Intermusica Artists' Management



Intermusica represents Tim Mead worldwide.

Artist Manager:
Catherine Chan-Murphy

Assistant to Artist Manager:
Martha Hartman

Other Links:

Tim Mead's website

Tim Mead on Facebook

Tim Mead on Twitter

Tim Mead


“Luminous voice, impeccable control and expressive phrasing.”
New York Times

British counter-tenor Tim Mead is praised for the warmth of his voice and the virtuosity and stylistic elegance of his singing.

Engagements in 2014/15 include the world premiere of Theo Loevendie’s Spinoza at the Concertgebouw Amsterdam, Bach B Minor Mass with the English Concert, Messiah with the Handel & Haydn Society and the Academy of Ancient Music, a solo recital in Rome, the title role in Philip Glass's Akhnaten at Opera Vlaanderen, and the title role Riccardo Primo at Opera Theatre of Saint Louis. Next season Mead will also make his role debut as Oberon A Midsummer Night’s Dream at Bergen Opera.

Most recent operatic highlights include Goffredo Rinaldo at Glyndebourne Festival Opera, Endimione La Calisto at Bayerische Staatsoper, Voice of Apollo in Deborah Warner’s production of Death in Venice at English National Opera and De Nederlandse Opera, Angel 1/Boy in George Benjamin’s Written on Skin at Théâtre du Capitole Toulouse and at the Gulbenkian Lisbon, Tolomeo Julius Caesar at English National Opera and Eustazio Rinaldo at Glyndebourne Festival Opera. Other operatic highlights include Ottone L’incoronazione di Poppea at ENO, Opéra de Lyon, Opéra de Lille, Opéra de Dijon and Den Norske Opera, title role Giulio Cesare at Glyndebourne Festival Opera, Endimione La Calisto at the Bayerische Staatsoper, title role Orlando at Scottish Opera and Chicago Opera Theater, Clearte Niobe and the world premiere of Harrison Birtwistle’s The Minotaur for the Royal Opera House, Covent Garden, title role Admeto at International Händel Festspiele Göttingen and the Edinburgh International Festival, Ottone Agrippina in Lille and Dijon, Tolomeo Giulio Cesare at Deutsche Oper am Rhein, Paggio Ercole Amante at De Nederlandse Opera and in concert the title role in Gluck’s Orfeo ed Euridice with the Akademie für Alte Musik, Andronico Tamerlano with Les Musiciens du Louvre Grenoble, Rinaldo with Bach Collegium Japan and Bertarido Rodelinda with Mercury Baroque.

On the concert platform Tim Mead has sung Messiah with the New York Philharmonic, Orchestra of the Age of Enlightenment, Le Concert d’Astree, Royal Scottish National Orchestra, Orchestra Sinfonica Nazionale della Rai, Accademia Bizantina and Concerto Köln, Bach Christmas Oratorio with Les Arts Florissants, Bach Magnificat with Le Concert d’Astree, Bach St Matthew Passion with London Handel Festival and De Nederlandse Bachvereniging, Handel Theodora with the English Concert, Handel Solomon with Akademie für Alte Musik, Handel Judas Maccabaeus with the OAE, Handel Saul with the Dresdner Barockorchester, Handel Joseph and his Brethren at the International Händel Festspiele Göttingen, Handel Susanna with the Early Opera Company, Handel Esther with the Dunedin Consort and Dusapin La Melancholia with the SWR Sinfonieorchester. He has worked with such leading conductors as Ivor Bolton, William Christie, Laurence Cummings, Christian Curnyn, Alan Curtis, Ottavio Dantone, Paul Goodwin, Emmanuelle Haïm, Vladimir Jurowski, Nicholas McGegan, Marc Minkowski and Masaaki Suzuki.

Mead’s already substantial discography includes Bach St Matthew Passion and B Minor Mass, the Handel oratorios Messiah, Saul, Solomon, Israel in Egypt, and The Triumph of Time and Truth, the Handel operas Admeto, Flavio, Riccardo Primo and Rinaldo, and Monteverdi L’incoronazione di Poppea. He has recorded for EMI Classics, Harmonia Mundi, Opus Arte, Chandos, Linn Records amongst others.

Mead read Music as a choral scholar at King’s College, Cambridge, before winning a number of scholarships to continue his vocal studies at the Royal College of Music.

Tim Mead is represented by Intermusica.
February 2015 / 544 words. Not to be altered without permission. Please destroy all previous biographical material.

Opera Repertoire

Angel 1/The Boy Written on Skin
Innocent 5 The Minotaur
Oberon A Midsummer Night's Dream
Voice of Apollo Death in Venice
Endimione La Calisto

Paggio & Ombra di Bussiride Ercole Amante
Ometh Golem
Orfeo Orfeo ed Euridice
Admeto and Trasimede Admeto

Ottone Agrippina

Title role Ezio

Title role Flavio

Cesare and Tolomeo Giulio Cesare

Idelberto Lotario

Title role Orlando

Oronte Riccardo Primo

Rinaldo, Eustazio (Goffredo) Rinaldo

Bertarido Rodelinda

David Saul

Athamas Semele

Title role Siroe

Melo Sosarme

Andronico Tamerlano
Pastore Orfeo

Ottone L'incoronazion di Poppea
Famace Mitridate
Jalal Varjak Paw
Clearte Niobe
Licida L'Olimpiade

Concert Repertoire


Christmas Oratorio


Mass in B Minor

St John Passion

St Matthew Passion
Chichester Psalms
La Melancholia
Alexander's Feast

Dixit Dominus


Israel in Egypt



Joseph and his Brethen

Judas Maccabaeus





Carmina Burana
Stabat Mater

Nisi Dominus

Stabat Mater

Handel Messiah / Handel & Haydn Society / Symphony Hall Boston
Cond. Harry Christophers

“…the society found a stellar presence in countertenor Tim Mead. Warm and smooth of tone, Mead’s singing mined the pure humanity laden within Handel’s score. His aria “But who may abide” had the twinge of sadness. His performance of “He was despised” was wrenching… Mead, though, was capable of turning up the heat. His singing of “For he is like a refiner’s fire” was electrifying, the darting lines sounding with spring-water clarity.”
Aaron Keebaugh, Boston Classical Review, November 2014

Mass in B Minor / Hyperion CDA 68051/
Cond. Jonathan Cohen

“Tim Mead’s rapt alto in ‘Qui sedes’ and ‘Agnus Dei’”
Sunday Times, November 2014

Messiah / Choir and Orchestra of Le Concert d’Astrée (CD: Erato, 2014)
Cond. Emmanuelle Haïm

“Tim Mead gives an articulately shaded performance of the superior alto setting of ‘But who may abide the day of his coming”
David Vickers, Gramophone, December 2014

Handel Messiah / Academy of Ancient Music / Barbican Hall
Cond. Richard Egarr

“Tim Mead is a remarkable example of the countertenor genre, and his striking tone quality made big impact.”
Alan Sanders, Classical Source, December 2014

Handel Messiah / Handel & Haydn Society / Symphony Hall Boston
Cond. Harry Christophers

“…the society found a stellar presence in countertenor Tim Mead. Warm and smooth of tone, Mead’s singing mined the pure humanity laden within Handel’s score. His aria “But who may abide” had the twinge of sadness. His performance of “He was despised” was wrenching… Mead, though, was capable of turning up the heat. His singing of “For he is like a refiner’s fire” was electrifying, the darting lines sounding with spring-water clarity.”
Aaron Keebaugh, Boston Classical Review, November 2014

Bach B minor Mass / The English Concert / Bridgewater Hall
"Alto Tim Mead was outstanding in Qui sedes..."
Robert Beale, Manchester Evening News, September 2014

Goffredo Rinaldo / Glynebourne
Cond. Ottavio Dantone / dir. Robert Carsen

“Tim Mead is impressive”
Hilary Finch, Times, August 2014

The Triumph of Time and Truth / Ludus Baroque [CD: Delphian]
Cond. Richard Neville-Towle

“Tim Mead sings with immaculate poise”
Anna Picard, BBC Music Magazine, September 2014

“Tim Mead is admirably firm and even toned, with some hauntingly beautiful tone.”
Robert Hugill, July 2014

Apollo Death in Venice / English National Opera / DVD: Opus Arte
Cond. Edward Gardner / dir. Deborah Warner

“Tim Mead…has the greater vocal muscularity – he is a serious and menacing adversary even for Shore’s typically accomplished rival.”
Alexandra Coghlan, Opera, August 2014

“Tim Mead’s imperial, commanding singing”
William R. Braun, Opera News, July 2014

“Tim Mead is an ethereal Apollo…”
Francis Muzzu, Opera Now, June 2014

“Countertenor Tim Mead, as Apollo (not just a voice here), is handsome and liquid, and subtly makes the argument that the Apollonian is merely the other side of the Dionysian, not its cure.”
Tim Pfaff, Bay Area Reporter, May 2014

The Seasons JC Smith / Musica Franconia Festival Choir & La Banda [CD: Christophorus]
Cond. Wolfgang Riedelbauch

“Countertenor Tim Mead equals Kirkby’s ease and spiritedness, and their rollicking duet ‘The thunder rolls’ slips down like champagne.”
Berta Joncus, Classical Music, July 2014

“…his contralto sound is managed expertly, with fine placement and agility.”
Barry Brenesal, Fanfare Magazine, June 2014

“…with the pure-toned Tim Mead…”
Richard Lawrence, Gramophone, June 2014

Monteverdi Madrigals / Arcangelo
Cond. Jonathan Cohen

“Arnalta’s lullaby from The Coronation of Poppea was sung with haunting poise by the countertenor Tim Mead.”
Neil Fisher, Times, March 2014

Recital with La Nuova Musica / London Handel Festival
“David Bates had shaped a beautiful first half in which he directed, from Handel’s own little chamber organ, an exquisitely played extract from the composer’s Op 6 Concerto Grosso in A. It segued into the aria 'Yet can I hear that dulcet lay', sung by Tim Mead whose countertenor, strong, supple and of real substance, had already provided a sweet and solemn opening in Eternal Source of Light Divine. Securely ballasted below and thrillingly brilliant at the top, his voice also tackled arias from Judas Maccabaeus and Messiah with a skill and imagination every bit the equal of that of his accompanying players.”
Hilary Finch, Times, March 2014

Didymus Theodora / The English Concert / Barbican Hall, London
Cond. Harry Bicket

“Rosemary Joshua’s delicately-calibrated portrayal of the title role found its ideal complement in that of counter-tenor Tim Mead as the Roman convert who joins her in martyrdom”
Michael Church, Independent, February 2014

“Here was the sort of counter-tenor one only dreams about: laser-like pitching and tone, yet not uncomfortably acid sounding and capable of huge emotion. His “The Raptur’ed Soul defies the Sword” injected huge lyricism into the highly melismatic vocal lines. But the part of Didymus comes into its own in the second act and Mead rose magnificently to the challenge, with the aria, “Sweet rose and lilly” perhaps demonstrating his art at its height.”
Colin Clarke, Seen and Heard International, February 2014

“Tim Mead sang with a lovely centred tone, quite muscular at times. It is easy for Didymus to sound like a wimp, and without any posturing Mead gave us firmness, decisive almost, combined with evenness of tone and moments of great beauty. In his first aria, “The raptur'd Soul”, Mead showed all these virtues combined with some fluently even passagework. In “Kind Heav'n” Handel alternates moments of quiet rapture with more active passages, and Mead made the contrast count. He conjured some magical tones for the gentle rapture in the da capo and was suitably decisive in the faster passages. In act two “Deeds of Kindness” was notable for the sense of long line and beautifully controlled shape, whilst “Sweet Rose”, and “Lily” had fine grained tone, touching simplicity and a fabulous violin solo.”
Robert Hugill, Planet Hugill, February 2014

“Tim Mead, raising his game to project notes of radiant purity as Didymus.”
Richard Fairman, Financial Times, February 2014

“Didymus is always a bit of a cipher, but sung by young British countertenor Tim Mead was musically impeccable. Mead gets better each time I hear him.”
Alexandra Coghlan, The Arts Desk, February 2014

“Tim Mead as Didymus took his countertenor voice of searing purity, and asserted it with great vibrancy so that every trill felt both natural and musically precise.”
Sam Smith, Music OMH, February 2014

“The countertenor Tim Mead took on the role of Didymus and, I am pleased to report, sang it like a man…You could hear he was taking risks in order to produce the most melting sotto voce and to ensure each phrase was beautifully formed, for example in “The raptured soul”…I heard a clear, focused tone, some excellent projection, perfect divisions and some of the most beautiful sounds you could wish to hear from a countertenor.”
Miranda Jackson, Opera Britannia, February 2014

Didymus Theodora / The English Concert / Birmingham
Cond. Harry Bicket

“But the nicest surprise of all lay in another singer. The countertenor Tim Mead…dominates, the sound is forceful, confident, often thrilling – the presence attractive and engaging. The tone and timbre are immensely alluring. There is a precision that goes with the assurance. His coloratura was second to none. ‘To thee, thou glorious son of worth’, where he is matched in duet by Theodora as they both brace for the worst, is lovely enough: ‘Streams of pleasure’, the Act 3 equivalent, even more so. But ‘Kind heaven, if virtue be thy care’ at the end of Act I, with attractively skedaddling violins, was an aria of breathtaking beauty, the clarity and precision at this moment when he determined, if necessary, to die matched by some delightful light decoration at the da capo: pure enchantment; Didymus’s big Act 2 aria, ‘Deeds of kindness to display’, was simply out of this world.”
Roderic Dunnett, Seen and Heard International, February 2014

“Countertenor Tim Mead floated some gorgeous high notes, gracefully caressing the words.”
Norman Stinchcombe, Birmingham Mail, February 2014

Endimione La Calisto / Bayerische Staatsoper
Cond. Ivor Bolton Dir. David Alden

“The excellent young countertenor Tim Mead already played Endymion in the last version of this production of Calisto in 2009, and now shows, with a wonderfully soft rounded tone, a great depth of feeling as the corruptor of Diana, the only human in this shrill collection of gods, half gods and nymphs.”

“Bleibt der exzellente junge Countertenor Tim Mead. Er verkörperte schon in der letzten Wiederaufnahme dieser „Calisto“-Produktion 2009 den Endymion und zeigt nun mit wunderbar weich gerundeter Stimme eine große Tiefe des Gefühls als der Diana verfallener, einziger Mensch in diesem schrillen Panoptikum der Götter, Halbgötter und Nymphen.”
S.Z., Süddeutsche, January 2014

“Tonight was the first time I heard Tim Mead live and he also struck by the sheer beauty of tone of his counter-tenor. There was an evenness of tone and beauty of line that was simply ravishing. Definitely a voice to watch.”
Operatraveller, January 2014

Handel Messiah / Orchester Wiener Akademie at Wiener Musikverein
Cond. Martin Haselböck

"The soloists were captivating: My particular favourite was alto soloist Tim Mead (replacing the indisposed Robin Blaze at the last minute), who is equipped with a wonderfully expressive countertenor voice."
V.P., Kronen Zeitung, December 2013

Bach B Minor Mass / Ludus Baroque / Edinburgh Festival
“Tim Mead's counter tenor unfurling of the Agnus Dei brought the moment of highest eloquence.”
The Herald, August 2013

Ottone L’incoronazione di Poppea / Opera de Lille (DVD, Virgin Classics)
“Countertenor Tim Mead’s Ottone is sung handsomely and acted with sincerity and gravity…”
Classics Today, August 2013

“Tim Mead’s Ottone… [is] vocally and dramatically outstanding…”
Gramophone, August 2013

“Equally glorious [as Drusilla and Ottone], soprano Amel Brahim-Djelloul and counter-tenor Tim Mead are perfect in their compositions. Both as in control of the Baroque style as in the composition of their characters, they manage to make us believe the torment of their uncertain relationship.”
Classic Toulouse, July 2013

Apollo Death in Venice / ENO
Cond. Ed Gardner

“Tim Mead is pefect for the part of Apollo: he has the stature, the heavenly voice…”
Musical Criticism, June 2013

“Tim Mead’s Voice of Apollo is beautifully vocalised...”
The Stage, June 2013

“Tim Mead sang with due radiance as Apollo...”
Financial Times, five stars, June 2013

“Everything else about the performance - Edward Gardner’s crystalline orchestra, Andrew Shore in multiple guises, Tim Mead, Marcus Farnsworth, Anna Dennis, Peter van Hulle and the chorus on the periphery - is pitch-perfect in economy and clarity. And what a blessed relief to be liberated from surtitles, and yet to hear the text so clearly too.”
Daily Telegraph, four stars, June 2013

“Some of the vocal writing is also outstanding, particularly the relatively small part of Apollo, sung with elegance and purity of tone by countertenor Tim Mead.”
Bach Track, three stars, June 2013

“Counter-tenor Tim Mead’s Voice of Apollo cuts through the opera like cold steel.”
Independent, five stars, June 2013

“Countertenor Tim Mead is a strong Apollo, here physically realised as a relaxed young man rather than a disembodied god.”
What’s On Stage, five stars, June 2013

“Tim Mead sings with honeyed allure as the Voice of Apollo...”
Guardian, five stars, June 2013

“Tim Mead’s was a fine corporeal ‘Voice’ as Aschenbach’s imagined conscience, Apollo, with a timbre redolent of the role’s originator, James Bowman (who was present in the first-night audience).”
Classical Source, June 2013

Joacim Susanna / Early Opera Company
Dir. Christian Curnyn

“Although Joacim might be thought a somewhat passive, feckless husband, musically he forms a dynamic complement with Susanna, ably realised by Tim Mead and Emilie Renard respectively, not least in the emotional and vocal unanimity of their two duets. For precision and purity of voice, they were a perfect match, aptly mirroring the chastity they embody: their soprano and countertenor ranges contrasted eloquently with the gruff sleaziness of the Elders’ lower voices…The difficult melismatic lines in arias such as ‘On fair Euphrates’s verdant side’ and ‘On the rapid whirlwind’s wing’ held no terror for Mead, delivered with marvellous clarity and suppleness…certainly he established a person of likeable simplicity that stood out in signal opposition to the duplicity of the Elders.”
Curtis Rogers, Classical Source, June 2013

“Whether in love or defiance, Emilie Renard’s Susanna was nobly passionate, in contrast with Tim Mead's Joacim, who was impeccably sung…”
Tim Ashley, The Guardian, June 2013

“Ungrateful the role of Joacim may be, but such was the expressive power and range of tonal colour Tim Mead brought to it that it scarcely mattered.”
Evening Standard, June 2013

Ottone in Monteverdi L'Incoronazione di Poppea / Opera de Lille / DVD
Cond. Emmanuelle Haïm / dir. Jean-François Sivadier

"Few performances of the opera have enjoyed an Ottone as fine as British countertenor Tim Mead, whose centered, focused voice aligns with acting that gets at the heart of the character. Facing misfortune and rejection, Ottone’s character is not entirely unblemished: he, too, engages in artifice, all too willingly accepting Drusilla’s affection for his own benefit when he is keenly aware that his heart pines only for Poppea. Mr. Mead reflects this duality convincingly in his performance, coloring the voice intelligently and summoning dulcet tones for Ottone’s most heartfelt utterances, not least in his first scene. A lithe, handsome performer, Mr. Mead interacts with his colleagues fascinatingly, his Ottone generating great chemistry with Ms. Brahim-Djelloul’s Drusilla. Mr. Mead’s voice is genuinely beautiful, and the sincerity of his performance makes Ottone an unusually looming presence in the opera."
Opera Today, June 2013

“Ottone, convincingly played by Tim Mead.”, May 2013

Handel Joseph and his Brethen / International Handel Festival Göttingen
cond. Laurence Cummings

“Tim Mead…in soaring high notes delivered with power and confidence. 'Come divine inspirer, come' was smoothly delivered with ringing high notes; 'The peasant tastes the sweets of life' was a moving still point in the unfolding drama.”
Opera Britannia, June 2013

“First class… The countertenor Tim Mead in the title role has a very noble timbre, wonderfully flexible voice.”
Gottinger Tageblatt, May 2013

“Joseph as Pharaoh’s troubled right hand man was handsomely characterized with as much dramatic charge as the part allows by Tim Mead, one of several countertenors who seem to have developed more strength and authority over the years.”
The Arts Desk, May 2013

“Tim Mead was perfectly suited as Joseph and provided a supple radiant tone for the evening.”
Hessische/Niedersächsische Allgemeine, May 2013

Handel Esther / Dunedin Consort / Wigmore Hall
cond. John Butt

“Countertenor Tim Mead rose to the air’s challenges magnificently…”
Seen and Heard International, April 2013

Angel 1/Boy in Gerorge Benjamin Written on Skin / Théâtre du Capitole de Toulouse
cond. Franck Ollu / dir. Katie Mitchell

“Between Aix-en-Provence and Toulouse, the role of the Boy changed incumbent: Bejun Mehta handed over to Tim Mead. This was a beneficial choice: the singers were equals in both vocal and dramatic terms, but Tim Mead blended better with the rest of the cast, intensifying the chamber music aspect and the intimacy of the piece. Tim Mead’s career is definitely one to be followed.”
Res Musica, December 2012

“Counter-tenor Tim Mead opened the opera with an imperceptible note, which grew unselfconsciously and gracefully. This was a striking beginning, and the singer didn’t disappoint his audience. His role was ambiguous, playing both an angel and the Boy, and his vocal typology was suitably equivocal, developing a crystal-clear tone but using predominantly the middle and lower registers. Tim Mead sang with elegance and delicacy; his tone was a little cool, but this fitted his role completely. His was the only character to be given vocal acrobatics to sing, especially in scene 2, but he maintained a restraint that was both innocent and unnerving.”
Classique Info, December 2012

“Tim Mead was a favourable replacement for Bejun Mehta in the role of the Boy. His faultless projection was paired with an outstanding focus on the dramatic development. Even more so than at the première of the piece in Aix-en-Provence, the singer’s timbre seemed to fit the role of victim and lover perfectly.”
Anaclase, November 2012

Handel Messiah / New York Philharmonic / Avery Fisher Hall
cond. Gary Thor Wedow

“This Messiah proved notable for the Philharmonic debuts of two gifted young singers, the soprano Layla Claire and the countertenor Tim Mead… Mr. Mead made an equally strong impression with his luminous voice, impeccable control and expressive phrasing.”
Vivien Schweitzer, New York Times, December 2012

“Tim Mead was impressive and it’s not hard to understand why he is in such demand. Tonal purity and technical precision are among his many qualities. He sang intelligently with a nobility of character and steady production.”
Classical Source, December 2012

Tolomeo in Handel Julius Caesar / ENO
cond. Christian Curnyn / dir. Michael Keegan-Dolan

“Tim Mead’s sadistic Ptolemy (sporting a wig Javier Bardem’s No Country For Old Men villain would be proud of) was another win – a cruelly impotent tyrant who gets his kicks from hitting croquet balls off the mouths of his harem. Balancing some elegant singing with just enough character…”
Alexandra Coghlan, New Statesman, October 2012

“The singing was very good. Countertenor groupies should be well pleased with Lawrence Zazzo and Tim Mead, both of them with awesome, Coliseum-filling voices. Zazzo sails evenly through his range with thrilling energy and brilliance, and he had all Caesar’s swaggering glamour. Mead was just as exciting as the psychotic Ptolemy, and they both sung with stunning virtuosity”
Classical Source, October 2012

Israelitish Messenger/Israelitish Priest in Handel Judas Maccabaeus / BBC Proms 2012
cond. Laurence Cummings

“countertenor Tim Mead brought elegant solemnity to the role of the Israelitish Priest”
Times, July 2012

“The most magical singing of the evening from counter-tenor Tim Mead… The purity of Mead’s tone, almost treble-like at times, was spell-binding. Tuning was 100%, projection was superb, diction clear, and he communicated with the audience wonderfully. As soon as this aria was over I longed to hear him again, and this wish was granted in another inserted aria, situated half-way in his recitative as First Messenger. His contribution may have been brief, but Mead earned his pay-cheque several times over.”
Opera Britannia, July 2012

“We heard a glorius 3/4 aria about half-way during the recitative, sang with almost unbelievable perfection by counter-tenor Tim Mead… Counter-tenor Tim Mead (Israelitish Messenger/Priest) provided beauty and skills which should be compulsory to listen to by all aspiring baroque singers. His breath control was simply awe-inspiring…”
Musical Criticism, July 2012

“Best of all, though, was Tim Mead as the Priest, singing his great invocation with a breathtaking fervour that made it the high point of the evening.”
Tim Ashley, Guardian, July 2012

“Tim Mead’s beguilingly beautiful countertenor emerging out of silence in ‘Father of Heav’n’. He dared those in the audience to move. They didn’t!”
Classical Source, July 2012

“Tim Mead covered himself in glory in the counter-tenor part, with a ‘Father of Heav’n’ of touching eloquence, showing a true sense of the import of this prayer for a blessing on the ‘Feast of Lights.’ Why, his central plea to God was received in almost complete silence…”
MusicOMH, July 2012

Andronico in Tamerlano / Festival: Le triomphe de Händel / Versailles
cond. Marc Minkowski / Les Musiciens du Louvre Grenoble

“Even after the end of the concert, I could still hear the excellent Tim Mead’s voice in my head. (...) His Andronicus was filled with a sense of drama from the very first bar. He developped a wide range of nuances in his role, displaying artistic skills equal to those of Irene.”
Anaclase, July 2012

Licida in Vivaldi L’Olimpiade / Garsington Opera
cond. Laurence Cummings / dir. David Freeman

“countertenor Tim Mead, who sings with warm, virile sound and agile passagework”
Anthony Tommasini, New York Times, June 2012

“Two excellent countertenors dominate proceedings, with Tim Mead bringing warmth to his singing as Licida and Michael Maniaci supplying virtuosity as the prince’s tutor.”
John Allison, Seven Magazine, Daily Telegraph, June 2012

“L’Olimpiade was nicely done and very nicely sung, especially by Tim Mead as the long-lost prince, Licida… world-class Vivaldians”
Hugh Canning, Sunday Times, June 2012

“Two notably butch but golden-voiced countertenors, Tim Mead and Michael Maniaci, play the suitor and his tutor”
Paul Levy, Wall Street Journal, June 2012

“Tim Mead, a robust and gleaming countertenor”
Times, June 2012

“After grabbing attention with his small role in last summer’s Glyndebourne ‘Rinaldo’, countertenor Tim Mead returns here in the lead. While not the most vocally demonstrative of roles, Licida offers ample opportunity for this musical young singer to show his skill, taking the evening’s laurel wreath with the miraculous, controlled stillness of ‘Mentre dormi’.”
The Arts Desk, June 2012

Ottone in Monteverdi L’incoronazione di Poppea / Opera de Lille
Cond. Emmanuelle Haïm / dir. Jean-François Sivadier

“the most beautiful countertenor singing of the evening came from Tim Mead as the vacillating Ottone”
Stephen Joseph Mudge, Opera News, March 2012

“Tim Mead’s superb, velvety Otho…”
Frances Carlin, Financial Times, March 2012

Ottone in Handel Agrippina / Opera de Lille
cond. Emmanuelle Haïm / dir. Jean-Yves Ruf

“Tim Mead, virtuoso singer, with his broad and colourful counter-tenor voice and youthful figure, played a most charming Ottone.”
Opéra Magazine, March 2012

“With his constantly expressive counter-tenor voice, Tim Mead revealed Ottone’s sensitive and intimist side, whilst still making the character substantial enough to avoid pallor and affectation.”
Diapason, March 2012

“The real star of the production was counter-tenor Tim Mead as Ottone. He displayed outstanding technique, a timbre of such purity that it was almost disembodied, and an astounding virtuosity that went straight to the heart.”
Nord éclair, November 2011

Ottone in Handel Agrippina / Opera de Dijon
Cond. Emmanuelle Haïm / Jean-Yves Ruf

“The real discovery was counter-tenor Tim Mead, matchlessly moving in the arie di dolore which punctuated the second act. Unctuous and heart-breaking, he coated his lament with a bitter-sweet glaze, singing in a pure and straight voice, but without pallidity.”
La Lettre Du Musicien, November 2011

“Ottone, in love with the beautiful Poppea, had some sublime arias which were sung to perfection by British counter-tenor Tim Mead, a fine musician and a charming young man. His polished performance surpassed that of the rest of the cast, all singers of the highest standard.”
La Croix, October 2011

“The revelation in this cast was without doubt counter-tenor Tim Mead. In the purest English style, and with a timbre reminiscent of Alfred Deller, he made the most of the haughty demeanour of the only vaguely noble character in this heroic parody, demonstrating both vocal mastery and sensuality. Recumbent in one of the rare sets provided by the Director, his pastoral lament in the middle of the second act, sung as a duet with the oboe, bordered on the sublime; he flaunted the brazenly low notes at the beginning of the aria, employed just the right amount of vibrato, and shaped the wreaths of the melody to echo his character’s grief. It will be well worth following this revelation next spring, once again in Dijon, under the baton of Emmanuelle Haïm, this time singing the role of Ottone in Monteverdi’s ‘Coronation of Poppea’.”
Concert Classic, October 2011

Handel Messiah / Théâtre des Champs-Elysées
Cond. Laurence Cumming

“Tim Mead was the most touching of all the characters, alternately suave and heroic, but always present and expressive.”
Olivier Mabille, Res Musica, December 2011

“Counter-tenor Tim Mead stood out by virtue of his power, his warmth, and his impeccable style, and he did not waver even in the exposed aria ‘He was despised’ in the second half.”
Simon Corley, ConcertoNet, December 2011

Eustazio in Handel Rinaldo / Glyndebourne Festival Opera
cond. Ottavio Dantone / dir. Robert Carsen

“The most consistent exponent of Handel’s vocal lines was Tim Mead as the knight Eustazio, his countertenor mellifluous and free-flowing”
Opera News, July 2011

“Pisaroni gave one of the evening’s most rewarding performances. Another came from Tim Mead, adding depth of field to the apparently one-dimensional crusader Eustazio and turning each of his arias into a neatly-etched variation on the theme of eternal optimism.”
Opera, July 2011

“The most distinguished singing comes from Tim Mead (Eustazio)…”
Independent on Sunday, July 2011

“Tim Mead was outstanding as Eustazio…”
Barry Millington, Evening Standard, July 2011

“Tim Mead, as Eustazio, confirmed his status among the best of today’s younger counter-tenors…”
Rupert Christiansen, Daily Telegraph, July 2011

“Mention must also be made of Tim Mead’s Eustazio. Focused of tone and displaying the musicianship so lacking elsewhere, his curtain-call cheers were well-deserved.”
Alexandra Coghlan, The Arts Desk, July 2011

Eustazio in Handel Rinaldo / BBC Proms
cond. Ottavio Dantone

“Countertenor Tim Mead made a strong musical and dramatic impression as Eustazio, with vivid vigorous articulation and notable precision in the coloratura decorations. His is a truly appealing sound.”
Opera Today, August 2011

“Young Tim Mead was very convincing as Eustazio, singing the role with great easiness and beauty of tone. I think that he is one of the best and most exciting counter-tenors to appear on the scene, after Andreas Scholl and David Daniels.”
Seen and Heard International, August 2011

“Young Tim Mead was a revelatory Eustazio – a countertenor to watch”
The Arts Desk, August 2011

Title role in Handel Orlando / Scottish Opera
cond. Paul Goodwin / dir. Harry Fehr

“Mead’s bone-china legato and spitfire coloratura are impeccable throughout.”
Anna Picard, Independent on Sunday, February 2011

“Tim Mead‘s Orlando was simply dazzling. Looking every inch the flying ace, his countertenor voice was astounding from its first notes right through to the close. This kind of opera can seem strange to many contemporary audiences – though the characters are battling on stage for one another’s hearts, the truth is they are battling in a competition of virtuoso voices for our own. There can have been few present whose hearts did not beat a little faster at the sight and sound of Mead. Much is expected from an Orlando – much was delivered by Mead. The clear articulation of the complex running passages, particularly in his mad scenes, never took over from the sheer beauty of his voice. The paradox of those scenes is of course, that the more out of control Orlando’s mind becomes, the greater the control over breath and diction that the performer needs. Mead made this seem effortless; an extraordinary achievement well worth the generous appreciation of the crowd.”
Opera Britannia, February 2011

“As Orlando, counter-tenor Tim Mead is outstanding. He has not only just the right voice for the role, but draws the audience directly to the core of his suffering and vulnerability, and ultimately into sharing the joy of his recovery.”
The List, March 2011

“Tim Mead, making his Scottish Opera debut, produced a technically impressive performance of this terrifyingly difficult role, delivering tender arias while prone on a hospital trolley, cleverly underplaying the notoriously demanding, tempo-changing “mad scene” at the end of Act Two”
Independent, February 2011

“Tim Mead well deserved his warm ovation for the title role. Like it or not, the device of men singing in what is normally the women’s range does take some adjusting to in an age less accustomed to it than Handel’s. Rarely, though, do you hear it accomplished more expressively than this.”
Scottish Daily Express, February 2011

“Harry Fehr has created a moving and provocative human drama, centered around a captivating performance from countertenor Tim Mead… A hospital set can be drab, but Yannis Thavoris’s designs add just enough period detail to keep things stylish. Anyway, Mead’s Orlando needs little decoration: his voice is in gorgeous, expressive form, and his acting is utterly convincing.”
Guardian, February 2011

“Counter-tenor Tim Mead sings the title role with great sensitivity to the character’s mood swings and looks every inch the flying ace.”
Rupert Christiansen, Daily Telegraph, February 2011

“It was countertenor Tim Mead as Orlando whose constantly evolving performance held the audience in breathless silence as he finally succumbed to madness. From his first sweet refrains, through the unhinged ‘Spirits from Hades!’ to the opiate-infused ‘My eyelids grow drowsy’, Mead’s performance somehow maintained a precarious position on a path between duty and raw passion.”
Scotsman, February 2011

Recording: Title role in Handel Flavio / Chandos / Early Opera Company
cond. Christian Curnyn

“Tim Mead’s smooth tone and technical facility render the strong-whimmed Flavio pleasantly.”
Opera News, 2010

“As Flavio, Tim Mead sings smoothly and mellifluously…”
Gramophone, 2010

“… golden-age singing from Tim Mead…” (5 stars)
Rupert Christiansen, Daily Telegraph, October 2010

“Tim Mead, in the (surprisingly unassuming) title role captures just the right ironic edge of semi-serious and heroic. His is a full-blooded countertenor with just the right veneer of affability.”
Opera Now, 2010

Ottone in Monteverdi L’incoronazione di Poppea / Norwegian National Opera
“Tim Mead confirms his position as one of this generation’s great Ottones, singing with muscle and musicality.”
MusicWeb International

“There are some remarkable vocal performances, especially from Tim Mead’s lyrically exact Ottone…”
George Hall, Opera Magazine

“The best [singing] is from Tim Mead and Patricia Bardon.”
Gramophone, September 2010

Handel Messiah / Accademia Bizantina / Royal Concertgebouw, Amsterdam
cond. Ottavio Dantone

“Ster van de avond was Tim Mead, die zong als een tweede Michael Chance. Wat een zegen, een countertenor bij wie de kopstem geen enkele rem zet op de expressie.”
De Telegraaf, December 2010

Recording: Title role in Handel Admeto / Unitel Classica & C-Major Entertainment DVD
cond. Nicholas McGegan / dir. Doris Dörrie

“One can only admire Tim Mead’s performance in the title role, which he played with panache from beginning to end without flagging.”
Tutti Magazine

“Tim Mead as Admeto is a countertenor of unusual dignity, which is terrific for this role. His voice has the depth to accomplish his breadth of phrasing.”
Opera News, Nov 2010

Telemann Gensericus / Konzerthaus Berlin
“Tim Mead appeared as a glamorous, falsetto-singing young pup in the role of Honoricus, the son of Gensericus, who is afraid of love.”
Der Tagesspiegel, April 2010

Ned Rorem song recital / The Prince Consort / Wigmore Hall
“For those unsure about counter-tenors singing art song, listen to Mead and I bet you’ll be won over. Clear and even throughout his register, his gentle and charming ‘Rain in spring’ was my favourite moment of the recital, while he found a suitably enigmatic tone for ‘O do not love too long’, a Yeats setting.”
MusicOMH, March 2010

“Tim Mead is a stylish countertenor with an unusually wide range of hues. To take just two of his fine contributions, his reading of Whitman’s “Sometimes with the one I love” sensitively conveyed the poet’s message that art can harness the pains of love to artistic purpose; and in the admonitory “O do not love too long” (Yeats) Rorem’s beautiful word-setting benefited hugely from Mead’s legato delivery.”
Classical Source, March 2010

Recording: Ned Rorem ‘On An Echoing Road’ / The Prince Consort
Linn Records

“Counter-tenor Tim Mead has several solos. I enjoyed ‘That shadow, my likeness’, taken from Rorem’s Whitman Cantata, in which the 12/8 metre suits the words brilliantly. ‘Sometimes with one I love’, another setting of Whitman but from twenty-five years earlier, is a fine song, encompassing significant mood swings in a mere two pages of music. Mead is very convincing. He’s also good in the Yeats setting ‘Do not love too long’, where the word “he” in the printed text is changed to “she”, altering the piece, quite reasonably, into a man’s song.”
Musicweb International, January 2010

"…they [the Prince Consort] have a countertenor in their midst, the excellent Tim Mead, who shares the title-song, a duet with Anna Leese, and has two of the best solos."
John Steane, Gramophone, 'Editor's Choice', January 2010

“Having the countertenor Tim Mead at their disposal, The Prince Consort take advantage by assigning several songs to him. Why not? It seems to be all the rage these days. (I suspect Rorem has noted the wry comedy inherent in consequently changing the pronoun ‘he’ to ‘she’ in the setting of Yeats’s Do not love too long.) Overall, the five singers are a vocally attractive lot and truly sensitive both to the texts and to the ways in which Rorem’s music illuminates those texts. Mead’s voice is hauntingly epicene, as if some mythical creature had appeared to perform in a Rorem recital. The effect is arresting and after the initial shock one feels its validity.”
International Record Review, ‘IRR Outstanding’, February 2010

Title role in Handel Admeto / Edinburgh International Festival /
cond. Nicholas McGegan / dir. Doris Dörrie

“As Admeto, countertenor Tim Mead sings with a steady tone and clear authority.”
Independent, August 2010

Recording: David in Handel Saul / Carus
cond. Hans Christophe Rademann

“Tim Mead is a fine David, singing with dulcet, sensitively shaded tone in the sublime prayer ‘O Lord whose mercies numberless’, and later rivaling Lawrence Zazzo (for Jacobs) in dramatic fire.”
Gramophone, 2009

Title role in Handel Solomon / Wiener Konzerthaus
cond. Heinz Ferlesch

“Who deserved the crown? Definitely the British counter-tenor Tim Mead, singing in Vienna for the first time. The role was written for an alto soloist, but the counter-tenor register suggested the transcendence of this figure, hovering above earthly things. The 27 year old Mead sang with such dazzling brightness and yet such restraint that he became a medium; a guide to the new Jerusalem.”
Karl Gaulhofer, Die Presse, April 2009

Endimione in Cavalli La Calisto / Bayerische Staatsoper
cond. Ivor Bolton / dir. David Alden

“Making his Staatsoper debut, Tim Mead sang the role of Endimione in his dazzling counter-tenor voice, yearningly courting Diana.”
Jakobine Kempkens, Neue Merker, Feb 2009

Paggio/Ombra di Bussiride in Cavalli Ercole Amante / De Nederlandse Opera
cond. Ivor Bolton / dir. David Alden

“…the engaging Tim Mead, a real discovery to me, who did double duty as Paggio (Page) and Ombra di (Ghost of…) Bussiride. His personalized and characterful counter-tenor had the zing of a sassy mezzo, and his high energy portrayal (in a shiny metallic gold and black striped fitted tunic-‘n’-tights) stole many a scene. Topped off with anachronistic horn-rimmed glasses, the delectable Mr. Mead may have been slight of frame, but he dominated the stage whenever he appeared…”
Opera Today, January 2009

“The excellent counter-tenor Tim Mead had the most rewarding role as the Page, stumbling through the events like a lost Cupid, and causing even more confusion.”
Frankfurter Allgemeine Zeitung, January 2009

“As the Page, the agile counter-tenor Tim Mead made his mark particularly in the storm scene, when he fearlessly took on lightening, thunder and all kinds of remote-controlled sea creatures from his rowing boat.”
Opernwelt, January 2009

Jalal the Paw / Elyza in Julian Philips Varjak Paw / The Opera Group
cond. Gerry Cornelius / dir. John Fulljames

“Most of the singing is impressive. Tim Mead stands out. His voice rang clearly throughout the auditorium with his acting giving supreme stateliness to the mythic Jalal.”
Classical Source, September 2008

Title role in Handel Orlando / Chicago Opera Theater
cond. Raymond Leppard / dir. Justin Way

“Tim Mead rose manfully to Orlando’s treacherous music.”
John von Rhein, Chicago Tribune, May 2008


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