Verdi: Aida – North Carolina Opera
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 & Observer
Symphonic Concert – Portland Symphony Orchestra
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. In some of the passages, it seemed as if an invisible choir were singing behind the instruments. The final hymn lived up to its billing as one of the most stirring orchestral passages ever written. - Christopher Hyde, Portland Press Herald
Symphonic Concert – Chautauqua Symphony Orchestra
Tchaikovsky’s Symphony No. 5 is a piece many of the CSO’s players can probably play in their sleep, and Thursday’s onstage conditions were narcoleptically torpid. But from the first bars, Myers had the CSO players on their toes, shaping phrases with care and attention to detail.
His beat was plastic, as it must be in Tchaikovsky, but he avoided the great heaves and tugs to which some conductors – some good ones, too – subject this music. Sure, the brass thundered and the climaxes were appropriately weighty – Myers understands that Russian music is built form the bass up and the low strings and brass got their due. But the effect was less Russian than Puccinian – and in the best possible way.
In other words, there was plenty of emotion – the Andante cantabile was slow, dreamy and almost surreal – but not of the brooding slavic kind. Rather, Myers found an effulgent lyricism within a tightly controlled, precisely conceived performance. He paid great attention to releases, giving his phrases precision and shape, thus avoiding the sloppy phrasing that Tchaikovsky’s over-familiar works often receive. Once or twice, Myers approached the threshold of fussiness but never crossed it.
If the continuum of Tchaikovsky performance runs from hot – Mravinsky – to cold – Maazel or maybe Szell – Myers seemed to stand outside it, finding the best aspects of both approaches.
Music directors of festival orchestras must do two things well – of course, they must do hundreds of things well, but stay with me here – use limited rehearsal time wisely and give audience something new and compelling in familiar repertoire.
Perhaps no one outside the Colonnade knows whether Timothy Myers is on the shortlist for the vacant music directorship of the CSO, but he should be, however long it takes. - John Chacona, The Chautauquan Daily
Bizet: Carmen – Opera Africa
Young for one in his profession but climbing the ranks quickly is American conductor Timothy Myers, who brings vigour to his leadership of the JPO. Bizet’s exotic rhythms and musical colours, considered scandalously outlandish at the opera’s debut, flourish under his baton. – Dillon Davie, Mail & Guardian
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 Africa
Subscription series: North Carolina Symphony
Thursday night’s N.C. Symphony concert in Memorial Hall was entirely mainstream: Bach, Mendelssohn and Schumann. But guest conductor Timothy Myers’ youthful verve made the familiar pieces seem fresh and alive.
…he still appears impossibly young on the podium. But once he gives the downbeat, there’s no doubt about the outcome. Nothing is exaggerated or over-interpreted; everything is precise and animated. - Roy Dicks, Raleigh News & Observer
…one noticed the crisp clarity of Myers’ conducting, which showed an economy of style without being too reserved and moments of passion and emphasis without being too flamboyant. He kept brisk tempi throughout, yet he let the orchestra breathe. The sound of the orchestra is quite good, with a strong string section complemented by fine winds and brass, and Myers exploited the strengths and skills of the players to great advantage throughout the concert. - Steve Row, Classical Voice North Carolina
Tchaikovsky: Eugene Onegin – Anchorage Opera
Non-singing counted for much here, too – notably the contribution of conductor Timothy Myers. Faced with a pared-down orchestra…he compensated with masterly precision that paid attention to the composer’s melodies and ingenious deployment of instruments, getting especially crisp work from the winds. For instance, the distinct wind and harp voices supporting the letter-writing scene came out with elegant clairy. The Anchorage Opera orchestra has seldom sounded this good. Should I ever find myself in a city where this man is directing anything, I’ll drop all lesser pleasures to attend.
“Onegin’s” outsider status in the established repertoire may give some opera fans reservations. Set them aside. This one sticks in your head long after the cynical, sour ending. Besides, the next time you have a chance to hear Tim Myers conduct, it’ll probably cost more.– Mike Dunham, Anchorage Daily News
Rigoletto – Opera Co. of North Carolina
The production’s key element was Timothy Myers’ superbly controlled, rhythmically precise conducting, his knowing way with the score and the orchestra’s riveting execution… – Roy Dicks, Raleigh News & Observer
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
Kudos as well to conductor Timothy Myers, who was recently at Wolf Trap to conduct that opera company’s new production of “Cosi fan tutte.” Mr. Myers kept his young forces in synch throughout nearly all of this three-hour production – something we often long for in higher-priced professional productions. - T.L. Ponick
Cosi fan tutte – Wolf Trap
Conductor Timothy Myers led a buoyant performance that still had room for sensitive contour, as in the Act I trio, which flowed at an endearingly unhurried pace. – Tim Smith, Opera News
Timothy Myers led a generally fine performance from the pit orchestra, with especially agile playing from the paired woodwinds…It was telling that the few moments where the busy silliness stopped and Mozart’s music was allowed to stand on its own — like the end of Un aura amorosa (where Ferrando sang to Dorabella on the other side of a door) and Fiordiligi’s Per pietà — were the most captivating ones in the production. – Charles T. Downey, Washington Times
One bright spot in this performance was the sprightly accompaniment provided by the pit orchestra under the baton of conductor Timothy A. Myers. Unhampered by the plodding stage direction, the musicians, at least, managed to have fun with Mozart’s bubbly score — including a sneaky, unscripted Wagnerian intrusion in the continuo harpsichord. - T.L. Ponick
Conductor Timothy Myers led a basically breezy, yet often quite sensitive, performance (the Act 1 trio was allowed an affecting breadth). – Tim Smith, The Baltimore Sun
La Cenerentola – Opera Company of North Carolina
“Conductor Tim Myers wraps the whole production in the score’s sparkling percolations, Rossini’s accelerating crescendos particularly well-balanced…Opera Company of North Carolina has set the bar high for future productions while fully confirming its regional-level credentials.” - Roy C. Dicks, Raleigh News & Observer
I Pagliacci – Opera Company of North Carolina
“A sensitive conductor, a confident orchestra and a quartet of powerful voices brought the Opera Company of North Carolina’s “I Pagliacci” vividly to life…Throughout, Myers found all the right moods and emotions in the score…” - Roy C. Dicks, Raleigh News & Observer
Lucia di Lammermoor – Opera Company of North Carolina
“The excellent work of…Timothy Myers…was evident throughout the performance. Myers’ meticulous handling of the orchestra, his constant awareness of the needs of the singers, and his successful efforts to make sure that everyone worked together revealed his great musicianship and made clear his total understanding of the complexities of opera performance.” - Martha A. Fawbush, Classical Voice of North Carolina
“Timothy Myers conducts the modest-sized but effective orchestra with sensitivity and a good understanding of bel canto style.” - Roy C. Dicks, Raleigh News & Observer
Subscription Concert – Jerusalem Symphony Orchestra
“…the music of the Northern Lights concert filled the concert hall with waves of resounding strength, almost of triumph. When the last notes had faded, the audience rose in a standing ovation that lasted even after the conductor’s final bow.” - Ilana Teitelbaum, Jerusalem Post
Peer Gynt – American Symphony Orchestra
“The American Symphony Orchestra, conducted by Timothy Myers…provided exquisite accompaniment, bringing to Edvard Grieg’s lush score a tranquil narrative assurance, the show’s most consistently sustained tonal and emotional through-line. As a symphonic theater piece, this Peer Gynt is enchanting…” - Robert Fuller, EDGE New York City
Subscription Concerts – Palm Beach Symphony
“The leadoff work was Felix Mendelssohn’s Overture to a Midsummer Night’s Dream…Timothy Myers led with a delicate touch by painting the actions of the work’s tiny elfin creatures and continued with a majestic music for the arriving nobles. He then switched to raucousness in producing the braying sound that reminded listeners of the donkey’s head that had been placed on Bottom’s shoulders.” - H. David Prensky, Palm Beach Daily News
“Guest conductor Timothy Myers has already established himself as an up-and-coming opera star, and his touch with Mozart was undeniably fine. The entire concert was delivered with taste, refinement, sparkle, grace…in short, just what one wants from Mozart.” – Ken Keaton, Palm Beach Daily News
Candide – New England Conservatory Opera Theatre
“…musically this production is a treasure. Conductor Timothy Myers gets the balance between the orchestra and the singers quite right, and the Bernstein songs are wonderfully rendered…” – Robert Nesti, Boston Herald
“Close your eyes and listen to the music, and ”Candide” glistens.” – Ed Siegel, Boston Globe