"Breathtaking Mahler...It was an exciting program at the Gasteig: Schubert and Mahler, in the hands of an exciting conductor. It became obvious little by little, as he created a veritable Beethovenian aura for Schubert's Fourth… In the first and last movements [Trevino] conjured up an utterly believable vision of Beethoven out of Schubert's spirit. "

"After Mahler it was abundantly clear that Trevino stood out as a real stroke of luck among the motley crew of guest conductors replacing the late Lorin Maazel."

Süddeutsche Zeitung March 24, 2015


A Poet and Painter
“Breath-taking", “extraordinary", “wonderful" – music critics, journalists and music lovers strive to express their admiration. All this, of course, is about American conductor Robert Trevino, who has recently triumphed time and again in concert venues around the world...It is enough to mention that the very first bars of Robert Schumann’s “Manfred" Overture hit us with a wave of unimaginable symphonic force, vital energy and dynamics...The last piece to be played by Trevino and the Orchestra was Johannes Brahms’ Symphony No.4 op.98 in E minor. Here, again, Trevino has proven that he deserves all the rave reviews. Together with the musicians of the orchestra who responded to his tiniest motions and the most discrete of gestures, the conductor played with colours, deftly stirring our emotions."

Tomasz Handzlik - Polish Arts Review March 31, 2015


"The deepest gratitude should be reserved for the orchestra under the direction of Robert Trevino. His presence on the podium set the orchestra pit on fire - it was sparkling, glowing, exploding with passion. He gently guided the artists and punctuated their phenomenally well-balanced ensembles with dynamic exclamation marks. This was genuinely virtuosic, vivid, juicy and convincing music making."

Classical Music News Russia July 1, 2014


Tallahassee Symphony Orchestras season opener brings crowd to it's feet.
"The strings had a warmth and fullness I've never heard before, and the winds, brass and percussion spoke with a new presence. Trevino began his program with a moving, nicely-shaped reading of Aaron Copland's "Fanfare for the Common Man".
One of the most important on-stage roles of a conductor is that of accompanist in works with soloists. Trevino proved himself more than equal to the task in this piece, as he led a performance in which he was sensitive to what the soloists wanted to do and still let the orchestra play out when called for. Sergei Rachmaninoff's tone poem "Isle of the Dead" (1909) provided Treviño and the orchestra with opportunities to show their lyrical and romantic sides. Both intonation and ensemble playing were top-notch throughout the concert. Igor Stravinsky's "Firebird" provides an orchestra and its conductor ample opportunities to show what they can do, and Treviño and his charges availed themselves of those opportunities. Phrases were shapely and climaxes reached with pace and power. The massive ending brought the large audience to its feet and deservedly so."

Steve Hickens in the Tallahassee Democrat September 16, 2012


Slee Sinfonietta opens with brilliantly executed program
"Fortunately, the success or failure of the evening's music would not ultimately rest with the choice of repertoire performed, but rather with the guest conductor tasked with its interpretation. At age 28, Robert Trevino is a prolific and seasoned conductor. The Slee Sinfonietta's performance of Berg's "Chamber Concerto" displayed the composer's ingenious infusion of wistful phrasing, and lovely melodic fragments amid what could have sounded like hasty interruptions and musical chaos in the hands of less skilled musicians. The ensemble's intensity and poise fit excellently with Trevino's demonstrative style. With his impeccable command of Berg's unfettered rhythmic flow and complex textural interplay, the Sinfonietta communicated the full breath of anxiety, pathos, and beauty in music. It felt as if the conductor were prying open the dense orchestration to illuminate the sumptuous yet terse melodies nested inside, waiting to be discovered by the listener. (Ligeti's Melodien) Once again, Treviño supreme attention to detail and mastery of mood guaranteed a powerful performance."

Daniel J Kushner Contributing reviewer Buffalo News September 26, 2012


“Guest Conductor Robert Trevino – all of 26 years old – left a considerable impression in his CPO debut with incisive and thrilling direction… he is clearly a conductor to watch. Under Trevino, the rich and burnished strings were as attractive as ever. Trevino dug in vigorously for the hour-long work and never looked back, shaping a fluid and buoyant account of this sprawling and lyrical opus. Heavy sonorities trumped all and sounded particularly gorgeous."

Critic Bryant Manning in the Chicago Classical Review (online), October 11, 2010


"The collaboration between Maestro Trevino's solid interpretation of this piece and the consistently fine playing of our orchestra thrilled the audience into thunderous applause."

Critic K.S. Morrison in the Macon Telegraph Correspondent, April 5, 2012


“...the performance Thursday by the Millennium Chamber Players from Chicago should be remembered as a worthy outing. The big item was Eight Songs for Mad King, an avant-garde classic of 1968 by Peter Maxwell Davies. Never mind "eight songs." …The exhausting piece (with music-hall elements as well as much hardcore "mad" dissonance) made its point. Conductor Robert Trevino paced it with assurance."
Critic Arthur Kaptainis in the Montreal Gazette (online), August 8th, 2008


"Trevino brought out the tricky Orientalist harmonies and lines with a great idiomatic understanding... I'll be the next performance, and so should you!"

Critic Andrew Patner on air on WFMT Classical Radio Chicago, January, 2007


"Robert Trevino [with the Millennium Chamber Players]...put on a strong and affecting staging of Britten's small-scale The Rape of Lucretia in January and a string of operas by lesser-known composers through the spring, as well as a chamber-music concert that mixed new music in with standard repertoire. Such youthful impudence makes a night at the opera fun - and, at the very least, unpredictable."

Marc Geelhoed in Time Out Chicago Magazine, September 27th, 2006


"Conductor Robert Trevino made a strong impression in his Ohio Light Opera debut, keeping his forces well under control."

Critic Charles H Parsons in The American Record Guide, November/December, 2005


"…the talented young conductor kept the ensemble firmly in check from the sensitively shaped overture to the rousing finale."

Critic Wilma Salisbury in The Cleveland Plain Dealer, June 28, 2005


“…rich, symphonic sounds emanating from the Ohio Light Opera pit under Trevino's baton started with an illuminating reading of the overture, and continued to lift the production to the final chorus"

Critic Thomas Harper in The Alliance Review, June 28, 2005