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  29 May 19 Musikkollegium Winterthur Brahms Piano Concerto No. 1
  

  “The now 44-year-old pianist combines in the most ideal way a youthful exuberance with an intelligently employed gift for musical shaping… Tiberghien always found the right inflection in each of the three movements, rising to the top of the swells of dramatic progression, only to dive in deep once more. To the work’s quieter waters, he lent an air of magic with the sensuousness of his sound.”

  Thomas Schacher, Neue Zürcher Zeitung, May 2019

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  01 Feb 19 Liszt: Années de pèlerinage, troisième année & other late piano works Hyperion disc
  

  “Tiberghien is once again consummately subtle, and he misses no opportunity for virtuoso display where the opportunity arises – as in the Bagatelle sans tonalité and the fourth Mephisto Waltz. Generously filled and beautifully recorded…”

  David Fanning, Gramophone magazine, February 2019

  “Tiberghien never flaunts his total command of those [technical] challenges and with an exemplary range of touch and keyboard colour, concentrates instead on these pieces purely as musical statements.”

  Andrew Clements, The Guardian, February 2019

  “Tiberghien’s quasi-improvisatory approach works marvellously with works which would otherwise risk sounding directionless and self-indulgent. His range is breathtaking, carefully terraces even in the thickest of textures, never harsh, abrupt, metronomic or bombastic, even when rumbling in the murkiest depths of the piano’s range.”

  Performance *****
  Recording *****
  ‘Instrumental Choice’

  Natasha Loges, BBC Music Magazine, February 2019

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  26 Jan 19 Beethoven Woche recital Tabea Zimmermann
  

  “Following the phenomenally intense conclusion to Johannes Brahms’ Op.9, came the rarely heard Op.10 by Joseph Joachim and Tiberghien’s crisp, concise rendition of Beethoven’s Eroica Variations.”

  Guido Krawinkel, General-Anzeiger, January 2019

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  02 Dec 18 Armistice Recital
  Chicago Symphony Center

  “Tiberghien was again impressive in these short sketches [Bridge: Three Improvisations for the Left Hand], demonstrating remarkable control at the piano’s softest dynamics… In Tiberghien’s hands the cycle [Debussy Etudes] sounded like one episodic unity, the Frenchman expertly pacing the mercurial episodes.”

  Tim Sawyier, Chicago Classical Review, December 2018

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  20 Nov 18 Beethoven Piano Concerto No. 1 CD Enrique Mazzola, Orchestre national d'Île-de-France
  

  “Highly expressive but never Romantic and always very clear, this Beethoven remains well and truly Classical… The keenly communicative musical partners constantly risk extremes of dynamic and tempo, and their daring pays off. In the Lento, Tiberghien seems to waft a perfume bottle over the keys, lending the ear many fragrant overtones.”

  Stuttgarter Zeitung, November 2018

   

  “His is a very classical Beethoven, which speaks with the simple, sparkling elegance of Mozart and the humour of Haydn. Tiberghien and the orchestra have devoted themselves intensively to the Beethoven concertos and their performance over the last five years. The details of tone colour and expression are finely-tuned. Their reading is lively and colourful, with greatly varied dynamics and transparency of sound throughout… This is a Beethoven interpretation seldom heard to which one listens spellbound.”

  NDR Kultur, CD of the week, November 2018

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  10 Nov 18 Armistice Recital
  Wigmore Hall

  “[the Debussy Etudes] arrive with irresistible warmth, vigour and the sort of insight that comes with a deep identification with the music on the back of a stupendous technique.”

  Peter Reed, Classical Source, November 2018

  “Tiberghien’s light and sensitive touch was most brilliantly in evidence in Debussy’s Etudes, each emerging fresh and original, which were the guiding thread through the programme.”

  ****

  Michael Church, The Independent, November 2018

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  08 Sep 18 Berliner Philharmoniker debut Ravel Piano Concerto for the Left Hand
  Berliner Philharmonie

  “Cédric Tiberghien made a dazzling Berlin Philharmonic debut with Maurice Ravel’s Piano Concerto for the Left Hand, which was poetic without being sentimental, and powerful without disturbing the transparency of his playing. His two-handed début with the orchestra is hotly anticipated.”

  Clemens Haustein, Berliner Zeitung, September 2018

  “Almost bursting with energy, pianist Cédric Tiberghien lent Maurice Ravel’s Piano Concerto for the Left Hand an infinite grandeur.”

  Ulrich Amling, Der Tagesspiegel Berlin, September 2018

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  26 Aug 18 West Australian Symphony Orchestra Rachmaninov Piano Concerto No. 3
  Perth Concert Hall

  “Cédric Tiberghien drew every ounce of warmth from Rachmaninov’s Third Piano Concerto in a performance that seemed as effortless as it was sublime”

  David Cusworth, The West, August 2018

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  08 Jun 18 Aldeburgh Festival Bernstein Symphony No. 2 The Age of Anxiety
  Snape Maltings Concert Hall

  “Age of Anxiety, its solo piano part played here with headstrong virtuosity by Cédric Tiberghien”

  Rupert Christiansen, The Telegraph, June 2018

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  17 May 18 Chopin's Piano Brighton Festival
  Brighton Pavilion

  “Tiberghien created worlds even out of the shortest Preludes… He can move from a whisper to a roar in seconds, completely organically, making the beautiful room resonate in thundering octaves, and he combines forward movement with the necessary space.”

  David Nice, The Arts Desk, May 2018

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  14 Feb 18 Chopin: Préludes, Piano Sonata No 2 & Scherzo No 2 Hyperion disc
  

  “Tiberghien’s Second Sonata is impressive too: he captures the first movement’s inherent instability powerfully but always allows the music to speak for itself.”

  Harriet Smith, Gramophone Magazine, December 2017

  “Tiberghien concluded his disc with Chopin’s Second Scherzo in B flat minor which was written in 1837. The startling dynamic contrasts of the opening were closely observed and there was beautiful shaping of Chopin’s melodies and judicious use of rubato. The quavers in the trio’s Presto section were played with quicksilver lightness of touch and Tiberghien allowed the music to build in a thrilling way. The coda was a real adrenaline rush and provided a fitting conclusion to a very fine disc.”

  Robert Beattie, Music Web International, February 2018

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  25 Jan 18 Debussy - Fantasie for Piano and Orchestra London Symphony Orchestra, François-Xavier Roth
  Barbican

  “The pianist Cédric Tiberghien splendid at the piano; nimble yet robust, dreamy yet forthright.”

  Rebecca Franks, The Times, January 2018

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  08 Dec 17 Chopin: Préludes, Piano Sonata No 2 & Scherzo No 2 Hyperion disc
  

  “As his Préludes abundantly demonstrate, he’s a Chopin player of real class. There’s absolutely no grandstanding in this set, even in the most extrovert numbers… this disc as a whole is a potent new addition to the Chopin library.”

  Harriet Smith, Gramophone Magazine, December 2017

   

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  16 Aug 17 Saint-Saëns - Concerto no. 5 & Franck - Les Djinns Les Siècles, François-Xavier Roth
  BBC Proms

  “But playing a dusky turn-of-the-century piano Cédric Tiberghien also supplied Mozartian clarity and dazzling syncopations, matched with finesse by the orchestra. Let’s hope they record this fascinating work… his Saint-Saëns will remain an outstanding highlight of the 2017 Proms.”
  **** John Allison, The Telegraph, 17 August 2017

  “I can’t imagine its rippling passagework more deftly played than it was by Cédric Tiberghien”
  **** Richard Morrison, The Times, 18 August 2017

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  17 May 17 Saint-Saëns - Concerto no. 5 City of Birmingham Symphony Orchestra
  Birmingham

  “Cédric Tiberghien, the CBSO with him every step of the way, gave a colourful, dashing performance; the soloist negotiated all the athletic demands of the music with aplomb.”

  Seen and Heard International

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  22 Apr 17 Debussy, Szymanowski, Anderson, Bartok tudes Solo recital
  Elbphilharmonie, Hamburg

  “Dafür wurde die penible Sorgfalt, mit der er gerade die leisen und feinen Töne in die Tasten tupfte, umso deutlicher. Tiberghien ist ein Klangfarbenzauberer am Klavier. Bei ihm geht es darum, wie stark eine Mittelstimme aus einem Akkord herausleuchtet, welche Obertöne verstärkt werden, wie der Bass samtig abgedämpft wird.”
  Hamburger Abendblatt

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  01 Nov 16 Bartok Mikrokosmos 5 and other works
  Recording

  Awarded a Diapason D’or

  “Intimate and poetic, this is pianism which delicately suggests rather than making statements. A lovely hour and a quarter.”
  BBC Music Magazine, Oct 2016

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  28 Apr 16 Ravel Concerto for the Left Hand
  London Symphony Orchestra, Mark Elder
  “Tiberghien’s first entry was magisterial and soon became bittersweet… his inborn connection with the music was irresistible; the central march section was suitably macabre. The intricate cadenza (Ravel’s writing covers the whole keyboard) was slow-burn, given with rare poise and intimacy.

  This richly persuasive account was followed by a thoughtful – linking – encore, ‘La Cathédrale engloutie’ (The Engulfed Cathedral), the Tenth of Debussy’s Book I Préludes. Tiberghien, pictorial and poetic, built a parting-of-the-waves climax, and in its wake the building seemed even more submerged.”

  ClassicalSource.com

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  30 Mar 16 Bartók Solo piano works
  Recording

  “He never overplays, yet there’s ample dynamic variety, scrupulous attention to articulation and plenty of rhythmic verve. Tiberghien combines intellectual objectivity with a strong sense of Bartók’s deeply rooted kinaesethetic impulse and essential earthiness.”
  Gramophone, April 2016

  “Tiberghien is capable of magicking up vivid character within seconds… He turns the Fifteen Hungarian Peasant Songs into muscular little vignettes, the vivacious third Burlesque into a perfect Debussy-esque shimmer, and finds huge personality in every corner of the fiendish last book of Mikrokosmos.”
  Guardian, March 2016

  “Avec ces climats variés, tantôt poétiques, tantôt entraînants, toujours réussis, cet enthousiasmant disque de Cédric Tiberghien, premier d’une série qui devrait en comporter trois, s’impose comme une réussite de premier plan qui se déguste comme un plateau gourmand de mignardises, et pourra même, selon nous, constituer une excellente introduction à l’univers richement bigarré de Bartók.”

  Le Babillard