“It would not be fair to say that he simply ‘conducted the Orquesta Sinfónica de Guayaquil.’ Actually, he united with his musicians and with this perfect fusion he directed with respect and mastery, recreating the overture and symphonies in an outstanding way…His work was of an artisan: fine, polished, crafted. His gestures were precise, graphic, descriptive, with no need of a baton, because his way of music making is much more human, cordial, closer to an invitation to play, to listen and to enjoy…His mastery has authority but allows the musicians to flow and breath. He not only directs, but knows how to listen…His versatility in the tempi was so coherent in terms of form and content that he managed to close an imaginary elliptical form that Averbach began to build since the beginning of the performance.”
“The 11th concert was brilliant. The knowledge and experience of the conductor Averbach were awaited with great expectations and indeed when he conducted the overture by Rossini the intonation and precision of the orchestra were like a Swiss clock. (For Dvorak’s New World Symphony) the conducting was economic and brilliant. Since the beginning… he showed a deep knowledge of Dvorak’s influences in the musical architecture…He conducted with great ability. Due to his preparation, the orchestra was well organized and balanced…The energy, strength and power of his conducting in the last movement led to a standing ovation.”
After the intermission the symphony orchestra played…colorfully and with great passion and sophistication; Ricardo Averbach not only showed the swing and energy of Copland’s music, but also its depth.
The overall atmosphere of the concert was dominated by the creative emotion of the Brazilian conductor Ricardo Averbach, whose authoritative and strong presence, looking like a movie star, won the hearts of thousands of music admirers…No matter the style [of the compositions] they were loaded with energy and inspired by a sense of freedom…His gestures as a conductor were laconic, yet he was leading the young musicians very confidently as a fiery orator…Even the overture Cenerentola sounded like a virtuosic piece charged with emotional content rather than a light entertaining composition.
The head of the ensemble was the remarkable musician Professor Ricardo Averbach. The Russian audience has noticed before this renowned director in his previous performances in this country…One’s heart stopped by the beauty since the very first notes of the Adagio for Strings by Samuel Barber. Its divine crescendo in the interpretation of Ricardo Averbach made us stop, forget about everything and think only about art and the heroes of the 2nd World War to which the musicians dedicated their performance.
A concert of great significance…Certain chords were of great beauty and the various timbres and rhythms were well sustained to create a unique atmosphere…the interpretation was feverish due to the purity of the sounds…The very talented conductor Ricardo Averbach is the director of the Miami University Orchestra and the Oxford Chamber Orchestra. His attention directed towards the young musicians was the best assurance possible for a dynamic and intelligent interpretation…This colorful and enjoyable fantasy (Bachianas Brasileiras No. 2) was performed with a fresh interpretation and great precision.
Part of the public stayed outside in the last presentation of the Cuenca Symphony Orchestra. The seats of Theater Carlos Cuevas Tamariz were occupied by the audience five minutes before Rodeo…! The receptivity of the public led the orchestra to 108 presentations this year. Most of the time with the presence of conductors like Ricardo Averbach…
Penn conductor Ricardo Averbach, whose fingers have a spidery elegance, led with a devotional precision Un Sourire (A Smile), an homage to Mozart, whose sustained quiet suggests more sighs than smiles.
Averbach proved an economical conductor who moved the orchestra fluently in tempos that complemented the playing and singing. He managed a jauntily clear reading of the fugue in the oratorio’s opening and went on to stress the instruments described in the poem in a way that ... remained in the character of the work.
…we admired the fine musical sensitivity, grace and delicacy of the conductor, who especially in the lyrical second and fourth movements achieved musical tableaux and contemplativeness of the fresh Norwegian nature. Excellent was the versatile dynamic range of the third movement, as well as the perfectly correct phrasing… Averbach demonstrated versatile manual technique, rich emotionality, rhythmic stability and tonal nuances.
Ricardo Averbach succeeded in emphasizing the lyricism, embellishments and rhythmic pulsation in a very specific way. His feeling for the inner motion in Mozart’s music led the orchestra and soloists into an energetic and nuance-rich interpretation....The warm orchestra sonorities and attention to stylistic details on the part of the conductor were remarkable.
The orchestra excelled in its sonic achievements, obedient to the command of Maestro Averbach.
Ricardo Averbach reached the essence of Viennese Classicism; a Mozartean atmosphere grabbed the audience and embraced the concert hall.

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