New York recital with Brian Mulligan (Baruch Performing Arts Center)

Long conjured up Hardy’s Funeral (January 1928) most marvelously with tolling bells, bleak hymns, and occasional bursts of dappled sunlight.”

Musical America, March 2019

“Pianist Timothy Long, Mulligan’s regular musical partner, supported him most sympathetically throughout, while offering a wealth of detail in the work’s reflective preludes and postludes. This was a distinguished premiere of an impressive new song cycle.”

Musical America, March 2019

“The second Woolf song, “Anxiety,” proved a tour de force for the duo, the pianist (Long) doubling the singer’s agitated line in precise unison, amidst constantly-changing meters, while executing a presto toccata himself.”

New York Classical Review, March, 2019

“…pianist Long shaped Spears’s minimalistic repeated figures to support the text, and easily took the ball and ran with it in expressive preludes and interludes. Even the seemingly-simple chordal sections in the Woolf songs contained many subtle variations and inflections crucial to the meaning of the text, and Long made those moments tell.”

New York Classical Review, March, 2019

Tibetan Book of the Dead (Eastman Opera Theatre)

“Eastman's take on "The Tibetan Book of the Dead" leaves the audience with plenty to ponder: a heartfelt reflection on death as a vital part of life, sung with conviction and manifested through intelligent set design by Daniel Hobbs and deft musical direction by conductor Timothy Long.”

Rochester City Newspaper, November 2018

Kennedy Center recital with Brian Mulligan (Vocal Arts DC)

Long’s collaboration at the piano was so sympathetically symbiotic that it seemed, both in Walden and in Dominick Argento’s From the Diary of Virginia Woolf in the program’s second half, that a single musical intelligence was at work.”

Washington Post, September, 2018

“Pianist Timothy Long, playing with unflagging evenness and crisp articulation, wove textures that projected clarity, inevitability and the occasional flash of light.”

Washington Classical Review, September, 2018

Walden, with texts drawn from Henry David Thoreau, was composed for baritone Brian Mulligan who, with pianist Timothy Long, delivered a gripping performance.”

Washington Post, September, 2018

“The eight excerpts from Woolf’s diaries are organized chronologically and sample from a buffet of her neuroses; it is left to the piano to provide the scenery and to reflect the inner turmoil, which Long did expertly. He was a solemn, resonant organ and a gentle choir for “Hardy’s Funeral,” a street dance-band for “Rome” and distant echoes of a hymn for “Parents,” all rendered with splendid support for Mulligan.”

Washington Classical Review, September, 2018

The Stars Align: 70th Anniversary Gala (Tulsa Opera)

“Oklahoma native Timothy Long, in his company debut, led the Tulsa Opera Orchestra through the wide-ranging program with verve and confidence.”

Tulsa World, February, 2018

Dominick Argento recording with Brian Mulligan (Naxos)

Timothy Long provides masterfully sculpted renditions of the varied and challenging piano parts, which range from spare and crystalline (evoking the icy North) to rolling and transcendent.”

Opera News, February, 2018  

“…Mulligan relaxes into the three roles he must play and, with Long brilliantly at his side, mines a succession of poignant gem-like moments, exquisite distillations of love and brief emotional surges…”

Gramophone, October, 2017

“In both cycles, the piano-writing puts the pianist into a nearly equal relationship, which Long handles splendidly.”

Gramophone, October, 2017

“With pianist Timothy Long, Mulligan makes an extraordinary journey of sound in both song sets. The Andrée Expedition is divided into two parts, and Argento writes a crystal-clear picture of the explorers' shift from strapping confidence and heroic pride, to quiet fatigue and even tacit regret. In their letters and diaries, Salomon Andrée, Nils Strindberg, and Knut Froenkel started off with a manly excitement for discovery; it's something that Mulligan and Long depict with bold, crashing sounds and triumphant cries.”

Schmopera, October, 2017

Die Zauberflöte (Utah Opera)

Tim Long conducted the Utah Symphony in a colorful performance of Mozart’s rich score.
Salt Lake Tribune, March 17, 2013

Miss Havisham’s Fire (Maryland Opera Studio)

And the University of Maryland Symphony Orchestra, eloquently conducted by Timothy Long, handles the opera’s challenges with confidence and expressive shading.
Baltimore Sun, April 28, 2012

La Cenerentola (Opera Colorado)

Pacing is everything in this meticulously interwoven production, and conductor Timothy Long could hardly handle it more adroitly, with lively, spot-on tempos that kept the action — and the comedy — whizzing along.
Denver Post, May 2, 2011
The opening began with a long, but luscious overture under the baton of Timothy Long and the musicians of the Colorado Symphony.…it was beautifully played.
Interchanging Idioms, May 1, 2011
A youthful and handsome cast is amazingly well balanced, and the singers work together with conductor Timothy Long to keep Rossini bubbling along merrily.
Boulder Daily Camera, May 7, 2011

Dead Man Walking (University of Colorado at Boulder)

Turning in a superb performance in the pit, up-and-coming conductor Timothy Long captures the score’s propulsive thrust with his keen pacing and draws the best from the young singers and musicians arrayed before him.
Denver Post, October 28, 2007
It was a first-rate production, featuring terrific singing…and brilliant playing from Timothy Long’s pit orchestra.
Rocky Mountain News, October 2007
New to CU Opera is Timothy Long, guest music director for this production. He has a full command of the score, stressing that despite its melodic richness there is nothing saccharine about it, for throughout the work Heggie keeps a firmly defined distance from sentimentality.
Boulder Daily Camera, October 26, 2007

Shadowboxer (Maryland Opera Studio)

Conductor Timothy Long drew superb performances from the musicians, members of the University of Maryland Symphony Orchestra and Jazz Studies Program, as well as the fifteen opera soloists and twelve-member chorus. That the voices were always audible above the orchestra is a tribute to both the composer and the conductor.
Ionarts, April 30, 2010
Timothy Long expertly conducted the difficult score, and seemed quite at home directing the club-influenced method of throwing the tune back and forth between the band and the orchestra. Both ensembles played sensitively, and seemed at ease with the harmonic and rhythmic language of the score. When the full company was in action—reliving the fights or relating to each other—the entire production gleamed with energy.
Opera Today, April 24, 2010
Under the direction of conductor Timothy Long, the singers and instrumentalists of the University of Maryland give a compelling performance of Proto’s imaginative score.
Opera Today, April 24, 2010
The well-drilled chorus adds a lot to the performance. Same for the excellent orchestra in the pit and jazz band located upstage, all conducted in sure, expressive fashion by Timothy Long.
Baltimore Sun, April 20, 2010

Madame Butterfly (Opera Theatre of Saint Louis)

All the while, the pit orchestra of Saint Louis Symphony pros, conducted by Timothy Long, evokes breadth, depth, and color from Puccini’s rich score. It’s the perfect marriage of music and singing.
Riverfront Times, June 4, 2008
Conductor Timothy Long scored a solid success in the pit, leading his singers and the Saint Louis Symphony with feeling, accuracy and singable tempos.
St. Louis Post-Dispatch, June 2008
Timothy Long conducts the Saint Louis Symphony Orchestra in a loving and gentle tribute to Puccini’s languid score.
The Ladue News, June 4, 2008
Conductor Tim Long conducted with real feeling and a singer’s sense of tempos.
Musical America, July 2008
Madame Butterfly, given in a revival of Colin Graham’s Kabuki-inspired staging was tautly conducted by Timothy Long.
London Daily Telegraph, June 2008

Ariadne auf Naxos (Wolf Trap Opera)

The production’s musical assets were capped by a vibrant orchestra and the alert, sensitive conducting of Timothy Long.
Opera News, August 17, 2008
Conductor Timothy Long had his hands full; the small orchestra is constantly divided into numerous subgroups and because of space limitations the larger instruments had to be placed up on the floor behind him. His balancing and pacing of this complex score were admirable.
Washington Post, August 18, 2008
The orchestra made a sturdy, colourful effort led with admirable sensitivity by Timothy Long.
Opera, August 2008
The rest of the large cast came through sturdily and colorfully, as did the orchestra, led with admirable sensitivity by Timothy Long.
Baltimore Sun, August 19, 2008

The Kaiser from Atlantis (Yale Opera)

Conductor Timothy Long deserves much credit for leading both instrumentalists and singers in a flawless performance.
Opera-L, April 28, 1998

Solo Piano Recital (Memorial Art Gallery)

Pianist Tim Long blended turbulence with repose…

His third movement was dazzlingly forceful as it built toward an overwhelming finale.

…a dramatic, fiery performance.

…a pianist who combined powerful playing with a gentle touch.
Rochester Democrat and Chronicle, April, 1994