" Tiberghien... ...completely matched her mastery, his touch particularly notable in the crepuscular Scherzo; again, in the finale, his handling of the chords of the chorale-like theme was brilliantly balanced." - Brahms Violin Sonatas Duo Recital with Alina Ibragimova at Wigmore Hall, SEEN AND HEARD INTERNATIONAL, April 21, 2018

"Cédric Tiberghien is a master of atmosphere, and when he began a movement alone, most notably the second movement of the First Sonata, he immediately evoked the complete soundworld in first few notes." - Brahms Violin Sonatas Duo Recital with Alina Ibragimova at Wigmore Hall, THE ARTS DESK, April 21, 2018

"...Tiberghien a supreme accompanist, never intrusive unless the piano line needed to be heard and with beautifully precise articulation...  ...He drew both mysterious dark sonorities and feather-light high notes from the piano. Always one felt that one was eavesdropping on private music-making of the highest order." - Clara Schumann Romances and Brahms Violin Sonatas Duo Recital with Alina Ibragimova at Kings Hall, ILKLEY GAZETTE, April 13, 2018

"The program as a whole comes off as incredibly poised, and Tiberghien’s performances of these well-loved works are notable for their clarity and self-control... ...The final work, the B Flat Minor Scherzo, Op. 31, is a perfect summation of the whole program: lyricism, drama, frenzy, and charm, which Tiberghien carries off with elegance and consummate artistry."Chopin: Préludes, Piano Sonata No. 2 & Scherzo No. 2 CD Review, LIMELIGHT, March 25, 2018

"...Cédric Tiberghien takes us into a whirlwind of passions both deep and intimate, unfolding before our eyes a dark and heroic odyssey." - Recital at Théâtre des Champs-Elysées, BACHTRACK, March 21, 2018

"Debussy radically reinvents music elsewhere; in the Fantasy he is not quite radical enough. It’s best enjoyed as a delicious indulgence in sound, as the London Symphony Orchestra did here, with the pianist Cédric Tiberghien splendid at the piano; nimble yet robust, dreamy yet forthright." - Debussy's Fantasy for Piano and Orchestra with the London Symphony Orchestra, THE TIMES, January 30, 2018

"As his Preludes abundantly demonstrate, he’s a Chopin player of real class... ...listen to the quietude he finds in No 4, with its subtle gradations of pianissimo, or the way the music fades to nothing in the mesmerising closing moments of the Sixth. Even in the more full-throated Preludes, there’s a very French-style fingeriness to Tiberghien’s articulation that means textures never become heavy or stifling.... ...in the final prelude he swaps straightforward assertive virtuosity for something altogether more compelling – a private sense of desperation, setting the seal on a refreshingly thoughtful set of Preludes."Chopin Piano Sonata No 2. Preludes. Scherzo No 2 CD Review, GRAMOPHONE, December 2017

"A composer with an eye on the orient in more ways than one, Saint-Saëns subtitled his Fifth Piano Concerto the "Egyptian". A Nubian love song and the croaking of Nile frogs can be heard, the result of the work being partly composed at Luxor. 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.

Tiberghien followed this with an Alhambra-inspired Debussy prelude and rejoined the orchestra after interval for Franck's Les Djinns — evoking diabolical Persian genies. But his Saint-Saëns will remain an outstanding highlight of the 2017 Proms." - Saint-Saëns Piano Cto. No. 5 at BBC Proms 2017, THE TELEGRAPH, August 17, 2017

"Nevertheless, these two outstanding Mozartians give characteristically intelligent, individual and invigorating accounts on modern instruments. They demonstrate unanimity of intent, refined musicianship, alert, vital phrasing and excellent timing; sample the buoyant rhythms and crisply articulated passagework of the outer movements of K296 and the honeyed cantilena of its Andante sostenuto. They bring out the full quirkiness of the two early sonatas, Ibragimova introducing some playful interpolations into the Allegro of K31. Both players skilfully characterise its Tempo di menuetto variations." - Mozart Violin Sonatas CD Review, THE STRAD, June 2017

"It’s a warm evening, so jackets are off, and Tiberghien sits at the piano with all the relaxed style of a jazz player as he launches into the densely abstract textures of Alban Berg’s Op. 1 Sonata. His poised reading is deeply engaging, detailed and fresh, unlocking the many shifts of tone and dynamic." - Duo concert with Antoine Tamestit at the Royal Irish Academy, GOLDEN PLEC, June 18, 2017

"Tiberghien played up these tensions in moments like the exposition’s closing theme, performed so tenderly that it was shocking when the roiling arpeggios crashed in seconds later. And his delicate touch in the pianissimo beginning of the development lay the groundwork for an especially dramatic buildup to the grand fortissimo chord that, at last, sets the piece on its homeward journey." - Bach, Grahms, Schumann, and Cage Duo Concert with Alina Ibragimova, SAN FRANCISCO CLASSICAL VOICE, April 4, 2017

"Each of the six works in this double CD programme is a pure delight, with exquisite playing from these world-class performers – Ibragimova fleet and lithe, Tiberghien playfully delicate." - Mozart: Violin Sonatas Vol 3 CD review, THE GUARDIAN, April 2, 2017

"The concluding work, Schumann’s Violin Sonata No. 2 of 1851, has all the declarative presence of a big ultra-romantic concerto, and here again the duo adopted their full romantic tone. It is not all Sturm und Drang, though, what with a very intimate section in the opening movement, and a stately stretch in the third movement leading to an introspective meditation. The energetic, roiling conclusion brought the audience to its feet." - Bach, Brahms, Schumann, and Cage Duo Concert with Alina Ibragimova, CONCERTONET, March 31, 2017

"Cédric Tiberghien was the ideal soloist. The solo part requires not only the technique to toss off cascades of scales and arpeggios with flair and style, but also the ability to play with great delicacy. Tiberghien played with unrelenting virtuosity, but more significant were the colors he coaxed from the piano. Seldom is the piano played so softly, yet with such precision and care in phrasing." - Saint-Saëns' Piano Concerto No. 5 with the Cleveland Orchestra, BACHTRACK, February 26, 2017

"Tiberghien made the most of the brilliant and exotic solo part, particularly the movement’s spellbinding close. The finale was light and bright, the pianist’s solos glittering in sharp relief." - Saint-Saëns' Piano Concerto No. 5 with the Cleveland Orchestra, SEEN AND HEARD INTERNATIONAL, February 24, 2017

"Tiberghien threaded this episodic fantasy into a convincing whole through the strength of his artistry and intelligence. The finale was full of keyboard pyrotechnics that Tiberghien brought to vivid life with energy and style." - Saint-Saëns' Piano Concerto No. 5 with the Cleveland Orchestra, THE PLAIN DEALER, February 24, 2017

"Tiberghien balances these with the knotty Études and the thick-set Sonata – and through it all, the angular and the earthy, he has a way of making Bartók’s rhythms sound simultaneously stretchy, precise and personal."Bartók: Sonata for Two Pianos and Percussion CD review, THE GUARDIAN, February 16, 2017

"...they respond to the enhanced emotional range of NO. 27 K379 and No33 K.481 with such graceful sensitivity that and micro-inflected insight that at the point of contact it is difficult to imagine them better played." - Mozart Violin Sonatas CD review, BBC MUSIC MAGAZINE, June 2016

"Highlights include Ibragimova’s tone as she blossoms into the major-key slow theme in the adagio of K481, and Tiberghien’s echoey, bell‑like episode in the Sonata, K14; but there is something to raise a smile in every single movement." - Mozart Violin Sonatas CD review, THE GUARDIAN, May 26, 2016

"...it would be hard to imagine more persuasive performances than we have here from the ever-rewarding Tiberghien-Ibragimova duo: delicate without feyness, rhythmically buoyant..." - Mozart Violin Sonatas CD review, GRAMOPHONE, May 2016

"Tiberghien is a regular visitor to the Wigmore Hall and knows how to make the most of the piano and the acoustic. Although nuanced in his touch, he is never reticent, and takes every opportunity to project clear lines and textures." - Bartók and Kurtág at Wigmore Hall, THE ARTS DESK, May 25, 2016

"With Tiberghien’s crystalline but muscular playing of the solo part coupled with Elder’s ear for colour in drawing out the detail and subtlety in Ravel’s miraculous orchestration, this was a highly convincing account, one in which darkness and light played off each other to great effect." - Ravel's Left Hand Concerto with the London Symphony Orchestra, BACHTRACK, April 29, 2016

"Cédric Tiberghien strode on to the platform confidently and proceeded to deliver a most characterful and virtuosic account of the Ravel concerto. His control of rhythm in the second (Allegro) section of the work was especially notable and his technique was dazzling." - Ravel's Left Hand Concerto with the London Symphony Orchestra, SEEN AND HEARD INTERNATIONAL, April 29, 2016

"Tiberghien’s first entry was magisterial and soon became bittersweet. Outbursts from him, and from the orchestra, were generated from within, and if Tiberghien missed the odd note, his inborn connection with the music was irresistible..." - Ravel's Left Hand Concerto with the London Symphony Orchestra, CLASSICAL SOURCE, April 28, 2016

"French pianist Cédric Tiberghien has an expressive way with Bartók. Even in music that often uses the piano as a percussive instrument, his attack is never angular or dry; instead, it’s warm, personal and spacious, with a flux to the rhythms that sounds totally organic." - Bartók: Mikrokosmos 6 CD review, THE GUARDIAN, March 24, 2016

"You know a pianist has more than enough technique to ignite the keys when he begins a program with Ravel's 'Gaspard de la nuit,' one of the most cruelly demanding virtuoso pieces in the entire repertory. The tall, lanky Frenchman (who turned 40 on Tuesday) conveyed the music's eerie nocturnal mystery and diabolical ferocity with power, elegance and controlled intensity. What's more, Tiberghien was scrupulous in observing tempo and dynamic markings, also the haunting fantasy that lies beyond the notes on the page."   - Ravel, Debussy and Szymanowski w/ Chicago Symphony Presents, CHICAGO TRIBUNE, May 6, 2015

“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... Des pas sur la neige again showcased Tiberghien’s remarkable dynamic control as he drew softer sounds from the depths of the piano than one might imagine possible, and Ce qu’a vu le vent d’ouest featured the composer’s quintessential nautical smoldering, Tiberghien’s incisive virtuosity imbuing the work with an elemental rage.“   - Ravel, Debussy and Szymanowski w/ Chicago Symphony Presents, CHICAGO CLASSICAL REVIEW, May 4, 2015

“Tiberghien’s Ravel shone with subtle, cool brilliance, his generous offering of Debussy possessed a hazy sensuality worthy of Monet.“   - Ravel, Debussy and Szymanowski w/ Chicago Symphony Presents, CHICAGO ON THE AISLE, May 4, 2015

“Tiberghien‘s definition of atmosphere and affinity with Szymanowski‘s imagination and language give his performances a mesmerising, scintillating power and colour.“   - CD: Szymanowski, THE TELEGRAPH, February 24, 2014

“Tiberghien’s technique is formidable, but it’s his intensity and poetic impulsiveness that catch the ear.“ - Recital of Liszt, Szymanowski & Ravel, Celebrity Series of Boston, THE BOSTON GLOBE, February 21, 2014

“An entirely suave, often brilliant display of salon and virtuoso music for violin and piano by Schubert, seamlessly performed and recorded.“   - Schubert: Complete work for violin and Piano, AUDIOPHILE AUDITION, September 2, 2013

“The duo of violinist Alina Ibragimova and pianist Cédric Tiberghien in Schubert‘s complete violin and piano music is an unbeatable dream-team... Their playing integrates seamlessly the best of the old and the new... Remarkably Ibragimiva and Tiberghien match the creative enrichment with playing that is both more tonally opulent and expressively generous, yet retains its open-air innocence, as in the unashamedly Beethovenian scherzo... It sets the seal on a stunning set of performances that looks set to become the yardstick against which others will invariably be judged.“    - Schubert: Complete Work for Violin and Piano, SINFINI MUSIC, August 14, 2013

“There are few pianists in the world who can play as softly yet clearly as he did... It is truly rare to find a pianist who can juggle three even four separate lines of music at the same time, giving each a slightly different emphasis and colour.“   - Cédric Tiberghien at Toronto Summer Music Festival, THE STAR, July 30, 2013

“Tiberghien played with lucidity and flexibility, handsomely varying his tone to suit the mood of the moment.“   - Cédric Tiberghien at the Blossom Festival, CLEVELAND CLASSICAL, July 30, 2013

“Tiberghien did this – in Six Moments Musicaux and the Sonata — with uncommon sensitivity and grace, showing off a delicate, velvety touch that became positively otherworldly time after time during the two-hour recital... That he could make us forget all the preparatory work and all of the effort to turn music into poetry that wrapped so much of what is familiar in the classical piano canon unto something intriguingly, beguilingly unfamiliar on a live stage was Tiberghien’s triumph.“   - Cédric Tiberghien at Toronto Summer Music Festival, MUSICAL TORONTO, July 30, 2013

“With an electrifying performance of Saint-Saens’ Piano Concerto No. 2, the up-and-coming artist easily moved listeners on a chilly evening to drop their blankets and spring to their feet... To the work’s playful skittishness, the pianist brought a fantastically light, spidery touch, and where the music turned dark and thunderous, Tiberghien too morphed into a brooding, rapturous poet.“   - Blossom Festival w/ the Cleveland Orchestra, THE PLAIN DEALER, July 29, 2013

“The fruitful artistic partnership between Alina Ibragimova and Cédric Tiberghien has already yielded Hyperion discs of Ravel and Szymanowski... Ibragimova and Tiberghien adopt an intimate, gently expressive manner in the early sonatas, though it can still possess rhythmic gusto...“   - Schubert: Complete Work for Violin and Piano, THE TELEGRAPH, July 25, 2013

“From its gently murmuring opening to the virtuosity of the concluding Presto this was an undoubtedly stunning performance, not only for the brilliance of Ibragimova’s bowing and stupendous finger work, and Tiberghien’s immaculately manicured passage-work, but its breathtaking clarity of texture and musical integrity, with every note and phrase perfectly judged and proportioned.“   - Barber Institute, Birmingham University w/ Alina Ibragimova, BIRMINGHAM POST, February 8, 2013

“Ibragimova played the Sonata that followed with easy grace, but dug deep in the ambitious modulations, well articulated by an alert Tiberghien, that make this teenage composition such a fully rounded work.“   - A Schubert Night w/ Alina Ibragimova, Wigmore Hall, THE GUARDIAN, February 1, 2013

“Pianist Cédric Tiberghien played the technically daunting piano part to the hilt, mining the score for its very last ounce of bravura and Gallic elegance.“   - Cincinnati Symphony, SEEN AND HEARD INTERNATIONAL, November 12, 2012

“...His was an adrenalin-charged reading of this glittery showpiece, as he tackled cascades of virtuosities without breaking a sweat.The lightness of his touch was an asset in the scherzo movement, and the finale, a tarantella, was dazzling and exceedingly fast. Tiberghien possesses stunning technique...“   - Saint-Saëns‘ Piano Concerto No. 2, Cincinnati Symphony, CINCINNATI.COM, November 9, 2012

“On Wednesday night, for the second program, the conductor Christoph Eschenbach took over. The highlight was a fresh and dazzling account of Ravel’s Piano Concerto in G, with the brilliant French pianist Cédric Tiberghien, who played with rich, rounded tone in the lyrical stretches and fleet, crisp articulation in the spiraling, jazzy, virtuosic passages.“    - Ravel Piano Concerto in G Major, the Boston Symphony at Carnegie Hall, THE NEW YORK TIMES, March 8, 2012

“There was novelty on the performer side: French pianist Cédric Tiberghien made a very impressive BSO debut. He showed a flair for interpretive risk; his playing of Ravel’s Piano Concerto in G managed to wrest surprise from the familiar score, some phrases daringly wayward in tempo, some of Ravel’s jazz inflections accented with uncommon sting. But the rubato was classically controlled, the wandering line reeled in by a steady accompanying pulse. In the middle movement’s long cantilena, Tiberghien alternated between a sizable, almost declamatory sound and an ethereal stage whisper.“    - Ravel Piano Concerto in G Major with the Boston Symphony, BOSTON GLOBE, March 3, 2012