Palm Beach Symphony | Jan 2014 | Spanish
Palm Beach Symphony Enero 2014

"Como un entusiasta capitán de un equipo de fútbol, Tebar guió su equipo a la victoria… […] Le dió un subidón de adrenalina que dobló su nivel de energía. Yendo a por el gol, marcó una inolvidable noche de música. […] Tebar dirigió como un demonio, con ocasionales intervenciones al clavicémbalo, el cual toca bien. Estaba determinado a sacar adelante la terrible noche simplemente con la fuerza de su personalidad, y lo hizo con liderato, sonrisas, ánimo y una dirección brillante."

Palm Beach Arts Paper - Jan 2014 | Go to article

"Palm Beach Symphony estuvo estelar […] y bajo la batuta de Tebar en el Museo Flagler tuvieron un gran éxito. […]
Tebar los dirigió con ímpetu."

Palm Beach Daily News - Jan 2014 | Go to article ×
Palm Beach Symphony
PBS's opening season concert:

"Maestro Ramón Tebar […] conducted with all the enthusiasm and energy of a soccer center forward about to strike the winning goal.

[…]
Tebar was in complete control.
[…]
speeded things up to make the music sound interesting. The orchestra responded immediately to his carefully timed signals.
[…]
His baton technique is simply wonderful to watch.
[…]
In the last movement, there was ferocious energy from Tebar as he put his heart and soul into the fast kick-off Beethoven wrote.
[…]
Tebar is quite remarkable in the way he holds this group of players together after only three rehearsals.
[…]
The crowd roared its approval at the end of Beethoven's Fourth. Men and women stood and shouted uninhibited bravos at the orchestra. Ever the gentleman, Tebar stood among his players inviting them to share the glory."

Palm Beach Arts Paper - Dec 2013 | Go to article ×
Palm Beach Symphony | Spanish
Concierto de apertura de la temporada de la Palm Beach Symphony:

"Maestro Ramón Tebar […] dirigió con todo el entusiasmo y energía de un jugador de fútbol a punto de marcar un gol ganador. […]

Tebar estaba en completo control.
[…] aceleró pasajes para hacer que la música sonara más interesante. La orquesta respondió inmediatamente a sus cuidadosamente calculadas señales.
[…]
Su técnica directorial es simplemente maravillosa para observar.
[…]
En el último movimiento, hubo una energía feroz al poner Tebar su alma y corazón en el rápido comienzo que escribió Beethoven. […]
Es bastante extraordinario la manera en la que Tebar mantiene la unidad de este grupo de músicos después de sólo tres ensayos. […]
La multitud rugió en aprobación al final de la Cuarta de Beethoven. Hombres y mujeres se levantaban y deshinibidos gritaban bravos a la orquesta. Como un caballero, Tebar se posicionaba entre sus músicos invitándolos a compartir la gloria."

Palm Beach Arts Paper - Dec 2013 | Go to article ×
Mourning Becomes Electra, FGO | November 2013
"Mourning Becomes Electra, FGO | Nov 2013"

"Under Ramón Tebar's masterful baton, the first-rate orchestra delivered the noise and furor of Mourning Becomes Electra but also the love and dreams, as in the gorgeous quartet of Act II on Brant's ship."

OPERA NEWS | Go to article

"Finally, to top it off, orchestra and its conductor Ramón Tebar offered the appropriate frame to this production of international level, performing the music with unsurpassable precision and sensitivity. As always, from time to time it is worth taking off the view from the stage to observe Tebar, who conducted "a la antigua", this time without baton, and it seemed like if not only the sound of the orchestra would emanate from his hands, but also the singer's voices, that precise."

OPERA WORLD | Go to article

WALL STREET JOURNAL on Mourning Becomes Electra says "Ramón Tebar was the skillful conductor".

WALL STREET JOURNAL | Go to article

MIAMIARTZINE: "The FGO Orchestra, under the expert baton of Maestro Ramón Tebar, was also a glowing character in the opera."

MIAMIARTZINE | Go to article

SOUTH FLORIDA CLASSICAL REVIEW (published in MIAMI HERALD): "…a stellar performance by the orchestra under conductor Ramón Tebar…"

MIAMI HERALD | Go to article

FLORIDA THEATER ON STAGE: "Tebar's orchestra does Levy (the composer) proud with a full evocative sound that encompasses tidally swelling strings, brass blasts that come from some nether region and percussive accents like whip cracks."

FLORIDA THEATER ON STAGE | Go to article

MIAMI CLÁSICA:
"Valencian Ramon Tebar surprises again, this time conducting a modern composer - present in the theater and visibly moved - and obtaining a remarkable performance by the orchestra. Clear, rich, subtle and thunderous as required by the intricate Levy's score. It should be note that FGO Music Director and his orchestra sails triumphant from this challenge."

MIAMI CLÁSICA | Go to article

EDGE MIAMI:
"Maestro Ramón Tebar conducted the orchestra with passion and grace and, as usual, showed an extreme sensitivity to the singers."

EDGE MIAMI | Go to article

CONCERTONET:
"With its lack of recognizable tunes, modern operas sometime seem to conduct themselves. Ramón Tebar's guidance must be particularly appreciated by the cast who could easily fall all over the place."

CONCERTONET | Go to article

PALM BEACH ARTS PAPER:
"The Florida Grand Opera Orchestra sounded splendid throughout this very difficult score, and conductor Ramon Tebar kept it from overpowering his singers. He also overstressed the soft, mysterious cast of much of the score."

PALM BEACH ARTS PAPER | Go to article

THE SHOW BLOGGER:
"One of the most spectacular parts of the opera, apart from the singing, acting, and set design, was the orchestra, conducted by Maestro Ramón Tebar, who did a marvelous job keeping track of, not only the large orchestra, but the performers as well. Levy composed a complex orchestra and there were times during the performance that just closing your eyes and letting the wave of music sweep over you was enough."

THE SHOW BLOGGER | Go to article

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Mourning Becomes Electra, FGO | November 2013 | Spanish
"Mourning Becomes Electra, FGO | Nov 2013"

"Bajo la batuta maestra de Ramón Tebar, una orquesta de primer nivel emitió el rudio y furor de Mourning Becomes Electra, pero también el amor y los sueños, como en el espléndido cuarteto en el barco de Brant del Acto segundo."

OPERA NEWS | Go to article

"Por último, pero con importancia cimera, la orquesta y su director Ramón Tébar ofrecieron el adecuado marco a esta puesta de nivel internacional ejecutando la música con una precisión y una sensibilidad insuperables. Como siempre, vale la pena despegar los ojos del escenario de vez en cuando para observar a Tébar, que dirige "a la antigua" sólo con sus manos y parece como si de ellas salieran no sólo los sonidos de la orquesta sino las voces de los cantantes, así de preciso."

OPERA WORLD | Go to article

El WALL STREET JOURNAL dice "Ramón Tebar fué el habilidoso director" en su crítica sobre Mourning Becomes Electra.

WALL STREET JOURNAL | Go to article

MIAMIARTZINE: "La orquesta de FGO, bajo la experta batuta de Maestro Ramón Tebar, fué también un carácter brillante en la ópera."

MIAMIARTZINE | Go to article

SOUTH FLORIDA CLASSICAL REVIEW (publicada en el MIAMI HERALD): "…una interpretación estelar de la orquesta bajo la dirección de Ramón Tebar…"

MIAMI HERALD | Go to article

FLORIDA THEATER ON STAGE: "La orquesta de Tebar enorgullece a Levy (el compositor) con un sonido evocador pleno que incluía cuerdas acrecentándose como mareas, explosiones de los metales que parecían provenir de las profundidades y acentos de la percusión como latigazos."

FLORIDA THEATER ON STAGE | Go to article

MIAMI CLÁSICA:
"Vuelve a sorprender el valenciano Ramón Tebar, esta vez dirigiendo un autor contemporáneo – y además, presente en la sala visiblemente emocionado – obteniendo de la orquesta un rendimiento excepcional, clarísimo, austero, rico, sutil o atronador según lo requerido por la intrincada partitura de Levy. Debe destacarse que el Director Musical de FGO y su orquesta salen más que airosos del difícil compromiso."

MIAMI CLÁSICA | Go to article

EDGE MIAMI:
"El Maestro Ramón Tebar dirigió la orquesta con pasión y gracia, y como usualmente, demostró una sensibilidad extrema con los cantantes."

EDGE MIAMI | Go to article

CONCERTONET:
"Con la falta de melodías reconocibles, a veces operas modernas parecen dirigirse a sí mismas. Por ello la dirección de Ramón Tebar debe ser particularmente apreciada por un reparto que fácilmente podría haberse perdido completamente."

CONCERTONET | Go to article

PALM BEACH ARTS PAPER:
"La orquesta de Florida Grand Opera sonó esplendida durante toda esta partitura tan difícil, y el director Ramón Tebar tuvo cuidado de no tapar a los cantantes. Al mismo tiempo también enfatizó el aspecto suave y misterioso de gran parte de la partitura."

PALM BEACH ARTS PAPER | Go to article

THE SHOW BLOGGER:
"Una de las partes más espectaculares de la ópera, a parte del canto, la actuación, y el diseño del escenario, fué la orquesta, dirigida por el Maestro Ramón Tebar, quien hizo un maravilloso trabajo controlando, no solo a la enorme orquesta, sino también a los intérpretes. Levy escribió para una orquesta compleja, y había momentos durante la función en la que sólo cerrar los ojos o dejar envolverse por las olas de música era suficiente."

THE SHOW BLOGGER | Go to article

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Lucia di Lammermoor, Spain | Sep 2013
"Lucia di Lammermoor, La Coruña"

"Excellent Ramón Tebar at the baton, impressing tension and liveliness upon Galicia Symphony Orchestra."

Opera Actual, Jose Luis Jimenez | Go to article

"Sincerely surprising the orchestral conducting of the valencian Ramón Tebar. With only 34 years-old, the maestro -whom develops mostly of his career in America- has demonstrated a great command of the donizettian prosody and a complete knowledge of the score, that goes further than the mere concertizing: his reading is always at the service of underlining the dramatic action, providing the required tension and intensity without ever neglecting the singers, and perfectly controlling the balance between pit and stage, something really difficult in this theater. But, as I say, his was a vision full of theater: in this sense, the way in which draws with the orchestra the tension previous to the encounters of Lucia with Enrico and with Raimondo respectively, the dynamism with which addresses the cabalette or the frantic Act II's stretta finale are authentic declarations of intent. In any case, it has been a triumphal debut of a conductor whom must be known more and better with urgency, because without any doubt, he finds himself at present among the best existing national batons."

Mundo Clasico, Hugo Alvarez Dominguez | Go to article

"This was my first chance to see Ramón Tebar, the musical director of Miami's opera company. I must say that his conducting was fully convincing. He was always supportive of the singers, and offered a reading of the opera that was full of strength and energy. Under his baton was the remarkable Galicia Symphony Orchestra, which is always a guarantee of success. […]
Palacio de la Ópera was sold out. The audience was very enthusiastic throughout the performance, to the point of getting an encore of the famous sextet. In the final bows there was an enthusiastic reception for María José Moreno, Celso Albelo and Ramón Tebar."

Seen and Heard, Jose Maria Irurzun | Go to article

"A separate chapter for conductor Ramón Tebar, Music Director of Miami Opera. What a way to conduct, to lead the ensemble, to give cues!. At all times he was attentive to the voices and to the score: spirited or lyric when it thus demanded. Excellent in the use of the tempi. It was the first time he conducted opera in Spain. One doesn't understand how he is not present in the seasons of the big theaters of this country."

Opera World, Daniel Diz | Go to article

"Brilliant Opening of Opera Festival. […]
In the pit the Galicia Symphony Orchestra with all its virtues […] under the attentive and sensitive baton of Ramón Tebar."

La Voz de Galicia, Miguel Anxo Fernandez | Go to article

"Ramón Tebar conducts a high up Lucia di Lammermoor at La Coruña Opera Festival. […]
The Music Director of the Miami Opera, Ramón Tebar, was at the pit. We find in him an inspired baton, rich in contrasts, solvent in the recreation of atmospheres, attentive at the melody and the voices and with a noted theatrical vocation."

Codalario, Alejandro Martinez | Go to article

"Orquesta Sinfónica de Galicia, and extraordinary instrument […] Ramón Tebar, great conductor of precise and very expressive gesture with which achieves the corresponding sonority translation".

EL PAÍS, Julian Carrillo | Go to article

"This Lucia didn't disappoint, magnificent sung and played […] The enormous success of this Lucia has to be found in the musical means. […] Superb orchestra, led with masterly hand by Tebar, which brilliant musical career is easy to explain watching him conduct with such admirable precision and flexibility. Moments like the beginning of the overture, in soft dynamics, of extraordinary beauty, are difficult to forget."

LA OPINIÓN, Julio Andrade Malde | Go to article

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Lucia di Lammermoor, Spain | Sep 2013 | Spanish
"Lucia di Lammermoor, La Coruña"

"Excelente Ramón Tebar a la batuta, imprimiendo tensión y vivacidad a la Orquesta Sinfónica de Galicia."

Opera Actual, Jose Luis Jimenez | Go to article

"Sinceramente sorprendente la dirección orquestal del valenciano Ramón Tebar. Con tan solo 34 años, el maestro –que desarrolla la mayor parte de su carrera en América- ha demostrado un gran dominio de la prosodia donizettiana y completo conocimiento de la partitura, que va mucho más allá de la mera concertación: su lectura está siempre al servicio de subrayar la acción dramática, aportando la tensión e intensidad necesarias sin descuidar nunca a los cantantes, y controlando perfectamente el balance foso-escenario, algo tan difícil en este teatro. Pero, como digo, la suya fue una visión llena de teatro: en este sentido, la manera en que dibuja con la orquesta la tensión previa a los encuentros de Lucia con Enrico y Raimondo respectivamente, el dinamismo con que aborda las cabalette o la trepidante stretta final del segundo acto son auténticas declaraciones de intenciones. En cualquier caso, ha sido un triunfal debut de un director al que se debe conocer más y mejor en España con urgencia, porque se encuentra sin duda alguna entre las mejores batutas nacionales existentes en la actualidad."

Mundo Clasico, Hugo Alvarez Dominguez | Go to article

"Esta fué mi primera oportunidad de ver a Ramón Tebar, el director titular de la Ópera de Miami. Debo decir que su dirección fué completamente convincente. Siempre sosteniendo a los cantantes, y ofreciendo una lectura de la ópera que estuvo lleno de fuerza y energía. Bajo su batuta estaba la siempre notable Orquesta Sinfónica de Galicia, que es siempre una garantía de éxito. […]
El Palacio de la Ópera con todas las entradas vendidas. La audiencia estuvo entusiasmada durante toda la función, hasta el punto de obtener una propina del famoso sexteto. En los saludos finales hubo una recepción entusiasta para María José Moreno, Celso Albelo y Ramón Tebar."

Seen and Heard, Jose Maria Irurzun | Go to article

"Capitulo aparte para el director Ramón Tebar, director titular de la ópera de Miami. ¡Qué manera de dirigir, de concertar, de marcar las entradas!. Estuvo en todo momento atento a las voces ya la partitura: brioso o lírico cuándo la misma lo exigía. Excelente en el manejo de los tempi. Era la primera vez que dirigía ópera en España. Uno no se explica como no está presente en las temporadas de los grandes teatros de este pais."

Opera World, Daniel Diz | Go to article

"Brillante inauguración del Festival de Ópera. […]
En el foso la Orquesta Sinfónica de Galicia con todas sus virtudes […] bajo la batuta atenta y sensible de Ramón Tebar."

La Voz de Galicia, Miguel Anxo Fernandez | Go to article

"Ramón Tebar dirige una Lucia di Lammermoor de altura en el Festival de Ópera de La Coruña. […]
Al frente del foso se encontraba Ramón Tébar, el director titular de la Ópera de Miami. Encontramos en él una batuta inspirada, rica en contrastes, solvente en la recreación de atmosferas, atenta a la melodía y a las voces y con una destacada vocación teatral."

Codalario, Alejandro Martinez | Go to article

"La Orquesta Sinfónica de Galicia se mostró una vez más como el extraordinario instrumento de foso que es. Hay que destacar su maleabilidad de siempre a las órdenes de un Ramón Tebar, gran concertador de gesto preciso y muy expresivo con el que logra la correspondiente traducción sonora; el color de todos los grupos; los solos de oboe y chelo a cargo de David Villa y David Ethève y la impresionante precisión en los pizzicatti con los que la cuerda subraya rítmicamente el diálogo entre la soprano y la flauta en la escena de la locura, en un extraordinario solo de Claudia Walker Moore, que tocó de pie frente a Moreno y a la que Tebar hizo justamente saludar desde el escenario en los aplausos finales".

EL PAÍS, Julian Carrillo | Go to article

"No defraudó esta Lucia, magníficamente cantada y tocada […] El enorme éxito de esta Lucia, hay que buscarlo en los medios musicales. […] Soberbia la orquesta, llevada con mano maestra por Tébar, cuya brillante carrera musical es fácil de explicar viéndole dirigir con una precisión y una flexibilidad admirables. Momentos como el comienzo de la obertura, en volúmenes piano, de extraordinaria belleza, son difíciles de olvidar."

LA OPINIÓN, Julio Andrade Malde | Go to article

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La Traviata, FGO | April 2013
"La Traviata, FGO | April 2013"

"The irresistible power of Verdi's music unexpectedly propelled this show to the top of the season. Conductor Ramón Tebar gave us the performance of the year. Too many times, the conductors who have succeeded each other in the pit in Miami and Ft. Lauderdale have been there to "accompany" the singers, which they have done blandly more often than not. Here, Tebar made us listen to the orchestra - an orchestra that seems to be discovering itself and its power."

Opera News Magazine | Go to article

"The orchestra turned in one of its best performances yet under the baton of music director Ramon Tebar, who conducted as animatedly as any of the singers on stage. The hushed passage in the strings that opens the opera was rendered with exquisite sensitivity and technical polish, and it was all the more moving when this music returned toward the end, rising in intensity in a series of violin trills as Violetta lay dying. This production wraps up what has been a highly successful season for Florida Grand Opera"

South Classical Florida (Miami Herald) | Go to article

"Maestro Ramon Tebar flawlessly conducted the orchestra and performers through the opera. His tempi kept the opera moving at the appropriate pace and he was especially sensitive to the needs of the singers."

Edge Miami | Go to article

"Maestro Ramon Tebar brought out the best in the orchestra, taking a Bel Canto approach that highlighted the influence that style had on Verdi's work. The contrast in tempi between the pathetic opening prelude and the adjacent party scene, and the unusually fast Brindisi were refreshing jolts.

Energized, the audience responded to FGO's production of La Traviata with a standing ovation that lasted almost as long as the courtesan's drawn-out death."

Art Burst Miami | Go to article

"The orchestra, sounding as rapturous as the singers, was led by Ramon Tebar who has conducted three of the four operas this season and was recently appointed Artistic Director of the Palm Beach Symphony. Tebar provided a show himself, swaying with the love songs and leaping into the air rhythmically to the drinking song, waving his arms simultaneously like windmills. The delicate strings sounded as if they were weeping along with Violetta and the Spanish-flavored dance breaks highlighted the precision percussion of castanets."

Florida Theater On Stage | Go to article

"The orchestra is the other star of the evening thanks to FGO's musical director Ramón Tebar. A young maestro in the old school tradition, he faithfully adheres to the score, and his performance exhibits no indulgence or mannerisms, but rather illuminates details usually overlooked. Such details were highlighted by the strings in the preludes to the first and last acts. Their ritardandos and diminuendos paint a melancholy period atmosphere, and their use of fast and vigorous tempi accentuate at precise moments the urgency of the passions portrayed onstage."

Knight Arts | Go to article

"Ramon Tebar, again, demonstrates his fine command of Italian style. His sensitivity is never cloying with the music always perfectly reflecting the drama."

Concerto.net | Go to article

"Ramon Tebar brought his usual drive and forcefulness to this splendid score, and the FGO orchestra played it beautifully. Although the principals are more than enough reason to attend this version of Traviata, it is the high quality of the ensemble work – the duets (Violetta and Alfredo, Violetta and Germont), the quintet in Act III, the Act II ending – that make it so satisfying."

Palm Beach Arts Paper | Go to article

"Conductor Ramon Tebar once again deftly helmed this first rate FGO Orchestra, traversing, with precision and luster, the hush opening, like a foreboding adagio of a string quartet, navigating through the lush Italian melodies, declamatos and big company numbers confidently."

MiamiArtZine | Go to article ×
La Traviata, FGO | April 2013 | Spanish
"La Traviata, un exito deslumbrante de FGO"

"Elogio aparte merece la orquesta, que bajo la dirección del talentoso Ramón Tébar ha cobrado una estatura extraordinaria que el público supo reconocer con aplausos a este y sus músicos después de los intermedios. Aunque hay mucho que ver en la escena, el maestro en el podio, especialmente en este caso, es parte importante del espectáculo."

El Nuevo Herald | Go to article

"Una Traviata para degustar "a la Verdi""

"El renglón musical brindó la más bienvenida solidez y alguna que otra agradable sorpresa. La orquesta no sólo enmarcó dignamente la velada, fue también protagonista gracias a Ramón Tebar, un maestro a la antigua que se ciñó fielmente a la partitura y cuya labor no acusó condescendencias ni amaneramientos sino que iluminó detalles e instancias usualmente pasadas por alto y que son esenciales al estilo verdiano. Detalles que se evidenciaron en el ejemplar delinenamiento de las cuerdas en los preludios al primero y último acto, con ritardandos y diminuendos que pintaron una melancólica, irrefutable atmósfera de época o en los hoy desacostumbrados tempi rápidos y vigorosos que en el momento exacto acentuaron la urgencia de la pasión vivida en escena.

En síntesis, una Traviata balanceada con la justa dosis dramática, musicalmente noble, elegante, expresiva y afortunadamente, verdiana."

Miami Clasica | Go to article

"Muy atinada la dirección musical de Ramón Tebar, quien supo concertar auténticamente, cuidó tempi y niveles y produjo un resultado muy elogiable."

Proceso.com | Go to article ×
Palm Beach Symphony | April 2013
"PB Symphony's Spanish evening ends season sensationally"

The Palm Beach Symphony closed its 39th season in stunning fashion. The ensemble was led by its conductor, Ramon Tebar, a native son from Valencia, Spain, a city that can be justly proud of his recent achievements. From the first downbeat, Tebar let everyone know this was his night, his music. He conducted with a smile, and at times reminded me of Sir John Barbirolli, who often turned to face the string section and conduct them through extended melodic passage with beautiful hand gestures.
Under Tebar every section gave of their best as he controlled large forces with a sweeping, commanding left hand and a firm baton in his right. It was amazing to hear them play, smiles and concentration all round as they sank their teeth into this very exciting music, led magnificently by Tebar who rightly signaled all the soloists for well-deserved recognition.
And Tebar continues to grow as a conductor, controlling passages as if the very music emanated from his being. And like Barbirolli, he likes to practice his own dance steps on the podium, which is both delightful and humanizing at the same time."

Palm Beach Arts Paper - April 2013 | Go to article

"Symphony passionate, disciplined"

Conductor Tebar shines in entertaining Spanish-themed concert

It was a perfect evening for sumptuous orchestral sounds. Tebar deserves credit for sweeping gestures where needed and small, precise movements that reflected the energy of the music and allowed for precise entrances by orchestra members.
High level of musicianship while the accompaniments were tightly disciplined.
The conclusion brought a richly deserved standing ovation."

Palm Beach Daily News - April 2013 | Go to article ×
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