"Conductor Timothy Myers, taking the reins of the excellent seventy-five-member FGO orchestras for the first time, controlled the sound and fury of Strauss's score, with its perverse echoes of the Viennese waltz. Myers knew how to reach the opera's final climax without overwhelming the voices of his singers; he achieved the ominous suggestion of the "flapping of huge wings" that Herodes mentions and accentuated the emerging dissonances during the final scene."

Jean-Francois LejeuneStrauss: Salome

"The HGO Orchestra is a nimble band, and under the smooth but disciplined conducting of Timothy Myers, it demonstrated the broad range of moods and colors in Bernstein's score. At opposite ends of the expressive spectrum were the intimacy that welled up...and the gritty 1950s urban soundscape suffused with the rhythms of jazz and Latin-American dance that was kicked into gear by the percussion team..."

Gregory Barnett, Opera NewsBernstein: West Side Story

"Conductor Timothy Myers did an excellent job of keeping things musically buoyant, and he also memorably captured the score's moments of emotional gravitas."

Brian Kellow, Opera NewsForoni: Margherita

"Conductor Timothy Myers shaped the performance incisively and showed great care for the score's nuances, drawing consistently poised, colorful playing from the orchestra."

Tim Smith, Opera News

"Barber's rich score is superbly conducted by Timothy Myers, who relishes the music's magnificence, brings out its intriguing detail and supports his singers."

John Allison, The Telegraph U.K.Barber: Vanessa

"This Curtis performance shone musically, not least in the pit, where the phenomenal young musicians responded with energy and alertness to Timothy Myers’s excellent propulsive leadership. The score emerged crisp and with rich colors."

David Shengold, Opera NewsAdams: Doctor Atomic

"In the pit, Timothy Myers led a sensitive interpretation of Strauss' often magical score, never overpowering the singers and always allowing the crucial words of the libretto to come through.

Eric Myers, Opera MagazineStrauss: Capriccio

The second half of the program was devoted to the “Firebird” Suite, in one of the finest performances I have heard by the Portland Symphony Orchestra in many years, encompassing a huge range of dynamics, startling contrasts, lyricism, tone painting and orchestral color.

Christopher Hyde, Portland Press HeraldSubscription concert - Portland Symphony Orchestra

"Conductor Timothy Myers seemed to be having a ball in the pit, and his skillful orchestra responded with a reading that was by turns heady, colorful, atmospheric, driving, introspective and sweetly sentimental. Maestro Myers wrung every bit of variety from this popular score, managing a perfect combination of folksy Americana and profound operatic expression."

James Sohre, Opera TodayMoore: The Ballad of Baby Doe

In many ways the night belonged to the orchestra and chorus.  Conductor Timothy Myers was in masterful control of every phrase, bringing out the subtleties of Verdi’s score as well as the stirring drama.

Roy C. Dicks, News & ObserverVerdi: Aida

...from the first bars, Myers had the CSO players on their toes, shaping phrases with care and attention to detail...Myers found an effulgent lyricism within a tightly controlled, precisely conceived performance.

John Chacona, The Chautauquan DailySymphonic concert, Chautauqua Symphony Orchestra

Maestro Timothy Myers held matters in a firm grip of authority in the pit – always keenly responsive to nuance of rhythm or phrasing, yet never losing sight of larger paragraphing and cumulative tension.  The overture was resiliently articulated, many-coloured with a Gallic sparkle and fleetness.  The Johannesburg Philharmonic Orchestra responded with much fine playing…suffice it to say that all involved portrayed the music’s pristine beauty and power.

Riek von Rensburg, Independent South AfricaBizet: Carmen

Orchestra concert – Castleton Festival

Associate Conductor Timothy Myers, who had deftly conducted the afternoon performance of Albert Herring, took the podium to lead Britten’s A Young Person’s Guide to the Orchestra…The winds and brass had much flair while the orchestra responded rapturously to Myers’s quiet, poised conducting.

Michael Lodico, Ionarts

Albert Herring – Castleton Festival

Young conductor Timothy Myers, who was also at the podium for Wolf Trap’s production of Così earlier this month, stood in for Maazel at all three performances, shaping the score confidently…  – Charles T. Downey, Washington Times

T.L. Ponick

"Conductor Timothy Myers makes it easy for such moments, his masterful, utterly confident control revealing Mozart’s deep insights into human nature. At Saturday’s opening, Myers was on fire from the first phrases of the overture, propelling the score along with unflagging energy and effervescence. His double duty as harpsichordist for the recitatives was impressive and amusing, his baton between his teeth for the quick change to the keyboard."

Roy C. Dicks, News & ObserverMozart: Don Giovanni

"Milhaud's prismatic orchestration, which paints remarkable moods of irony and gloom with the simplest of means, was deftly articulated in the pit under the sensitive guidance of conductor Timothy Myers."

Tim Smith, Opera NewsMilhaud: Le pauvre matelot