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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 Etudes 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, Sir 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

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  24 Nov 15 Bartok, Boulez Solo recital
  Wigmore Hall

  “Each Bartók piece was superbly characterised, with plenty of wit in the middle of the Three Burlesques, entitled A Bit Drunk. Tiberghien made the Allegro barbaro live up to its title and, after the interval, he seized on Book Six of Mikrokosmos… The pianist delivered the skittish, jazzy riffs of Six Dances in Bulgarian Rhythm with brilliant aplomb and attack.”
  The Telegraph

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  03 May 15 Solo recital: Chigaco Symphony Presents
  Symphony Center

  ‘His Debussy – four preludes from Books 1 and 2, “Masques,” “D’un cahier d’esquisses” and “L’isle joyeuse” – revealed a penetrating musical intelligence and an acute sensitivity to nuance. Pages of slow, hushed meditation gave way to explosions of finely controlled bravura, nowhere more mesmerizing than in “L’isle joyeuse.”‘
  Chigaco Tribune

  “Tiberghien sumptuously sustained the protracted melodic lines around Ravel’s busily shimmering accompaniment, which he never allowed to become intrusive. His broad dynamic range shone through between the thundering climax that represents the water nymph’s amorous rapture and a graceful diminuendo as she returned disappointed to the waves”.
  Chicago Classical Review

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  06 Mar 14 Saint-Saëns Concerto no. 2
  Orchestre National de France, Ludovic Morlot, Théâtre des Champs-Elysées
  Cédric Tiberghien est assurément l’un des meilleurs pianistes actuels, construisant pas à pas une carrière et une discographie exemplaires. Dans le Concerto n°2 de Camille Saint-Saëns, il déploie une grande variété de touchers qui lui permettent de trouver le ton juste dans cette œuvre toujours délicate à cerner et facile à desservir.

  resmusica.com

  Cédric Tiberghien fut tout à fait extraordinaire. Dès la longue introduction dévolue au soliste, il impose son jeu grave et recueilli. La technique est impeccable et la musicalité, que l’on remarque notamment dans plusieurs passages de l’Andante sostenuto, tout aussi renversante

  concertonet.com

  Cédric Tiberghien est un pianiste extraordinaire. Son toucher est subtile, et son jeu fougueux à souhait.

  toutelaculture.com

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  24 May 14 Mozart Piano Concerto no. 17 K453
  Orchestre des Pays de Savoie, Grange au Lac, Evian

  “(Le Concerto No.17 de Mozart) révèle une richesse et une diversité d’humeurs que le soliste exploite avec une intelligence et un sens du cantabile qui signalent un mozartien de premier ordre. Sous ses doigts, le texte musical prend vie avec un relief opératique. Et avec quel art et quelle justesse des couleurs sonde-t-il – et fait-il chanter –  les si émouvants secrets de l’Andante médian. Tout est dit, avec la plus parfaite simplicité, et dans une complicité et un dialogue permanents avec le chef.”
  Alain Cochard, concertclassic.com

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  19 Feb 14 Recital, February 2014
  Boston Celebrity Series

  “Tiberghien’s technique is formidable, but it’s his intensity and poetic impulsiveness that catch the ear.”
  Boston Globe

  “While eliciting admiration for technical prowess, Tiberghien’s cavernous piano primarily played the role of storyteller, of tone painter possessing rare insight. The confined stereotyping of Liszt as virtually virtuoso stuff, here thoroughly dispelled.”
  Boston Musical Intelligencer

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  01 Feb 14 Szymanowski Études & Masques
  Recording

  “Few players of this music combine such clarity and articulation with shimmering sparkle and virtuosic flair; this is sophisticated pianism”
  BBC Music Magazine, April 2014

  “His quite extraordinary tonal palette and acute observation of the composer’s fastidious notation are beyond reproach, a masterclass in refined virtuosity.”
  Gramophone Magazine, April 2014

  “Au-delà de la virtuosité, les Etudes op 33  s’apparentent bien à des pièces d’atmosphère, à des improvisations fantasques où Tiberghien sait creuser du mystère.”
  Diapason

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  05 Jan 14 Grieg Piano Concerto
  Hamburger Symphoniker, Jeffrey Tate

  “Er hat Kraft und Präzion in den Fingern und blieb auch in der Hingabe an das Sanfte, Zerbrechliche, groß Romantische völlilg unsenitmental. Einzelnen Figuren und Tönen verlieh er mithilfe eines manchmal eztremen, doch stets schlüssig wirkenden Diminuendos Bedeutung. Noch die leisesten Töne hatten Kern und Kontur. Tiberghien behielt einen schönen Flow.”
  Hamburger Abendblatt 6 January 2014