Peter Tiboris - IUMA Management

IUMA MANAGEMENT 

PROUDLY INTRODUCES 

Peter Tiboris 

CEO, GENERAL AND ARTISTIC DIRECTOR (1984) 

MIDAMERICA PRODUCTIONS 

ORCHESTRA CONDUCTOR

PETER TIBORIS 

FOUNDER, MUSIC DIRECTOR AND CONDUCTOR 

(1988) 

MANHATTAN PHILHARMONIC 

FOUNDER, ARTISTIC DIRECTOR (2000) 

INTERNATIONAL FESTIVAL OF THE AEGEAN 

HERMOUPOLIS, ISLAND OF SYROS, GREECE 

HONORARY CONDUCTOR (2008) 

PRINCIPAL GUEST CONDUCTOR (1992-2004) 

BOHUSLAV MARTIN PHILHARMONIC 

ZLIN, CZECH REPUBLIC 

Peter Tiboris, CEO, General Director and Artistic Director of MidAmerica Productions, 

has pursued a career of remarkable diversity, both as an orchestra conductor and as 

the creator of innovative musical organizations. 

Mr. Tiboris made his New York conducting debut in January of 1984 with the American 

Symphony Orchestra at Lincoln Center and his European debut in June of 1985 in 

Dubrovnik. He has led some 250 concert performances, not only in New York (in 

Carnegie Hall, with the American Symphony Orchestra or with his own Manhattan 

Philharmonic), but in such cities as Washington, Montréal (Société Philharmonique), 

Mexico City (Sinfonica del Estado de Mexico), London (Royal Philharmonic, Philharmonia), 

Rome (Rome Philharmonic and Rome Opera House Orchestra), Palermo (Orchestra 

Sinfonica Siciliana di Palermo), Hannover (Niedersächsische Orchester), Prague 

(Virtuosi di Praga), Warsaw (Warsaw Philharmonic), Sofia (Sofia Opera Orchestra), 

Istanbul (Millî Reasürans Chamber Orchestra), St. Petersburg (Glinka Capelle Philharmonic), 

and Moscow (Radio and Television Orchestra of Moscow) as well as throughout 

the Czech Republic, Poland (Silesian Philharmonic in Katowice, Poznan Philharmonic), 

Portugal (Orquesta Classica da Madeira, Orquestra Cåmara de Cascais e 

Oeiras), Italy (Vincenzo Bellini Symphony Orchestra of Catania, Orchestra Sinfonica 

della Magna Grecia in Taranto, Orchestra Sinfonica Citta di Grossetto, Firenze Opera 

Orchestra) and in Vienna. Critics all along the way have hailed his performances. 

Those in The New York Times have described them as "sizzling and precise," and 

"Vigorous...alert and energetic." 

Mr. Tiboris's repertoire consists to date of well over 150 orchestral, choral and operatic 

works. Among these are ones for which he gave their world premieres (by Constantinides 

and Magarshak), their USA premieres (by Taneyev, Tchaikovsky, and Theodorakis), 

and their New York premieres (by Beethoven, Bruckner, Dello Joio, Dohnányi, 

Effinger, Glass, Mascagni, Rossini, Schnittke, Schubert, Tchaikovsky, and 

Verdi). He has been one of the few conductors to explore Mahler's "retouchings" of 

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PETER TIBORIS 

Beethoven Symphonies. He has 

striking success in presenting 

concert performances in Carnegie 

Hall of such rare operas as 

Mascagni's Silvano, Rossini's 

Ermione, and Theodorakis's Elektra. 

For such treatments of Cherubini's 

Medée and Taneyev's Agamemnon, 

the drama was enhanced by 

interspersing the musical score 

with segments spoken by 

distinguished acting casts 

(including Olympia Dukakis and 

Louis Zorich). And in all such 

ventures, exciting young singers from here and abroad were introduced to New York 

audiences. 

Extending his concert work, Mr. Tiboris has preserved many of his interpretations in 

recordings--some twelve of them, on the Bridge, Albany, and Elysium labels (including 

four Symphonies and two Overtures by Beethoven, two Mozart Symphonies, and 

one by Schubert, all incorporating the Mahler Retuschen). 

In addition to his wide podium activities, however, Mr. Tiboris has become one of today's 

important musical entrepreneurs. In 1984 he founded MidAmerica Productions. 

This has developed into New York's largest independent company for concert 

production. Through its work, thousands of musicians--professional and amateur; 

singers, choirs, ensembles, and directors--have been enabled to perform on the finest 

of New York's stages, including Avery Fisher Hall, Carnegie Hall, and the latter's 

Weill Hall. 

Under the MidAmerica umbrella, Mr. Tiboris has developed further undertakings, 

such as the Elysium recording label (issuing performances both his own and by o- 

thers), the Manhattan Philharmonic Orchestra, the Elysium Chamber Ensemble, and 

Just Tenors, Inc., a management company for singers. 

As a second-generation Greek-American, Mr. Tiboris particularly cherishes his work 

with Greek musicians, whom he has brought here to perform and with whom he 

works abroad. In 1998 he launched a music festival, first on the island of Mykonos, 

then renamed the Festival of the Aegean. In 2000 he created Opera Aegean, initially 

based in Athens as a training and touring company. Since then, Opera Aegean has 

offered a summer festival on the island of Syros, presenting operatic, theatrical, and 

concert events. In 2005, the festival presented Rossini’s Il Barbiere di Siviglia and in 

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PETER TIBORIS 

the summer of 2006, Mozart’s Don 

Giovanni. There were four concerts 

in 2006 and eleven in 2007, 

including Mascagni’s opera Zanetto 

and appearances by Taximi, Stratos 

Vougas Jazz Quartet, and Human 

Touch featuring David Lynch. 

Award for Production of the Year. 

Maestro Tiboris was recently 

honored by the Italian dance 

magazine Danza e Danza. Teatro 

dell'Opera di Roma's production of 

Peer Gynt, conducted by Mr. 

Tiboris, received the 2007 Gli 

Mr. Tiboris received a bachelor's and master's degree from the University of Wisconsin-Madison, 

and a doctorate from the University of Illinois at Urbana-Champaign. 

Watch the video clips from “Peer Gynt” live in 

Rome Opera ‘ 08 starring the star dancer Carla 

Fracci and Alessio Carbone 

(click on the links below) 

http://www.youtube.com/watch?v=UkCccDaXoAs&feature=PlayList&p=196AC9CCD1CBC3B5&index 

=2 

http://www.youtube.com/watch?v=KW5B8s0c6iE 

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PETER TIBORIS 

DISCOGRAPHY EXCERPTS 

Mascagni: Zanetto and 

L'amico Fritz—Intermezzo 

Cavalleria rusticana—Intermezzo 

Elysium GRK726 

Peter Tiboris, Conductor 

Jennifer Larmore, Mezzo-soprano (Zanetto) 

Eilana Lappalainen, Soprano (Sylvia) 

Bohuslav Martin Philharmonic 

Music for Doubles: 

Krommer: Concerto for Two Clarinets and Orchestra, 

Op. 35 

Saint-Saëns: La Muse et le poète 

Martinu: Double Concerto for Two String Orchestras, 

Piano and Timpani 



Stanley & Naomi Drucker, Clarinets 

Charles Rex, Violin; Christopher Rex, Cello 

Jacqueline Schiller, Piano; 

Gregor Kruyer, Timpani 


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Beethoven: 

Symphony No. 5 in C minor, Op. 67; Symphony No. 7 in A, Op. 92 

(incorporating Mahler’s Retuschen) 



Warsaw Philharmonic Orchestra 

(Rerelease from Albany Records) 

Mozart: 

Symphony No. 40 in G minor, K.550; Symphony No. 41 in C 

(“Jupiter”), K.551; 

Beethoven: Leonore Overture No. 3 





Dvorak: The Spectre’s Bride 



Jitka Sobehartova, Soprano; 

Jan Markvart, Tenor; 

Jiri Kubik, Baritone 

Bohuslav Martin Philharmonic & Bratislava Chorus 

All Dvorak: 

The Water Goblin, Op. 107; 

Symphonic Variations, Op. 78; 

Slavonic Rhapsody, Op. 45, No. 2; 

Scherzo Capriccioso, Op. 66 



Jitka Sobehartova, Soprano; 

Jan Markvart, Tenor; 

Jiri Kubik, Baritone 

Bohuslav Martin Philharmonic & 

Bratislava Chorus 

All Beethoven: 

Symphony No. 3 in E flat, Op. 55 (“Eroica”); Coriolan Overture, Op. 62; Leonore Overture No. 2, Op. 72A 





Haydn and Hellenic Antiquity: 

Symphony No. 43 (“Mercury”), Scena di Berenice, Ariadne Auf Naxos Cantata, Aria from Orfeo, Insertion Aria for Traetta’s I- 

phigenia 



Eleni Matos, Mezzo-soprano; 

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PETER TIBORIS 

Jeff Prillaman, Tenor 

Virtuosi Di Praga 


Mascagni: Silvano 



Joseph Wolverton, Tenor (Silvano) 

Rachel Sparer, Soprano (Matilde) 

Bojan Knezevic, Baritone (Renzo) 

Lorraine DiSimone, Mezzo-soprano (Rosa) 

Pro Arte Chorale (Bart Folse, Director) 


Verdi: Requiem 

(Critical Edition)—Including the 1874 “Liber scriptus” for fugue chorus 



Maria Belcheva, Soprano; 

Stefka Mineva, Mezzo-soprano; 

Roumen Doykov, Tenor; 

Dimiter Petkov, Bass 

Sofia National Opera House Chorus and Orchestra 

PERFORMANCE REVIEWS 

Cherubini: Overture to Lodoiska and Médéa (selections) 

Tchaikovsky: Symphony No. 5 in E minor, Op. 64 

Oxford Philomusica, 

Sheldonian Theater 

“Before the arias, the Oxford Philomusica played two Cherubini overtures, Lodoïska and the overture to Médée itself. 

Both lull you into a sense of false security, with a leisurely start before the music whips into a frenzy. Guest conductor 

Peter Tiboris drummed up lots of dramatic expression and emotion from Cherubini’s scores... 

“The second half of the concert was a completely different kettle of fish in every way. Conductor Tiboris, now working 

without a score in front of him, seemed liberated by Tchaikovsky’s relaxed and optimistic fifth symphony. While the 

symphony opens with a haunting, mournful clarinet melody (beautifully played by Lorraine Schulman and Julian Farrell), 

much of the music is in warm, major-key mode. Tiboris drew an open, transparent sound from the Philomusica (not always 

an easy thing to do in the Sheldonian), and expertly judged the underlying march tempi, so that woodwind solo 

passages had time to breathe. 

“The fifth is not without Tchaikovsky’s trademark periods of desire and passion, and these, too, were well marked, as 

were the blazing brass highlights – the orchestra’s brass section was in particularly exuberant form. Throughout, 

ensemble was tight and controlled. “Bravo!” shouted Philomusica music director Marios Papadopoulos, sitting near me 

in the audience, at the end of the performance. Quite right too.” 

Giles Woodforde, The Oxford Times, Oxford, UK 

February 4, 2009 

__________ 

Beethoven: Overture to Fidelio, Op. 72 

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PETER TIBORIS 

Beethoven: Piano Concerto No. 3 in C minor, Op. 37 

Beethoven: Symphony No. 5 in E minor, Op. 6 

Orchestra Sinfonica della Provincia di Bari, Teatro Curci, 

Barletta, Italy 

“TIBORIS’ MUSIC HELD THE PUBLIC AT CURCI SPELLBOUND" 

Over the past few days, at the Curci Theater of Barletta an extraordinary concert took place. The show was organized by 

the Friends of the Music "M.Giuliani," together with the Rotary Club Andrea Castelli Svevi e Trani, and the Club of Inner 

W. of Tranie il Rotaract. 

“The Symphony Orchestra of the Province of Bari led by the masterly skills of the great Greek-American music director 

Peter Tiboris, started the concert with the Ouverture of "Fidelio" and immediately caught the attention of a public that in 

Barletta is getting always more competent yet demanding. 

“The penetrating and expressing rhythmic force that Tiboris gave to the execution clearly produced the intent of the great 

composer of Bonn, and utilized to the fullest the all the sections of the Barese's orchestra…. 

The performance, thanks to the excellent accompaniment of Tiboris, came out charged with meaning yet quite contagious." 

La Gazetta del Nordbarese, Barletta, Italy 

30 gennaio 2009 

__________ 

Mascagni: Zanetto (Elysium Recordings) 

Bohuslav Martinu Philharmonic 

Jennifer Larmore (Zanetto), Eilana Lappalainen (Sylvia) 

“Peter Tiboris guides the piece with style. He doesn't mistake this smaller scale writing for full-blown verismo of the Cavalleria 

variety, and he allows the climaxes to build steadily and surely. The Bohuslav Martinu Philharmonic... sounds 

warm and vibrant, without [an] air of swarthiness and heaviness..." 

Stephen Francis Vasta, Opera News 

August 2008 

__________ 

Adam: Il Corsaro 

Orchestra e Corpo di Ballo del Teatro Dell'Opera 

Teatro dell'Opera di Roma, Rome, Italy 

“...the dramatic pace remains dynamic and always tight, thanks to the book, here "lightened", and by the lively musical 

direction of Peter Tiboris ..." 

Fabiana Raponi, Noti da Leon 

May 31, 2008 

__________ 

Mozart: Requiem 

Basilica di San Nicola 

Bari, Italy 

"From the beginning, the work that Tiboris had done to obtain the best results was clear. His vision of the oratorio (intended 

as a creation pervaded by a passionate emotion, a warm humanity, and free from inner excesses) was completely 

realized, with an involving ardor, that was enlivened again with a sincere guiding of the soloists, chorus, and orchestra. 

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PETER TIBORIS 

The perfect balance of the artists in playing their role was clearly worthy of the director, who was able to sculpt the phrasing 

and melodic lines for a passionate and involoving expressivity, absolutely worthy of the sublime dramatic tension 

that animates the score." 

Nicholas Baisa, La Gazzetta del Mezzogiorno 

November 23, 2007 

__________ 

Edvard Grieg: Peer Gynt 

Teatro dell'Opera di Roma 

(Theater Premiere, new ballet production) 

Rome, Italy 

"Much attention was paid to detail and a connection with the stage was made by orchestra director Peter Tiboris." 

Avvenire 


__________ 

"The conducting of Peter Tiboris was incisive and tasteful." 

Il Giornale 


__________ 

Mascagni: Zanetto (Greek Premiere) 

Arias and duets by Verdi, Ponchielli, Bellini, Cilea, Rossini, and Donizetti 

Festival of the Aegean 

Island of Syros, Greece 

"The gala revealed Tiboris to be a fine conductor. The overtures went with a swing, while he was a considerate colleague 

to his singers." 

TheStage.co.uk 

__________ 

Cherubini: Médée 

Carnegie Hall 

"Mr. Tiboris's effort...brought us something literate, comprehensible..." 

Bernard Holland, The New York Times 

__________ 

Taneyev: Agamemnon 

Carnegie Hall 

"Mr. Tiboris moved the performance along ably, drawing some fine playing...and a robust choral sound." 

Allan Kozinn, The New York Times 

__________ 

"Tiboris conducted with dauntless energy..." 

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PETER TIBORIS 

Martin Bernheimer, Financial Times 

Rossini: Ermione 

Carnegie Hall 

“The Manhattan Philharmonic…played…with great passion and accuracy for conductor Peter Tiboris…. The audience 

went understandably wild at the opera’s close.” 

Robert Levine, ClassicsToday.com 

__________ 

Mikis Theodorakis: Electra 

Carnegie Hall 

“[Peter Tiboris] drew a polished and unflaggingly energetic performance from the Manhattan Philharmonic.” 


__________ 

Mozart: The Magic Flute 

Knoxville Opera Company 

“Maestro Peter Tiboris…led the orchestra and singers seamlessly through the work. Directing with crisp, definite cues, 

he ensured that the singers on stage and the musicians in the orchestra pit stayed right with each other.” 

Bob Barrett, The Knoxville News-Sentinel 

__________ 

Dvorak: Te Deum 

Beethoven: Symphony No. 9, Op. 125 ("Choral") 

Montreal, Quebec 

“ Under the direction of American conductor Peter Tiboris, the orchestra of La Société Philharmonique de Montréal staged 

a rather rare event: Beethoven’s Ninth Symphony in the edition retouched by Gustav Mahler…. The results were, all 

in all, spectacular.” 

Carol Bergeron, Le Devoir 

__________ 

Beethoven: “Coriolan” Overture 

Beethoven: Symphony No. 7 

Saint-Saëns: Piano Concerto 

Bydgoszc Philharmony (Poland) 

“ Peter Tiboris[’s] powerful and highly emotional interpretation had such an emotional impact on the audience…. What 

became the most important was a vivid action, dramatic narration and well-executed high point of the drama…. The interpretation 

of the American conductor showed the deep understanding not only of the musical forms of the separate 

movements, but also in the whole piece….” 

Gazeta Regionalna , Poland 

Translated by Aleksandra Klaput 

__________ 

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PETER TIBORIS 

Tchaikovsky: Symphony No. 5 

Rzeszow Philharmony (Poland) 

“ Peter Tiboris…conducted with tremendous impetus and dynamic passion. I must admit it has been a long time since I 

have heard the introduction to the first movement being rendered in this incredibly dense, collected, undistracted spirit, 

full of awe, as if a premonition of something tragic and frightful to happen…and then those undescribably passionate 

outbursts of the tempestuous drama in the otherwise lyrical second movement!” 

Jozef Kanski, Ruch Muzyczny, Poland 

Translated by Leon Unger 

__________ 

Barber: Overture to The School for Scandal, Op. 5 

Barber: Adagio for Strings, Op. 11 

Barber: Second Essay for Orchestra, Op. 17 

Glass: The Canyon; A Dramatic Episode for Orchestra 

Tchaikovsky: Symphony No. 4 in F minor, Op. 36 

Niedersächsisches Staatsorchester Hannover (Germany) 

Avery Fisher Hall 

“At Avery Fisher Hall, the [Niedersachsisches Staatsorchester Hannover] gave the American conductor Peter Tiboris…alert, 

lush-toned playing…. The bright textures of the Overture to ‘The School for Scandal’ (Op. 5) came through 

with unusual transparency, and the thematic expansions and elaborations of the ‘Second Essay' (Op. 17) were rendered 

cohesively…. Mr. Tiboris led the Adagio for Strings…[and] elicited a dignified, tonally rich performance…. Mr. Tiboris 

closed the concert with a sizzling and precise… performance of the Tchaikovsky Fourth Symphony.” 


__________ 

“…a first-rate…conductor…. In…the Overture to ‘The School for Scandal,’ ‘Adagio for Strings’ and ‘Second Essay for 

Orchestra,’ every measure was alive with love for the music, and the playing was as technically expert as enthusiastic….” 

Bill Zakariasen, Daily News (NY) 

__________ 

Prokofiev: Romeo and Juliet (scenes from the ballet) 

Schnittke: Concerto for Piano and Strings 

Tchaikovsky: Symphony No. 1 in G minor, Op. 13 ("Winter Dreams") 

Carnegie Hall 

"Tiboris Ambitious As Ever" [Headline] 

"It would have been foolhardy to begin with six scenes from Prokofiev's ballet Romeo and Juliet, because of its exposed 

brass and often raw sound, but all went exceedingly well. Tiboris led with a thorough understanding of the music 

and…we had a performance that was virile, lyric, compassionate and lush…. The concert ended with an idiomatic, enjoyable 

reading of Tchaikovsky's First Symphony, 'Winter Dreams.'" 

Bert Wechsler, Daily News (NY) 

__________ 

Dello Joio: Nativity: A Canticle for the Child 

Handel: Messiah (Christmas portions) 

Carnegie Hall 

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PETER TIBORIS 

“Tiboris’ upbeat, bracing conducting of ‘Messiah’ paid dividends—his tempos…were markedly similar to those of Sir 

Thomas Beecham.” 


__________ 

Verdi: Requiem 

Carnegie Hall 

“Mr. Tiboris was clearly at home in the score, and the quality of choral tone in the fortissimo climaxes was thrilling. 

Throughout the concert, the choruses seemed strikingly well prepared for such a large and heterogeneous group.” 

Will Crutchfield, The New York Times 

__________ 

Beethoven/Mahler: Symphony No. 9, Op. 125 ("Choral") 


“Tiboris’ performance was one of the most exciting and inspiring I’ve ever heard of this masterwork, whatever the edition.” 


__________ 

Tchaikovsky: Ode to Joy 

Beethoven: Symphony No. 9, Op. 125 ("Choral") 


“Mr. Tiboris relished any opportunity to turn his chorus loose …. [H]e elicited from his orchestra a smooth, gentle introduction 

to the ‘Ode to Joy’ section, and it was stirring to hear all those singers at full tilt roaring out the symphony’s climax.” 

Michael Kimmelman, The New York Times 

__________ 

Walton: Coronation Te Deum 

Bruckner: Te Deum 

Berlioz: Te Deum 


“Mr. Tiboris led strong, secure performances, with solid playing from the orchestra and sure singing from the nine…choruses 

involved. The Walton, with its antiphonal effects, was especially stirring. But the Bruckner took on a nice, 

almost strident urgency, too, and the Berlioz sounded grand and moving….” 

John Rockwell, The New York Times 

__________ 

“An added plus was the admirably well-paced conducting of Tiboris and the splendid orchestral playing—virtues which 

would remain constant throughout the program…. The finest performance, though, was granted Berlioz’ massive masterwork—not 

only were the sonics often grand in the extreme, but the vast performing lineup sang and played with a- 

mazing alertness and precision.” 

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PETER TIBORIS 


__________ 

Handel: Israel in Egypt 


“There was no pretense at instrumental ‘authenticity’: great choral music was fervently, eagerly, and accurately sung, it 

proved stirring…. There was life and warmth in the music-making.” 

Andrew Porter, The New Yorker 

__________ 

“The Polished Fire of Verdi’s Requiem” [Headline] 

“Verdi’s Requiem as performed by the American Symphony Orchestra…under conductor Peter Tiboris…was sheer fire. 

Tiboris’ execution of the massive score…was alive with such sincerity as must transport any expression…. Polished fire. 

Great Performance.” 

Emerson Randolph, “The World and I,” Washington Times 

__________ 

Verdi: Messa da Requiem 


“Tiboris is far more than a talented maestro…to combine strengths and ameliorate the differences of visiting ensembles; 

to perform as a united and thrilling whole.” 

Harriett Johnson, New York Post 

__________ 

Kodaly: Budarvi Te Deum 

Nielsen: Hymnus Amoris, Op. 12 

Chopin: Piano Concerto No. 1 in E minor 

Carnegie Hall 

“Tiboris is a Pied Piper who is able to get hundreds and even hundreds more with a singing heart to follow his baton 

down an endless line.” 

Harriett Johnson, New York Post 

__________ 

“Tiboris…proved to be a conductor of decisive authority…. [T]he choruses in two tiers of boxes on either side of the hall 

contributed to an enchanting effect.” 

The Daily News 

__________ 

Peter Tiboris' New York Debut at Lincoln Center 

Rossini: Stabat Mater 

Constantinides: Antigone 

Constantinides: Hymnus Tou Pnevmatos 

“…vigorous…alert, energetic conducting…the ‘Lament of Antigone’ in a New York Premiere, proved an impassioned 

utterance.” 

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PETER TIBORIS 

The New York Times 

__________ 

CD REVIEWS 

Mozart: Symphony No. 40 in G minor, K.550 

Symphony No. 41 in C major, K.551 ("Jupiter") 

Beethoven: Leonora Overture No. 3, Op. 72a 

“… widely recognized as the foremost proponent of Mahlerian performance editions. He secures solid 

and…accomplished performances here…. This release triumphs time after time. I can only commend it to you in the 

strongest possible terms.” 

Michael Jameson, Fanfare 

__________ 

Dvorák: The Spectre's Bride 

“…a fine collection of…Dvorák tone poems and overtures including The Water Goblin, Symphonic Variations, Slavonic 

Rhapsody and Scherzo Capriccioso. Keep your eye on Elysium; future releases will include Mahler's rearrangements of 

well-known symphonies and a number of unjustly neglected Romantic and Classical-era masterpieces. This is good 

news for anyone who has already 'done' the top 100 classics." 

Richard Halley, "CD Picks," On The Air Magazine 

__________ 

“Peter Tiboris conducts the Bohuslav Martinu Philharmonic and Bratislava Chorus with feeling and no little poetry." 

Barrymore Laurence Scherer, Gramophone 

Listen few audio clips (click the icons below) 

From the brand new cd “ZANETTO” 

Mascagni: Zanetto and 

L'amico Fritz—Intermezzo 

Cavalleria rusticana—Intermezzo Elysium GRK726, Peter Tiboris, Conductor, Bohuslav 

Martin Philharmonic 

P.Mascagni : Zanetto Prelude 

P. Mascagni : L’Amico Fritz Intermezzo 

P. Mascagni : Cavalleria Rusticana Intermezzo 

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PETER TIBORIS 

FOR INFORMATIONS AND BOOKING : 

IUMA MANAGEMENT 

Via Montecassiano 157 A/7 00156 Rome, Italy 

Tel. 0039 06 64508732, telefax 4115308 

cell. 0039 320 0780326, 338 1029430 

cfcatena@gmail.com or cfrancesconi69@gmail.com 

Pagina 15

Peter Tiboris - IUMA Management

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