Timothy Nelson

Baritone

Timothy Nelson
REVIEWS

Sid: Albert Herring / The Grange Festival

”Nelson has a nimble baritone and presented a cocky, but lovable butcher’s boy.“

Bachtrack

 

“Kitty Whately and Timothy Nelson are excellent as Nancy and Sid…”

The Financial Times

 

“Timothy Nelson’s Sid was sung with melifluous beauty of tone, elegantly seductive rather than brashly demanding…”

Music OMH

 

 “Timothy Nelson was a warmly sympathetic Sid, a trifle less bumptious than usual and with some beautifully sung moments.”

Planet Hugill

 

“The ensemble is uniformly strong, but some rising singers really grab their chances: Kitty Whately and Timothy Nelson as the fun-loving and ultimately touching Nancy and Sid…”

The Stage

 

“Timothy Nelson and Kitty Whateley are a delectable Sid and Nancy.”

The Times

 

Argenio: Imeneo / London Handel Festival

“Mr Nelson was very much in control of Argenio’s role, on top of the coloratura passages and singing with an easy grace.”

Opera Britannia

 

“…sang authoritatively as the opera’s father figure.”

Opera

 

“The busy senator Argenio is well sung by Timothy Nelson.”

The Times

 

Berardo: Riccardo Primo / London Handel Festival

“Timothy Nelson sang elegantly…”

The Guardian

 

Erasto: Giove in Argo / London Handel Festival

“Brute testosterone came from the Erasto of Timothy Nelson, a baritone to watch.” The Arts Desk

 

Figaro: Le nozze di Figaro / RCMIOS

“Timothy Nelson, a Figaro of explosive temper, conveyed the character’s potential for revolution in the first scene. His ability to exploit words came through in his teasing of Cherubino in ‘Non piu andrai’, and in his anguished delivery of ‘Aprite un po’ quel’occhi’, facing the possibility of Susanna’s infidelity.”

Opera

 

Papageno: Die Zauberflöte / RCMIOS

“Timothy Nelson didn’t overplay Papageno’s tendency to swamp the opera with earthy good cheer, tightening the broad humour as a result. His expressive, colourful baritone was a consistent pleasure, and almost alone of the cast, he had the measure of the spoken dialogue, so that in good cabaret style it didn’t drag…”

Classical Source

 

“Only Papageno and Papagena visually fulfilled normal pantomimic expectations. Both Timothy Nelson and Sinead O’Kelly seized their opportunities in those roles, their vocal abilities matched by beautiful comic timing and innately warm stage presence.”

Opera

 

Ramiro: L’heure espagnole / RCIMOS

“…the charms of Timothy Nelson’s velvety Muleteer.”

Opera

 

Don Pomponio: La Gazetta / RCIMOS

“With the arrival of Pomponio (Timothy Nelson), the stage was filled with his flamboyant personality and his huge (generously padded) person; his agile baritone and clownish facial expressions added further dimensions to his entertaining performance.”

Opera

 

Anténor: Dardanus / English Touring Opera

“Anténor, however, is the character around whom the work pivots, emotionally and morally. Timothy Nelson plays him superbly as a man whose innate nobility is threatened by the jealous fires that lurk within.“

The Guardian

 

Nathan: Pleasure / Opera North

“Nick Pritchard and Timothy Nelson are both affecting as two lost souls adrift in this Hedonistic Hades.”

The Guardian

 

“Timothy Nelson (Nathan) and Nick Pritchard (Matthew) sing cleanly and act intelligently…”

Huddersfield Daily Examiner

 

“…searingly convincing as played by the baritone Timothy Nelson…”

Opera

 

“Timothy Nelson’s baritone Nathan is searingly convincing.”

Yorkshire Press

 

Nathan: Pleasure / Royal Opera, London

“Timothy Nelson, as Val’s estranged son, was strong and moving before his tragic suicide.”

Bachtrack

 

“Timothy Nelson and Nick Pritchard, both making Royal Opera debuts, are splendid as Nathan and Matthew respectively.”

Music OMH



AUDIO / VIDEO
Timothy Nelson singing Wagner: Tannhäuser - “Wie Todes Ahnung”