"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

Cleveland Orchestra makes a Nourishing meal out of Tchaikovsky
"thank guest conductor Robert Trevino on his Cleveland Orchestra debut... Those who like their music bold, flexible, and full of contrast, however, could not have asked for more. For every heavily-weighted passage there was another that soared on luminous wings or charged forward with tremendous, irresistible resolve. The Waltz, too, was a thing of vivacious beauty, all sweep and brilliance... The Cleveland Orchestra can't always play Tchaikovsky, but when it does, let it be like this."

Zachary Lewis, The Plain Dealer August 4, 2017

A Mahler Third to Savour: Robert Trevino Triumphs in LSO Debut

"Robert Treviño, a rising young American conductor, and one with a burgeoning reputation in Mahler, was the late replacement and making his debut with the London Symphony Orchestra. It must be quite a challenge for even the most gifted young conductor to stand before one the world’s best orchestras for the first time...

No-one needed to worry. Many a Mahler-lover has some misgivings about the Third, especially its often 35-40 minute first movement (called Part I). But from the opening pantheistic fanfare from eight horns we were in the hands of someone who believes in this extraordinary piece, and had something to say about it. Treviño was unembarrassed by the phantasmagorical events of the introduction, and relished the primeval woodwind gurglings and bass drum rumblings, the solemn intonations from gruff trombones and of course the military strut as, in Mahler’s unpublished explanation, “Summer marches in".

Treviño wanted to keep some momentum maybe, and present the whole gigantic work as a single great arc...

(3rd movement) This is the stillest piece of music in all Mahler, and Treviño’s poise and Larsson’s rich voice cast a powerful and profound spell... this was a Mahler Third to savour. After the applause and solo bows, Treviño had to be slightly cajoled by the leader to take one of his own. He would surely be welcome to return as a guest conductor, and reasonably soon."

Roy Westbrook, Backtrack 26 June 2017

LSO/Robert Trevino - Mahler's Third Symphony

"Trevino is well on his way – his progress through Mahler’s vast Third Symphony was a real ear-opener, in which control, judgment, insight and a clear-eyed appraisal of the heights and depths of Mahler’s world, from the elemental growls of a neutral life-force to sublime full consciousness, were irresistible in their cohesion...

The abundance of particular nuances and points of detail, of tiny adjustments of timbre and attack, flattered Mahler’s profound knowledge of the orchestra and proved Trevino to be a fully-formed Mahlerian, one who knows what it takes to recreate this composer’s chain of being.

While Trevino played up the danger in the clashes between the dispassionate if brute force of the nature music and the fragile jollity of the marches and dances,..Mahler may have retreated from his original programme, but Trevino left us in no doubt that the higher this Symphony rises, the redder in tooth and claw the natural-world music becomes, its final bid for dominance at the end of the third movement an outburst of astonishing savagery.

In Trevino’s brilliant realisation of Mahler’s scheme of cause and effect, Anna Larsson singing ‘O Mensch!’ (Nietzsche) with lustrous solemnity became the agency that delivers the rest of the Symphony..."

Peter Reed, Classicalsource.com, June 2017

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 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