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Selected Reviews


Philharmoniker Spielen Konzertparty mit knackigem Drive

Felix Stephan, May 12 2023

Danach geht die lateinamerikanische Party gleich weiter, mit Alberto Ginasteras Klavierkonzert Nr. 1 op. 28. Und nun mit dem Pianisten Sergio Tiempo im Mittelpunkt, einem Vollblutvirtuosen aus Venezuela, Landsmann und Freund von Dudamel. Er bringt alles mit, was Ginasteras Musik braucht: den perkussiven Anschlag, die rasende Präzision, das leidenschaftlich Tänzerische. Und bei Bedarf auch ein verführerisches Pianissimo. Kaum zu glauben, dass Ginastera ausgerechnet in diesem quicklebendigen, humorvollen Werk mit Arnold Schönbergs berüchtigter Zwölftontechnik experimentiert. Es fällt gar nicht auf, weil das Rhythmische und Virtuose so stark im Vordergrund steht.

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Business as usual no more, this Philadelphia Orchestra concert brings echoes from Ukraine

Peter Dobrin, March 25 2022

Chopin’s Piano Concerto No. 1 didn’t have the resonance of the other works on the program, but it did offer a soloist of considerable artistic individualism. Sergio Tiempo had such a big sound you might have thought his piano was amplified. But he also had dimensions. His suddenly explosive outburst in the second movement wasn’t a gratuitous one, but, rather, an expressively beautiful one. He could be brawny or flowery, and the orchestra and Yannick Nézet-Séguin expertly hewed to his contours and flashes.

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Three composers, three differing compositions, three different approaches: one superb LA Phil concert

Douglas Dutton, March 16 2022

[...] pianist Sergio Tiempo more than fulfilled his obligations. This was the first time I had heard Maestro Tiempo play: he is unquestionably one of the best contemporary pianists, and I look forward to future performances.
Rhythm is rightly cited as one of music’s predominant elements, and when it came to driving this particular concerto, Tiempo showed his pianistic and rhythmic mastery in each of the three movements. From downbeat to final chord, the pulse was strong and steady, not overly driven, and the pure musicality of the concerto proved to be a primary basis and purpose. Tiempo’s musical strengths were evident everywhere, but the delicacy and taste that accompanied the middle movement was an even more direct acknowledgement of the work’s beauty. That Tiempo’s technical ability is superseded only by his divine taste was demonstrated in the encore: Liszt’s ‘Consolation No.3’, which Tiempo dedicated to his father who died on 28 February. The contrast between his awesome power in the Prokofiev Piano Concerto and the sensitivity shown in the Liszt was heart-breaking. There wasn’t a dry eye in the house, including mine.

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New York Philharmonic: Esteban Benzecry Piano Concerto 'Universos Infinitos'
David Geffen Hall, Jan 2020

Anthony Tommasini,  Jan 16 2020

Mr. Tiempo gave a scintillating and virtuosic performance.

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New York Philharmonic: Esteban Benzecry Piano Concerto 'Universos Infinitos'
David Geffen Hall, Jan 2020

Eric C. Simpson,  Jan 16 2020

The evening’s most rewarding item was the New York premiere of Universos infinitos, a piano concerto by Esteban Benzecry. Pianist Sergio Tiempo gave an inspired reading, showing in this first movement complete comfort with the virtuosic demands of the part, but also finding moments to pull back and draw whispering phrases out of the instrument.

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Frankfurter Museumsorchester: Rachmaninov 'Rhapsody on a Theme by Paganini'
Alte Oper / November 2019

Bernhard Uske,  November 2019

The phenomenal pianist Sergio Tiempo, from Venezuela, formed a dream team with conductor Alexander Prior. The two made all aspects of the work their own, with a swirling, percussive but also subtle shape. At the same time, it was completely unforced, sparkling, and crystalline. Rachmaninov's ideas were exposed, broken down with rapidly changing perspectives. Tiempo and Prior - remember these names.

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Los Angeles Philharmonic: Esteban Benzecry Piano Concerto 'Universos Infinitos' World Premiere
Walt Disney Concert Hall, October 2019

Mark Swed,  October 2019

Tiempo somehow made the impossible possible.

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Boston Symphony Orchestra: Ravel Piano Concerto
Boston Symphony Hall, April 2019

Stephen Wigler, International Piano June 2019

When I last heard Sergio Tiempo play, he was a teenager. I thought then that he was one of the greatest talents of his generation. He had everything: taste, tone, technique, temperament and intelligence. I finally got a chance to hear him again and my opinion hasn't changed. At 47, he remains one of the best pianists alive. His performance of Ravel's Concerto in G major with the Boston Symphony surpassed every live and recorded version of the piece I've ever heard. The encores made me desperate to hear him again.

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Boston Symphony Orchestra: Ravel Piano Concerto
Boston Symphony Hall, April 2019

Zoë Madonna,  April 12 2019

Through the lushness of the orchestra, pianist Sergio Tiempo's phrases glistened with a pearly sheen, manifesting with nonchalant loveliness. The slower second movement took a prayerful, introspective tack...from there it was an all-out gymnastic Presto to the end, and Ginastera's roaring Danza del gaucho matrero came as an encore in lieu of the canceled concerto. With luck, Symphony Hall will see Tiempo again.

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Würth Philharmonic: Rachmaninov Concerto No. 3
Künzelsau, February 2019

Andreas Dehne,  May 2 2019

This difficult piece begins quite light-footed as the Argentinian star pianist Sergio Tiempo displays his technical brilliance... One experiences a mature pianist, who brings a fresh approach to Rachmaninov's music. Tiempo masters the fast passages with a playful lightness and elegance... he carries us away with this work.

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Queensland Symphony Orchestra Residency: 'Soloists and Spontaneity'
Queensland Symphony Orchestra, Brisbane, August 2018

Gillian Wills,  august 6 2018

Sergio Tiempo was sensational in Rachmaninov’s colossal Third Piano Concerto... [he] had the virtuosic challenges nailed yet consistently directed towards pathos. Demanding though the big and scampered chordal flurries were, the clarity of the melodic line, accents and harmonic nuance was superb. Meaning flowed through Tiempo’s fingertips and never more so than in the light and feathery tender passages. His charismatic persona and luminous exploitation of the Concerto’s mood swings ensnared the audience who were swept up in Tiempo’s insightful pianistic might from start to finish.

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