“Puckett’s score is full of orchestral riches, with a shimmering prelude, fascinating use of bells, celeste and marimba, and triumphal passages reminiscent of Aaron Copland. Conductor Timothy Myers led an expansive, colorful orchestral performance on opening night…”
“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.”
“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…”
“Conductor Timothy Myers gives full, emotional expression to Puckett’s moody, ironic score…”
“With a summer debut at Santa Fe Opera and many notable engagements on his calendar, Myers is a conductor you need to know.”
“World-renowned conductor Timothy Myers is coming off his debut with the Minnesota Opera this past Saturday night for the world premiere of ‘The Fix,’ a new work composed by Joel Puckett with libretto by Eric Simonson. This is just the latest world premiere for the maestro, who has given operas birth with such companies as the Washington National Opera, the Houston Grand Opera, Fort Worth, and Opera Africa, among others.”
“Timothy Myers emphasized dramatic contrasts in his conducting, with a wide range of dynamics, propulsive fast tempos and slower sections that at first seemed leisurely, but then built up suspense to intense climaxes. The orchestra played extremely well, with principal players and small groupings given a chance to shine via Bizet’s ear for unique instrumental combinations.”
“Maestro Timothy Myers conducted the Santa Fe Opera Orchestra and Chorus (the latter using Santa Fe Opera Apprentice Artists) in a luminous performance of Bizet’s exotic and romantically melodious score.”
“The youthful and exuberant conducting from Myers led the orchestra like a roller coaster, nimbly conquering a score that was inspired by Eastern motifs but firmly European in sound, lush and heartbreaking and exhilarating all at once.”
“The conductor Timothy Myers masterfully brings the essentials of the story to our ears.”
“Making his Santa Fe Opera debut, conductor Timothy Myers was impressive as he paced the action with vitality and flexibility. He handled his singers with care and he seemed to have just the right “stuff” for the French repertoire. As we already knew last night, the Santa Fe Opera Orchestra was in fine form. It played Bizet’s finely shaped melodies with emotional expression and a variety of musical colors.”
“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.”
“Conductor Timothy Myers did an excellent job of keeping things musically buoyant, and he also memorably captured the score’s moments of emotional gravitas.”
“Conductor Timothy Myers shaped the performance incisively and showed great care for the score’s nuances, drawing consistently poised, colorful playing from the orchestra.”
“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.”
“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.”
“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.
“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.”
“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.”
“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.”
“…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.”
“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.”
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.”
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
“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.”