The Boston Musical Intelligencer

“...Kibbey’s prowess wowed. The Vianos and the winds ably supported Kibbey’s phrasing throughout. As the Allegro peaked, the room electrified.”

In its early 20^th century concert outings, [Debussy’s] Danses elicited mixed receptions, but here, unabashedly an audience rave. Indeed, the necessary kinetics made Kibbey’s performance seem like a dance in itself.

Cleveland Classical: 

Bridget Kibbey did on Saturday what harpists rarely get to do: she stole the show. No mean feat when sharing the stage with the other bright and esteemed performers who regularly appear as part of ChamberFest Cleveland — particularly during “Fantastic Tales,” the third concert of this year’s season, which took place on June 15 at the Cleveland Institute of Music’s Mixon Hall.

Kibbey was also lively with the microphone, giving an engaging introduction to André Caplet’s 1924 Conte Fantastique (Fantastic Tale). Kibbey made the most of Caplet’s action-packed work — part harp concerto and part tone poem, based on Edgar Allan Poe’s short story The Masque of the Red Death. Kibbey is a born actress as well as a masterful musician. In addition to her diabolical ease on the harp, she added a sinister smile and a bobbing head, as if possessed.

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Wall Street Journal:

The harpist Bridget Kibbey was quite wonderful—commanding and sonorous—and presented her own solo arrangement of the Toccata and Fugue in D Minor, usually attributed to J.S. Bach (I have my doubts), which was one of the evening’s highlights.

New York Classical Review:

Kibbey was afforded a solo spot performing her arrangement for harp of Bach’s Toccata and Fugue in D minor. It showcased not only the harpist’s virtuosity, but also her ability to draw dark, complex sounds from her instrument.

…Kibbey and Pinheiro provided musical interest through their combination of subtle playing and elegant style.

San Francisco Classical Voice:

‍Harpist Bridget Kibbey dominated the proceedings, not just sonically but also visually, placed at the front of the ensemble, with the string quartet, flute, and clarinet gathered around her. Kibbey displayed an impressive variety of tone colors, ranging from dry to resonant, especially in the cadenzas.