Reviews of Ramón Tebar success conducting the Opera La Traviata by Verdi, with Galicia Symphony Orchestra and starred by Celso Albelo, Leo Nucci and Elena Mosuc
It is not surprising Ramón Tebar success among the critics, after conducting La Traviata by Verdi on the 4 and 6 of September of 2014, with soloists Celso Albelo, Leo Nucci and Elena Mosuc, and Galicia Symphony Orchestra at the Ópera Palace of A Coruña. 

Ramón Tebar is proving to be a conductor to take into account, which lies on his prominent career outside of our country, as a result of his good work with the Palm Beach Symphony, the Florida Grand Opera, the Santo Domingo Festival, and more recently with his appointment as Artistic Director of Opera Naples.

While we wait for his return to Spain, for his debut conducting the Spanish National Orchestra with guitarrist Milos on the 24, 25 and 26 of October 2014, we leave you with a summary of reviews of La Traviata under the baton of Maestro Tebar:  

[...] Galicia Symphony Orchestra and Chorus under concductor Ramón Tebar were at the level of the show. [...] Few times I have seen a conductor making the gesture to the orchestra in order to bow and an audience answering redoubling in such applause as when a leading role bows on stage, and this was twice or thrice. [...] 


[...] Galicia Symphony performed at the good level that it uses in an opera that doesn't present major problems; meanwhile Ramón Tebar ratified the good impression that he caused last season with Lucia, this time conducting a very agile Traviata, to which he knew how to imprint the proper rhythmic variety -avoiding to convert this opera on the eternal waltz that could be if it is not well conducted, something that fortunately in here never happened- not letting at any moment the pit-stage relation unbalanced. As an example, his masterful reading of the Prelude to Act III which was full of dramatic breath. [...]

By Hugo Álvarez Domínguez for  

[...] ...the ensembles, solidly bounded by Tebar. And this extremely tight and brilliant performance by secondary roles, orchestra and chorus at the end of the second act is a fine example of how much this new Lyric Season can bring to whom will be its permanent groups. Above all when they shall be led by conductors of the quality of Ramón Tebar, confirmed this year after the magnificient impression that he left last season with his Lucia. [...]

By Julián Carrillo for elpaí 


[..] The Galicia Symphony Orchestra had glorious moments, probably due to the special guidance of Ramón Tebar baton, and with great results in general. [...]

By Eulogio Fernández-Albalat for


[...] The success of this new production was the simple scenery. [...] And, overall, on the excellent musical resources: very first rate orchestra, a more than notable chorus, three singers of very high artistic quality and secondary roles -galician, in their majority- of outstanding acerage. Tebar conducted with sensitivity and delectation the instrumental parts (gorgeous preludes of the initial and final acts). [...]

By Julio Andrade Malde for


[...] The musical direction of Ramón Tebar meant a fresh air breeze, a bang of truly talent from a conductor whose art is driven with a conducting passion and joy which we have seen very rarely. [...] from the very first notes of the Prelude was evident his effort in order to obtain this music's dramatic tone, which began, with a wise move by conducting it batonless, in order to achieve an atmosphere of greater intimacy. [...] During the whole performance we had the feeling of being in front of an interpretation in which the figure of the orchestra conductor was always present, something not very usual. [...]

[...] Already in the opera's first scene, Tebar surprised us with a rhythmic demand that put the orchestra to the limits. We found ourselves with a true Allegro brillantissimo e molto vivace, that the spaniard knew how to handle with masterly hand. the energy that he injected from the very beginning, through the whole performance, seemed to us really attractive, and ended up convincing us of the whole by observing the way in which chorus and the singers adjusted themselves to the conductor's great demands. [...] a desire to keep up with his artistic proposal, something not that easy. This level of communication seemed exceptional to us. Nonetheless, tebar also knew how to put himself at the service of the cast, and he did it with generosity. The contrast between the sonorous and rhythmic vigor set ups by the conductor and the placid phrasing of the principal performers at the time of expressing their respective solo fragments was perceived with naturalness. [...]

[...] The way of accompanying the famous "Amami Alfredo" was splendid, with controlled sonority but expressive at the same time. [...] Tebar showed ownershi of a gestural and expressive technic surprisingly natural and efficient, even in moments, that are difficult to adjust between conductors and singers. [...] we find ourselves in front of one of the spanish conductors with more talent nowadays [...]

[...] The orchestra performance was magnificient throughout the whole evening, adapting themselves as a globe to the strong rhythmic and sonorous demands of the conductor. [...]

By Aurelio M. Seco for


[...] No doubt that Ramón Tebar completes, together with the previous (Albelo, Mosuc y Nucci), this performance poker. He was a discovery in last season's Lucia and it is a luxury to count with his baton. Great musician, concertatore of voices, always attentive to the different variations that the score creates. Excellent tempi. his overture was masterful as delicate and moving as his reading of the verdian score, attentive to all the changes that it offers. We are not going to discover the orchestral quality of the Galicia Symphony. An authentic luxury. Stable group of the opera season, sounded marvelously. [...]

By Daniel Diz for