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.
Operatic highlights of the 2019/20 season include Apollo Death in Venice at the Royal Opera House, Covent Garden, Ulisse Achille in Sciro at the Teatro Real, Madrid, Athamas Semele for Opera Philadelphia and Farnace Mitridate for Garsington Opera. On the concert platform, Mead will perform Written on Skin with the Orchestre Philharmonique de Radio France conducted by George Benjamin, Didymus Theodora with Arcangelo at the Wiener Konzarthaus, Messiah on tour with Les Arts Florissants, and a Purcell programme with Les Musiciens de Saint-Julien at various venues across Europe, including the Wigmore Hall.
Recent operatic highlights include Goffredo Rinaldo at Glyndebourne, Endimione La Calisto for Teatro Real, Madrid and at the Bayerische Staatsoper, Bertarido Rodelinda for Opera de Lille, Oberon A Midsummer Night’s Dream for Opera Philadelphia, Glyndebourne and Bergen National Opera, Hamor Jephtha at the Opéra National de Paris, the title role Akhnaten and Ottone Agrippina for Opera Vlaanderen, Boy/Angel Written on Skin at the Bolshoi, Bertarido Rodelinda at English National Opera, and Arsamene in Cavalli Xerse with Le Concert d’Astrée at Opéra de Lille, Theater an der Wien, and Théâtre de Caen.
On the concert platform, recent highlights include Handel Jephtha with the Scottish Chamber Orchestra at the BBC Proms, a European recital tour with Emmanuelle Haim and Le Concert d’Astree, Bach St John Passion with Jonathan Cohen and the Saint Paul Chamber Orchestra, an appearance with the Los Angeles Philharmonic at the Hollywood Bowl and Walt Disney Concert Hall, a tour of Asia with Harry Bicket and The English Concert, Athamas Semele with the CBSO and the Handel and Haydn Society, Didymus Theodora with the Akademie fur Alte Musik, the world premiere of Theo Loevendie Spinoza at the Concertgebouw Amsterdam, Handel Messiah with Robin Ticciati and the Deutsches Symfonie-Orchester Berlin, the New York Philharmonic, Orchestra of the Age of Enlightenment, Gabrieli Consort, Handel & Haydn Society, Academy of Ancient Music, and Le Concert d’Astree, Bach B Minor Mass with The English Concert and with Les Arts Florissants and William Christie, 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, and Handel Joseph and his Brethren at the International Händel Festspiele Göttingen.
Mead’s substantial discography includes the most recent releases; Purcell Songs and Dances with Les Musiciens de Saint-Julien on Alpha and Pergolesi Stabat Mater and Bach Cantatas with La Nuova Musica on Harmonia Mundi.
Mead read Music as a choral scholar at King’s College, Cambridge, before continuing his vocal studies at the Royal College of Music.
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
Title role Akhnaten
Orfeo Orfeo ed Euridice
Title role Admeto
Title role Ezio
Title role Flavio
Cesare & Tolomeo Giulio Cesare
Title role Orlando
Title role Riccardo Primo
Title role Rinaldo
Title role Siroe
Ottone L’incoronazion di Poppea
Jalal Varjak Paw
The Arts Desk
"Countertenor Tim Mead produced ravishing sounds - none better in the business"
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.