Counter-tenor Tim Mead is praised for his “alluring” and “consistently excellent” interpretations (New York Times). With his “rich, mellifluous sound” (Guardian), he is recognised as one of the finest across the generations of counter-tenors.
Highlights of the 2016/17 season include a return to Opera Vlaanderen as Ottone in Handel Agrippina, and a reprisal of the role of Boy/Angel in George Benjamin’s hugely successful Written on Skin at the Bolshoi. In concert, Mead will sing Athamas in Handel Semele with the CBSO and the Handel and Haydn Society, Didymus in Handel Theodora with the Akademie fur Alte Musik, Bach programmes with the Dunedin Consort, Endimione in Cavalli La Calisto with La Nuova Musica at Wigmore Hall, and will headline a concert tour of Asia with Harry Bicket and The English Concert, as part of the Shakespeare 400 celebrations. He will also appear at the Theatre des Champs-Elysees singing Monteverdi and Pergolesi for Les Grandes Voix, and will give a recital at Wigmore Hall accompanied by James Baillieu. Next season brings Mead’s debut at the Opéra National de Paris, and a return to the Bayerische Staatsoper.
Recent operatic highlights include Oberon in Britten A Midsummer Night’s Dream at Glyndebourne Festival Opera and at Bergen National Opera, the title role in Philip Glass’s Akhnaten at Opera Vlaanderen, the leading role in Theater Basel’s new ‘Melancholia’ programme both in Basel and at the Holland Festival, and the title role Riccardo Primo at Opera Theatre of Saint Louis, and Arsamene in Cavalli Xerse with Le Concert d’Astrée at Opéra de Lille, Theater an der Wien, and Theatre de Caen. Previous highlights include Goffredo and Eustazio Rinaldo at Glyndebourne, 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/Boy in George Benjamin’s Written on Skin at Théâtre du Capitole Toulouse, Gulbenkian Lisbon, on tour with the Mahler Chamber Orchestra, and in the U.S. premiere at Lincoln Center, and Tolomeo Julius Caesar at English National Opera and Deutsche Oper am Rhein. Other operatic highlights include Ottone L’incoronazione di Poppea at ENO, Opéra de Lyon, Opéra de Lille; title role Giulio Cesare at Glyndebourne, 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, title role Admeto at International Händel Festspiele Göttingen and the Edinburgh International Festival, Ottone Agrippina in Lille and Dijon, 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.
On the concert platform Tim Mead has sung the world premiere of Theo Loevendie’s Spinoza at the Concertgebouw Amsterdam; Messiah with the New York Philharmonic, Orchestra of the Age of Enlightenment, Gabrieli Consort, Handel & Haydn Society, Academy of Ancient Music, Le Concert d’Astree, Royal Scottish National Orchestra, Orchestra Sinfonica Nazionale della Rai, Accademia Bizantina and Concerto Köln; Bach B Minor Mass with The English Concert and with Les Arts Florissants and William Christie in France, Spain, and at the BBC Proms; 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 Joseph and his Brethren at the International Händel Festspiele Göttingen. He has worked with such leading conductors as Alan Gilbert, Ivor Bolton, William Christie, Laurence Cummings, Christian Curnyn, Jakub Hrůša, Paul McCreesh, Ottavio Dantone, Paul Goodwin, Emmanuelle Haïm, Vladimir Jurowski, Nicholas McGegan, Marc Minkowski and Masaaki Suzuki.
Mead’s 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 among 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.
CBSO and Handel & Haydn Society
Angel/Boy Written on Skin
Bolshoi Theatre of Russia
Shakespeare in Love, Asian tour
The English Concert
Monteverdi / Pergolesi programme
Les Grandes Voix
Solo recital with James Baillieu
Akademie fur Alte Musik Berlin
Mass in B minor
St. John Passion
St. Matthew Passion
Israel in Egypt
Joseph and his Brethren
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
Orfeo Orfeo ed Euridice
Admeto and Trasimede Admeto
Title role Ezio
Title role Flavio
Cesare & Tolomeo Giulio Cesare
Title role Orlando
Oronte Riccardo Primo
Rinaldo, Eustazio, Goffredo Rinaldo
Title role Siroe
Ottone L’incoronazion di Poppea
Jalal Varjak Paw
Mead brought a virile stage presence along with powerful yet supple vocalism that made him sound like the heir apparent to star countertenor David Daniels.
St Louis Post-Dispatch
The cast is headed by the extraordinary British countertenor Tim Mead. Tall and handsome, Mead has an amazing technique, and an unusually full sound, with a real core to it. His coloratura was spectacular, his acting convincing, and he brought down the house on Sunday night.
Seen and Heard International
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... Mead rose magnificently to the challenge, with the aria, 'Sweet rose and lilly' perhaps demonstrating his art at its height.