cooperación entre solista y director hizo que fuera un gran éxito.
La Sinfonía No.1 (en do menor, Op.68) de Brahms cerró la noche. […] Tebar supo sacar a relucir los puntos necesarios para que el primer movimiento sonara sólido y con urgencia. No he escuchado tal trabajo en equipo un mucho tiempo; […]
Los metales, […] sonaron maravillosamente. Las cuerdas tocaron como uno y las maderas sonaron formidables. Fué una de las mejores interpretaciones de la orquesta en mucho tiempo. […]
Tebar le dio a esta sinfonía una lectura increíblemente buena, haciendo de la ocasión una noche musical memorable. La orquesta tocó espléndidamente, y fué correspondida con una ovación de pié."

PALM BEACH ARTS PAPER 03/2014 Go to article ×
Nabucco, FGO | January 2014
"Nabucco, FGO | Jan 2014"

Expectation and enthusiasm were high for the premiere of Nabucco at Florida Grand Opera (seen January 25). After all, Miami is a community of many exiles — whether Cubans, Nicaraguans, Jews or any of the many other émigré groups — and Verdi's opera effectively challenges the potential audiences about issues of identity, religion, culture and power. With discernment, FGO general director and CEO Susan Danis and her team selected the successful co-production shown at the Washington National Opera, Minnesota Opera and Opera Philadelphia in recent years. Yet, their uneasiness about director and stage designer Thaddeus Strassberger's scenic concept and, ultimately, their indecision about how to possibly reimagine it due to stage limitations in Miami resulted in a hybrid and incoherent production.
Strassberger had set Nabucco as an opera-within-an opera, specifically at La Scala around 1840. Here in Miami, his vision was discarded. All extra-figurants (Austrian military and Risorgimento Italians), whose presence alluded to the universality and even contemporaneity of Nabucco's arguments, were eliminated. Likewise, the pivotal "backstage rehearsal" scene during "Va, pensiero" was replaced by a static display of the chorus in traditional poses. What remains of the original production are the elegant flat painted panels as used in the early nineteenth-century but, without the critical distance, their interest was dramatically reduced — keeping the panels with the red stage curtains of La Scala was particularly incongruous. That said, the sets seemed to work well for the audience, particularly when the temple's doors were closed and produced a powerful feeling of huis-clos that helped the action. In Strassberger's absence, assistant director Leigh Holman was able to animate and give some credible dimension to the improbable characters and plot of the opera, but overall it is the musical performance that made the evening worth.
Once again, Ramón Tebar did miracles with the reduced number of musicians he has to work with. Often the orchestra sounded underpowered but Tebar conducted with precision, lightness, and without ostentation in louder passages. The chorus, directed by Michael Sakir, was well adjusted and faultless. Their "Va, pensiero" may have lacked interiority, but Strassberger's idea to have Tebar conduct an encore facing the public worked well and made the audience engage and connect.
The title role went to the Uruguayan Dario Solari, whose warm baritone endowed the neo-Babylonian king with the right dose of brute force and humanity. His "mad scene" was impressive but, overall, his interpretation of this extremely difficult role was not convincing. Three FGO Young Artists gave strong performances: tenor Martin Nusspaumer (also from Uruguay) camped a young and exalted Ismaele, Adam Lau's deep bass once again delivered power and excellence as the High Priest, and Jouvanca Jean-Baptiste had the opportunity to show her potential in the short role of Anna. Kevin Short made a solid Zaccaria but was unable to lift the one-sided character out of monotony. Mabel Ledo's mezzo-soprano was ideal to give both lyricism and sensuality to Fenena, particularly in her "O dischius'è il firmamento."
Maria Guleghina was Abigaille. By now her dramatic coloratura has become coarse and at times she screams more than she sings. There is not much legato left except in the more lyrical passages of Act IV. Her Abigaille is not about purism or bel canto, but rather raw power and expression. In spite of these reservations she, and Tebar, were the true victors of this Nabucco.

JEAN-FRANÇOIS LEJEUNE​

OPERA NEWS | Go to article

"There is something about Florida Grand Opera's current production of Nabucco that brings out what I imagine to be the atmosphere of its first groundbreaking performances in 1842.
It may have to do with the way the set and the costumes combine with the conviction of the performers, the prominence with which the chorus is used, or the ferocity of fresh discovery that its conductor and orchestral musicians bring to Giuseppe Verdi's first big hit.
The Florida Grand Opera orchestra, under music director Ramon Tebar, was excellent in every respect, and a reminder to local audiences that this opera company, are most fortunate in the level of orchestral playing they're able to draw on for their productions. Tebar is a passionate and vigorous conductor,…"

PALM BEACH ARTS PAPER | Go to article

"An admirable Nabucco. […]
Few operatic overtures produce cheers, but under conductor Ramón Tebar the FGO ensemble gave such a blazing, razor-sharp account of Verdi's fiery opening that the ovation was deserved. Throughout the performance, the orchestra could be counted on to deliver all the Verdi thunder, while providing sensitive support to the singers."

Miami Herald | Go to article

"Saturday evening, singers and chorus were sprinkled with the usual applause and bravi, with particular attention to the orchestra under the masterful conducting of Ramón Tebar, ending with a long final ovation…"

El Nuevo Herald | Go to article

"Music Director Tebar passionately led the orchestra, which had a bright strong sound with individual instruments shooting clearly when warranted above Verdi's wall of melody."

FLORIDA THEATER ON STAGE | Go to article

"The orchestra and chorus especially shined, playing and singing with natural musicality. Conductor Ramon Tebar kept it all together with his customary authority and energy."

ART BURST MIAMI | Go to article

"Maestro Ramón Tebar conducted the orchestra and singers flawlessly as he always does. Tebar is an energetic conductor and is very entertaining to watch perform in his own right. He was, as always, very sensitive of the needs of all of his singers on stage."

EDGE BOSTON | Go to article

"A moment of piece in the Middle East.
Conductor Ramón Tebar really understands this opera. Anyone who mistakenly thinks it is all bluster will find a rich subtlety in the overture that is often ignored. There is a Bellini-like simplicity to some of the orchestrations, in fact a considerable part of the vocal ensemble and the solo work is done a cappella. Maestro Tebar knows when less is more. […]
So will you have a rich musical experience? Yes."

CONCERTONET | Go to article

"Conductor Ramon Tebar was the evening's towering hero, leading the orchestra and chorus with passionate intensity and never letting the momentum flag. He drew luminous singing from the strong choral forces, […] and turned and led the audience in a sing along repetition of Va pensiero. The Florida Grand Opera production serves this historical work wonderfully, […] under a gifted conductor with a real feeling for the idiomatic pulse of this score."

FORT LAUDERDALE CONNEX | Go to article

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Nabucco, FGO | January 2014 | Spanish
"Nabucco, FGO | Enero 2014"

"Hay algo sobre la presente producción de Nabucco de Florida Grand Opera que saca a relucir lo que imagino que sería la atmosfera de las primeras revolucionarias presentaciones en 1842.
Quizá tenga que ver con la forma en que el escenario y vestuario combinan con la convicción de los intérpretes, la prominencia con la que el coro es utilizado, o la fiereza de la frescura que su director y orquesta trasladan en este primer éxito de Verdi.
La orquesta de Florida Grand Opera, bajo su Director Musical Ramón Tebar, fué excelente en todos los aspectos, y un recordatorio para el público local de que esta con esta compañía de ópera, somos muy afortunados del nivel de interpretación orquestal que son capaces de ofrecer en sus producciones. Tebar es un director vigoroso y apasionado,…"

PALM BEACH ARTS PAPER | Go to article

"Un Nabucco admirable. […]
Pocas oberturas operísticas arrancan bravos, pero bajo la batuta del director Ramón Tebar, la orquesta de FGO dió tal ardiente, precisa interpretación de la fogosa obertura de Verdi que fué merecida la ovación. Durante toda la función, se pudo contar con la orquesta para proveer tanto el fragor verdiano como el sensible apoyo a los cantantes."

Miami Herald | Go to article

"La noche del sábado 26 fue salpicado de los acostumbrados aplausos y bravos a las intervenciones de los cantantes y el coro, con particular atención a la orquesta bajo la magistral dirección de Ramón Tébar, para culminar con una larga ovación al final…"

El Nuevo Herald | Go to article

"El Director titular Tebar dirigió la orquesta apasionadamente, lo que produjo un sonido sólido y brillante, con gran claridad de los instrumentos solistas que atravesaban el muro melódico cuando así es requerido por Verdi."

FLORIDA THEATER ON STAGE | Go to article

"Brillaron especialmente la orquesta y el coro, tocando y cantando con musicalidad natural. El director Ramón Tebar lo mantuvo todo unido con su habitual autoridad y energía."

ART BURST MIAMI | Go to article

"Como siempre, Maestro Ramón Tebar dirigió a la orquesta y cantantes impecablemente. Tebar es un director energético y sólo por contemplarlo dirigir es digno de ver. Estuvo, como siempre, muy sensible a las necesidades de todos los cantantes en escena."

EDGE BOSTON | Go to article

"Un momento de paz en el Medio Oriente.
El director Ramón Tebar realmente entiende esta ópera. Todo el que erróneamente piensa que esta música es mera retórica vacía, encontrará en la Obertura ricas sutilezas que son ignoradas a menudo. Se encuentra una simplicidad belliniana en algunas de las orquestaciones, de hecho, una considerable parte de los conjuntos vocales son a capella. Maestro Tebar sabe cuando menos es más. […]
Luego, tendrán una experiencia musical rica? Sí."

CONCERTONET | Go to article

"El director Ramón Tebar fué el héroe destacado de la noche, guiando coro y orquesta con una apasionada energía, nunca dejando que el momentum cayera. Extrajo un sonido luminoso del sólido coro, […] y se giró para dirigir al público en la repetición del "Va, pensiero". Bajo la guía de un director con talento y con auténtica sensibilidad por el pulso idiomático de esta partitura, […] la producción de Florida Grand Opera sirvió maravillosamente a esta ópera histórica."

FORT LAUDERDALE CONNEX | Go to article

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Palm Beach Symphony | Jan 2014
PBS January 2014

"Like an enthusiastic soccer team captain, Tebar led his team to victory… […] Tebar struck a vein of adrenalin that doubled his energy level. Going for goal, he tackled an unforgettable evening of music making.[…] Tebar conducted like a demon, with occasional forays to the harpsichord, which he plays well. He was determined to get through this dreadful night by sheer force of personality, and did it with leadership, smiles, encouragement and brilliant conducting."

Palm Beach Arts Paper - Jan 2014 | Go to article

"Palm Beach Symphony stellar […] under Ramon Tebar at the Flagler Museum, scored a major hit. […]
Tebar directed them with spirit."

Palm Beach Daily News - Jan 2014 | Go to article ×
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