„Cédric Tiberghien’s mastery of Messiaen’s piano part was passionate and impressive, at times dominating the orchestra, at other times weaving in and out of the orchestral fabric adding life and color to the finished piece.”
The Washington Times, 13 March 2011
Messiaen’s Turangalîla Symphony, National Symphony Orchestra Washington. 12 March 2011

„…pianist Cedric Tiberghien, who was almost spookily unfazed by the wildest demands of the keyboard part and who summoned a great deal of color and expressive power”
The Baltimore Sun, 14 March 2011
Messiaen’s Turangalîla Symphony, National Symphony Orchestra Washington. 12 March 2011

„Cedric Tiberghien did a superb job, hurling himself into the crazy passage-work like a child on a skateboard, never falling off”
The Washington Post
Messiaen’s Turangalîla Symphony, National Symphony Orchestra Washington. 12 March 011

„Pianist Cédric Tiberghien bestätigte sein fundamentales Verständnis für Bachs Tonsprache im Solopart der Konzerte in d-moll und in f-moll erneut sehr überzeugend. Der Charakterunterschied der beiden Konzerte gelangte ebenfalls zur Darstellung, indem das grosszügige d-Moll-Werk mit seinen gelegentlichen Bariolageeffekten der ursprünglichen Geige deutlich abgehört sind, das schlankere f-Moll-Konzert hingegen kammermusikalischere Intimitäten kennt und diese auch beispielhaft transparent und mit Anmut, im Finale virtuos zur Geltung gebracht wurden.”
Der Landbote, 4. März 2011
Bach Klavierkonzerte in d- und f-moll, Musikkollegium Winterthur. 2. März 2011

„Tiberghien leaps from the ruck of talented young pianists by making the music his own, taking you on to a plane where the interpreter's craft is fully disposed to communicating the music's fundamentals.”
Clive O'Connell, The Age, Melbourne
Recital, Piano! Festival, Australian National Academy of Music. 10 August 2009

„Ravel’s piano concerto set off with the crack of a whip and, in the first movement, Cedric Tiberghien took us from jazz-tinged Nocturne to the jungle rhythms of a primitivist toccata.  The French pianist’s duetting with the cor anglais put a stamp of elegance on Ravel’s second movement, before the third proved a spine-tingle of a race to the finishing line.”
William Dart, New Zealand Herald, 6 April 2009
Ravel Piano Concerto in G, Auckland Philharmonia Orchestra / Stefan Leno. 2 April 2009

„[Cedric Tiberghien] was fastidious in [Brahms’] B minor Capriccio and ingenious in exploring the intricate voices of the A minor Intermezzo. […] Liszt’s Vallee d’Obermann captivated with its luminosity and, from a selection of Bartok, some volatile collages of Csik folk-tunes darted with capricious glee.  In Brahms’ Hungarian Dances Tiberghien played as if he were two pianists merged into one.  He evoked trembling cimbalons in the fourth dance and beguiled us with his gypsy rubato in the sixth, ending with the cool sonorities of Ravel’s La Vallee des cloches.„
William Dart, New Zealand Herald, 6 April 2009
Recital: Fazioli International Piano Recital series, Auckland. 3 April 2009

„Finger power, intelligence and heart were at the centre of Cédric Tiberghien's programme of Bartók and Brahms.
Tiberghien's music-making is never superficial. No one cruising on the surface could give us Brahms's Op 76 piano pieces with his degree of poetic understanding or structural control. […] his sense of shape and texture was masterly. And how carefully he judged the necessary weight of each sound. Clearly, Tiberghien is very comfortable with Brahms […] We were under a spell immediately in the “night music” movement of [Bartok’s] Out of Doors, as he teased out and balanced the cries and whispers, each hand colouring the night differently.
Similar dexterity and clarity worked wonders in Bartók's early Hungarian Folk Songs from Csik. The Mikrokosmos selection and the six Romanian Folk Dances gave us the same essential strengths: finger power, intelligence, heart, the music's details polished without any loss of the big picture. When Tiberghien next plays in London, be there.”
Geoff Brown, The Times, 22 September 2008
Recital: Wigmore Hall Master Series, London. 18 September 2008

„Cédric Tiberghien's subdued reading of Jonathan Harvey's Tombeau de Messiaen (1994) for piano and tape established the evening's strange alchemy of electronic and natural sound. […] Tiberghien's sensual, elegiac performance of Messiaen's Concert à quatre was ravishing.”
Anna Picard, The Independent, 24 August 2008
BBC Proms: Jonathan Harvey “Tombeau de messiaen”, Messiaen “Concert à Quatre”,
Royal Albert Hall, London, 19 August 2008

„…a performance of Liszt's Années de Pèlerinage, Première Année: Suisse, which made the hairs stand up on the back of one's neck.  Laying down the gauntlet with a very big sound in the opening William Tell section, [Tiberghien] dragged us into Liszt's lurid world – in which sylvan idylls alternate with horror-movie episodes – and led us through it with a dazzling display of virtuosity. The storm raged ferociously, the bells of Geneva were winsome, “Homesickness" sounded like Arvo Part.”
Michael Church, The Independent, 7 July 2008
Recital: Liszt –Années de Pélérinage Book I (City of London Festival)

„a sensitive and beautifully focused performance of Beethoven’s Piano Concerto No.3”
Hilary Finch, The Times, 19 May 2008
Beethoven Concerto No.3, Bournemouth Symphony Orchestra / Marin Alsop. 14 May 008

„Cedric Tiberghien gave us something fleeting, soft-grained and mercurial. […] As he played all four Chopin Ballades one after another his hands seem to glance off the keyboard.  The sounds that emerged were often bewitchingly soft and caressing, the passionate moments fiery rather than weighty.
This is very close to what we know about Chopin’s own playing, and it’s a style perfectly suited to the imaginary narratives of these Ballades, which switch between the soft mode of the balladeer and the fevered drama of the story lived from the inside.
[…] Tiberghien’s soft touch worked wonders in the closing variations of [Beethoven’s final C minor sonata].  His unassuming with the opening melody made by transcendent stillness of the closing variation seem both vaster and more human.”
Ivan Hewitt, The Telegraph, 21 February 2008
Solo recital, Wigmore Hall, 18 February 2008