Tim Mead • countertenor

‘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

‘Entre Aix-en-Provence et Toulouse, Le garçon a changé de titulaire : Bejun Mehta a laissé la place à Tim Mead. Ce choix a été bénéfique : à mérites et vocaux et statures dramatiques comparables, Tim Mead, plus partageux, a magnifié l’esprit chambriste et l’intimité de cet ouvrage ; en suivre la carrière est indispensable.‘
Frank Lee ResMusica, November 2012

‘Tim Mead remplace avantageusement Bejun Mehta dans le rôle du Garçon. La projection sans faille se déploie avec une concentration remarquable des enjeux dramatiques. Plus encore que lors de la création aixoise, le timbre semble en accord parfait avec le rôle de victime et d’amoureux.’
David Finch Anaclase, November 2012

‘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 The New Statesman, October 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 The Guardian, July 2012

‘countertenor Tim Mead brought elegant solemnity to the role of the Israelitish Priest‘
The 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.‘
Dominic Wells Opera Britannia, July 2012

‘l’excellent Tim Mead que l’on garde à l’oreille à l’issu du concert… il livre un Andronico investit du sens du drame dès les premières mesures. L’artiste trouve à développer un riche nuancier dans sa partie, jusqu’ériger aux côtés d’Irene d’égales qualités artistiques.‘
Bertrand Bolognesi Anaclase, July 2012

 ’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, The Telegraph, June 2012

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

‘Tim Mead’s silvery countertenor embodied strength and determination as Licida’
George Hall Opera News, August 2012

‘Tim Mead’s superb, velvety Otho…‘
Francis Carlin Financial Times, March 2012

‘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, chant virtuose, voix de contre-ténor longue et colorée. silhouette juvénile, campe un Ottone au charme certain.‘
Opéra, March 2012

‘Contre-ténor toujours expressif, Tim Mead révèle en Ottone une sensibilité intimiste, mais suffisamment consistante pour éviter pâleur et afféterie.’
Diapason, March 2012

‘C’est finalement Timothy Mead qui touche le plus, tour à tour suave et héroïque, toujours présent et expressif. Et comme tous les musiciens font preuve d’une discipline remarquable, comme le chef conduit avec allant, mais qu’il sait aussi souligner les contrastes et les moments significatifs, l’œuvre atteint son effet, tout au moins en ce qu’elle laisse admirer la perfection de sa substance et de ses proportions.‘
Olivier Mabille ResMusica, December 2011

‘Le contre-ténor [Tim Mead] brille quant à lui par sa puissance, sa chaleur, son style irréprochable et ne faillit pas quand il est quasiment à découvert dans l’air «He was despised» de la deuxième partie.‘
Simon Corley ConcertoNet, December 2011

‘…al bravissimo controtenore Tim Mead (Ottone). Attore formidabile, che esprime l’amore incondizionato per Poppea appellandosi all’eleganza di una recitazione spigliata e dinamicissima. Mead fa parte della nuova generazione di falsettistici britannici che non intendono abbandonare la vocazione ad un canto angelicato, piegato però alle ragioni di una morbidezza resa irresistibilmente fascinosa da una voce più consistente, che si colora di tinte calde pur rimanendo confinata nella sfera espressiva dominata da un languore elegiaco in cui l’emissione in puro falsetto cerca di esaltare le potenzialità espressive del biancore timbrico, allargandone le possibilità sonore che da esso possono emanarsi.
Quando infatti Mead si abbandona all’addolorata commiserazione dell’aria patetica “Voi che udite il mio lamento”, o quando intona con incantata leggerezza l’arioso “Vaghe fonti, che mormorando”, si resta stupidi dalla capacità con cui questa voce, come si diceva di puro falsetto, riesca a espandersi in sala senza alcuna leziosità, colpendo l’ascoltatore per gli effetti ammalianti di un canto elegiaco dal candore intenso, avvolgente e flessibilissimo.‘
Alessandro Mormile L’Opera, October 2011

‘Mais la véritable claque de cette production, c’est le contre-ténor Tim Mead (Ottone). Une technique hors pair, un timbre d’une pureté presque désincarnée, une virtuosité stupéfiante qui touche au coeur.’
Nord éclair, October 2011

‘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.’
Claire Seymour Opera Today, August 2011

‘young Tim Mead was a revelatory Eustazio – a countertenor to watch‘
Igor Toronyi-Lalic The Arts Desk, August 2011

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

‘The most distinguished singing comes from Tim Mead (Eustazio)…‘
Anna Picard Independent on Sunday, July 2011

‘Tim Mead was outstanding as Eustazio…‘
Barry Millington Evening Standard, July 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.’
Kate Molleson The Guardian, February 2011

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

‘There are some remarkable vocal performances, especially from Tim Mead’s lyrically exact Ottone…‘
Opera, 2010

‘the best [singing] is from Tim Mead and Patricia Bardon.‘
Gramophone, 2010

‘Tim Mead confirms his position as one of this generation’s great Ottones, singing with muscle and musicality.’
James Potter MusicWeb International, 2010

‘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, November 2010

‘…il suo falsetto, fascinosamente morbido ed elegante, tipicamente anglosassone per l’involo angelicato, eppure non privo calore e intensità, è certamente il punto di forza della compagnia di canto… Mead trasforma la sofferta disperazione del re in un’oasi di languida, emozionantissima disperazione ipnotica.’
Alessandro Mormile L’Opera, 2010

‘… golden-age singing from Tim Mead…’ (5 stars)
Rupert Christiansen The Telegraph, October 2010

 ’As Flavio, Tim Mead sings smoothly and mellifluously…‘
Gramophone, 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

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

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

‘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.‘
Adrian Horsewood MusicOMH, March 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.‘ – selected as Gramphone magazine’s ‘Editor’s Choice’
John Steane Gramophone, 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.) … 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.‘ – selected as ‘IRR Oustanding’
Raymond S. Tuttle International Record Review, February 2010

‘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

‘Wem gebührt die Krone? Wohl dem britischen Kontertenor Tim Mead, der erstmals in Wien zu hören war. Schon die Stimmlage – die Rolle wurde für Altsolo geschrieben – deutet die Transzendenz einer Figur an, die über allem Irdischen schwebt. Der 27-jährige Mead setzt die betörende Leuchtkraft seiner Stimme so verhalten ein, dass er zum Medium wird, zum Reiseführer durch ein himmlisches Jerusalem.‘
Karl Gaulhofer Die Presse, April 2009

‘…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…‘
James Sohre Opera Today, January 2009

‘Die dankbarste Rolle hat allerdings der hervorragende Countertenor Tim Mead, der als Page wie ein verirrter Cupido durchs Geschehen schlittert und noch mehr Verwirrung stiftet.‘
Frankfurter Allgemeine Zeitung, January 2009

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

‘La sua vocalità, pur non discostandosi dall’elegiaca vocazione propria alla tradizione angelicata propria ai falsettisti inglesi con i quali si è formato, vanta una cromia timbrica più morbida, una sensibilità espressiva ed un ventaglio di finezze che lo vedono tratteggiare con stilizzata e soffusa intonazione profetica l’aria di sortita (Almighty pow’r), in cui chiede all’onnipotente di avvolgerlo di “splendore e di benedetta sapienza” domandando protezione per il nuovo tempio appena edificato, por poi fare, nella successiva “What though I trace”, un gesto di umiltà nel riconoscere il potere di Jehova.‘
Alessandro Mormile L’Opera, 2007

‘The star soloist here is the rich-voiced countertenor Tim Mead. His plummy but tender rendering of the aria “Thou shalt bring them in” is a highlight on an utterly vivid performance of this, one of the most accomplished and vivid of Handel’s oratorios.‘
Opera News, August 2007

‘Autre contre-ténor, Tim Mead (Oronte) n’a que deux airs à chanter de tout l’opéra. Seul à connaître son par-cœur, ne s’appuyant jamais sur la « béquille » de la partition, il a toute aptitude pour soigner l’interprétation en dehors de la difficulté de ses airs virtuoses. Le public ne s’y trompe pas. Très convaincant, il s’est vu être le seul à être applaudi à la fin de ses airs.‘
Jacques Schmitt ResMusica, March 2007

 ‘…there was a mesmerising account of the long-breathed cradle song “Schlafe, mein Liebster” in Cantata II by the countertenor Tim Mead…‘
The Independent, December 2006

‘Replacement Tim Mead proved a sensation.
In fact, he was the replacement of a replacement. The last hope, as it were – he jumped in cold with only two days’ rehearsal. But Tim Mead seized the moment with both hands and for his role debut in the title role of Gluck’s Orfeo ed Euridice received prolonged and enthusiastic applause from the audience in the Laeiszhalle.
Right from the start, in his call for his beloved (and apparently lost) Euridice during the opening chorus, the 24 year-old countertenor showed his immense vocal potential. And then during the evening his wonderfully luminous and voluptuous timbre began to emerge. On purely vocal grounds Mead can already hold his own with his famous teachers Bowman, Brett and Blaze. A major discovery!‘
Hamburger Abendblatt, February 2006

‘The star of the show, however, was a young counter-tenor, Tim Mead, whose vibrant tone and breezily confident presence suggested he has the potential to rank as the English David Daniels.‘
Rupert Christiansen The Telegraph, November 2005

‘Mead is a countertenor of exceptional vocal beauty…‘
Alfred Hickling The Guardian, November 2005