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Tim Mead

  • Countertenor

Reviews

Tim Mead press reviews

Als glamourös falsettierender Jungspund tritt Tim Mead auf – in der Rolle des Honoricus, des Sohnes von Gensericus, der Angst vor der Liebe hat.
 
Akademie für alte Musik/Zeitfenster
Gensericus (Telemann) 
Christiane Tewinkel
Der Tagesspiegel 
13.4.10 
 
Admeto himself has to be the strongest character, both vocally and dramatically, and happily we had a fantastic interpreter in Tim Mead. Mead’s was by far the most distinctive voice among the three countertenors: heroic when necessary, clear, bright and very beautiful. His opening arioso, Chiudetevi miei lumi, was deeply moving, and his interpretation grew in stature through the second act, culminating in the two great scenas of Act 2 where he comes to terms with his dilemma over whether to love Alceste or Anitgona. He also carried himself with the demeanour of a Handelian hero, no mean feat considering his surroundings.
 
Edinburgh International Festival 
Admeto
Simon Thompson 
Seen and Heard International 
1.9.09 
 
It opens with an astonishing solo in which the king (Tim Mead, rounded in timbre and noble in demeanour) dreams his own death.
 
Edinburgh International Festival 
Admeto
Richard Morrison 
The Times 
31.8.09 
 
Tim Mead is a fine David, singing with dulcet, sensitively shaded tone in the sublime prayer 'O Lord whose mercies numberless', and later rivalling Lawrence Zazzo (for Jacobs) in dramatic fire.
 
CD Recording: SACD 83.243 
Saul
Richard Wigmore 
Gramophone
August 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.
 
Wiener Konzerhaus 
Solomon
Karl Gaulhofer 
Die Presse 
27.4.09 
 
Um die Gunst der ach so keuschen (und doch recht lüsternen) Diana bewirbt sich schmachtend auch Endimione (Staatsopern-Debütant TIM MEAD mit strahlenden Countertenor-Tönen)...
 
Bayerische Staatsoper 
La Calisto 
Jakobine Kempkens 
Der Neue Merker 
22.2.09 
 
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.
 
Solomon CD 
Alessandro Mormile 
L'Opera
November 2008 
 
...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...
de Nederlandse Opera 
Ercole Amante 
James Sohre 
Opera Today
27.1.09 
 
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.
de Nederlandse Opera 
Ercole Amante 
Christian Wildhagen 
Frankfurter Allgemeine Zeitung 
14.1.09 
 
...vom Titelhelden Luca Pisaroni über Anna Bonitatibus Juno und Anna Maria Panzarellas Deianira bis hin zum fabelhaften Countertenor Tim Mead als Page...
de Nederlandse Opera 
Ercole Amante 
Joachim Lange
Wiener Zeitung 
13.1.09 
 
To the role of Oronte, Tim Mead brings a warm countertenor tone, its quality is very pleasing in its roundness, and he shows no difficulty in the divisions of his arias.
Basel Kammerorchester 
Riccardo Primo 
Critic 
International Record Review
June 2008 
 
Tim Mead rose manfully to Orlando's treacherous music
Chicago Opera Theatre
Orlando
 
Chicago Tribune 
May 2008 
 
To the role of Oronte, Tim Mead brings a warm countertenor tone, its quality is very pleasing in its roundness, and he shows no difficulty in the divisions of his arias.
Basel Kammerorchester 
Riccardo Primo 
Critic 
International Record Review
June 2008 
 
IIn der Titelpartie zeigte der Altus Tim Mead erstaunliche Weichheit und Höhenfreude.
Göttinger Händel-Festspiele
Solomon
Critic 
Göttinger Tageblatt 
29th May 07 
 
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.
Basel Kammerorchester 
Riccardo Primo
Critic 
ResMusica.com
April 07
 
la partie tourmentée d'Ometh, dévolue à un contre-ténor (l'épatant Tim Mead, qui use de l'étrangeté de son timbre pour servir toute l'ambiguïté de son personnage).
Angers-Nantes Opéra 
Golem
Critic 
La Scène
15.12.06
 
But the vocal star of the evening was undoubtedly the young British countertenor Tim Mead, who produced a glorious stream of rounded tone – no old-fashioned countertenor hooting here – and whose clarity of enunciation ensured that the drama and import of everything he sang came across vividly.
Les Arts Florissants
Weihnachtsoratorium
Critic
The Telegraph
18/12/06
 
...there was a mesmerising account of the long-breathed cradle song "Schlafe, mein Liebster" in Cantata II by the countertenor Tim Mead...
Les Arts Florissants
Weihnachtsoratorium 
Critic 
The Independent 
18/12/06
 
Replacement Tim Mead proved a sensation.

Laieszhalle.

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!
 
Hamburg
Orfeo ed Euridice
Critic 
Hamburger Abendblatt
6/2/06
 
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.
Opera North
Saul
Rupert Christiansen
The Telegraph
Critdate
 
Mead is a countertenor of exceptional vocal beauty... 
Opera North
Saul
Alfred Hickling
The Guardian 
25/11/05
 
The countertenor Tim Mead as Ottone proved yet again that, in what is becoming almost a crowded voice category, he will have few problems holding his own. 
Opéra de Lyon
L'incoronazione di Poppea
Della Couling
Opera Now
Critdate