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Tim Mead


  • Counter-tenor Tim Mead is praised for his elegant and warm tone with faultless projection and stylish interpretations. His virtuosic performances have drawn much international attention, and he is recognised as one of the finest across the generations of counter-tenors.

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  • Engagements in 2015/16 include Oberon in Britten A Midsummer Night’s Dream at Glyndebourne Festival Opera and at Bergen National Opera; Angel 1/Boy in the highly-anticipated U.S. stage premiere of George Benjamin’s Written on Skin at Lincoln Center, followed by an European tour of the work with the Mahler Chamber Orchestra; Arsamene in Cavalli Xerse with Le Concert d’Astrée at Opéra de Lille, Theater an der Wien, and Theatre de Caen. Mead will sing the leading role in Theater Basel’s new ‘Melancholia’ programme both in Basel and at the Holland Festival in Amsterdam. Mead will also return to the New York Philharmonic for five performances of Messiah, tour Spain with the Gabrieli Consort, and sing Bach B Minor Mass with Les Arts Florissants and William Christie in France, Spain, and at the BBC Proms.

    Last season’s highlights included 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 to critical acclaim.

    Recent operatic 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 1/Boy in George Benjamin’s Written on Skin at Théâtre du Capitole Toulouse and at the Gulbenkian Lisbon and Tolomeo Julius Caesar at English National 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, 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 Alan Gilbert, 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.

    2015-2016 season / 666 words. Not to be altered without permission


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Season highlights

Oberon A Midsummer Night’s Dream
Glyndebourne Festival Opera; Bergen National Opera

Handel Messiah
New York Philharmonic

Angel 1/Boy Written on Skin
Mahler Chamber Orchestra; Lincoln Center

Arsamene Xerxes
Le concert d’Astrée & Opéra de Lille

Melancholia programme
Theater Basel

Concert repertoire

Bach, C.P.E.

Bach, J.S.
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 Brethren
Judas Maccabaeus

Carmina Burana

Stabat Mater

Salve Regina

Nisi Dominus
Stabat Mater

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 & 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

Farnace Mitridate

Philips, Julian
Jalal Varjak Paw

Clearte Niobe

Licida L’Olimpiade

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.

Chicago Tribune

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.

St Louis Post-Dispatch

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.

Seen and Heard International

Intermusica represents Tim Mead worldwide

Catherine Chan-Murphy
Artist Manager
+44 20 7608 9903

Martha Hartman
Assistant Artist Manager
+44 20 7608 9921

If you have any queries, please fill in the form below, and we will be in touch soon

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HK Gruber

Special projects

Charles Hazlewood


Tim Mead

Stage director

David Alden

Andreas Homoki

Piano accompanist

Roger Vignoles