Born in London, Timothy Nelson gained a degree in Physiology from Cardiff University. In 2015, he graduated from the Royal College of Music International Opera School, where he studied with Peter Savidge and was awarded the McCulloch Prize for Opera. He was the winner of the Bruce Millar Gulliver Prize, the RCM Joan Chissell Schumann Competition and the Gerald Moore Award Singers Prize, is a Jerwood Young Artist at the 2015 Glyndebourne Festival and is a recipient of an Independent Opera at Postgraduate Voice Fellowship. His studies were generously supported by the Countess of Munster Musical Trust and the HR Taylor Trust.
At the RCM, he sang Figaro Le nozze di Figaro, Papageno Die Zauberflöte, Ramiro L’heure espagnole and Don Pomponio La Gazzetta for the Royal College of Music International Opera School.
A Finalist at the London Handel Singing Competition, his operatic experience further includes Erasto Giove in Argo, Argenio Imeneo and Berardo Riccardo Primo for the London Handel Festival and the title role inSweeney Todd for Welsh National Youth Opera. He has covered Novice’s Friend Billy Budd and The Wig Maker Ariadne auf Naxos for Glyndebourne Festival Opera and for Glyndebourne, he also covered Novice’s Friend Billy Budd at the Brooklyn Academy of Music, New York.
Timothy Nelson performs regularly in concert. He appeared in Bernstein’s Mass at the 2012 BBC Proms and his engagements have further included J. S. Bach St John Passion and Fauré Requiem at St David’s Hall, Cardiff, J. S. Bach St Matthew Passion and Elijah at Llandaff Cathedral, Israel in Egypt at the London Handel Festival, Messiah at the Royal Festival Hall, Mahler Symphony No. 8 with the Brunel Sinfonia at the Colston Hall, Bristol, and Mozart Requiem for the Hexham Festival, as well as the world premiere of Remember (a commission for orchestra and baritone soloist by Edward Gregson) at the Cadogan Hall.
During 2015 / 2016 Timothy Nelson created Nathan in Mark Simpson’s Pleasure for Opera North and the Royal Opera, London, covered Belcore L’elisir d’amore for Opera North and Malatesta Don Pasquale for Glyndebourne On Tour as well as singing Messiah with the London Handel Orchestra, The Creation with the City of Birmingham Symphony Orchestra and Rossini Petite Messe Solennelle at the Three Choirs Festival.
This season, he will cover Journalist Lulu for English National Opera, Dandini La cenerentola and Solanio The Merchant of Venice for Welsh National Opera and sing Sid Albert Herring for The Grange Festival.
Away from singing, Timothy Nelson is an avid rugby and cricket fan and a keen golfer who can often be found on the golf course trying to lower his handicap.
During 2017 / 2018, his engagements include Anténor Dardanus for English Touring Opera.
Please note that this biography is not to be used for programmes. Current information is available on request.
Sid: Albert Herring / The Grange Festival
”Nelson has a nimble baritone and presented a cocky, but lovable butcher’s boy.“
“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…”
“Timothy Nelson was a warmly sympathetic Sid, a trifle less bumptious than usual and with some beautifully sung moments.”
“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…”
“Timothy Nelson and Kitty Whateley are a delectable Sid and Nancy.”
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.”
“…sang authoritatively as the opera’s father figure.”
“The busy senator Argenio is well sung by Timothy Nelson.”
Berardo: Riccardo Primo / London Handel Festival
“Timothy Nelson sang elegantly…”
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.”
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…”
“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.”
Ramiro: L’heure espagnole / RCIMOS
“…the charms of Timothy Nelson’s velvety Muleteer.”
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.”
Nathan: Pleasure / Opera North
“Nick Pritchard and Timothy Nelson are both affecting as two lost souls adrift in this Hedonistic Hades.”
“Timothy Nelson (Nathan) and Nick Pritchard (Matthew) sing cleanly and act intelligently…”
Huddersfield Daily Examiner
“…searingly convincing as played by the baritone Timothy Nelson…”
“Timothy Nelson’s baritone Nathan is searingly convincing.”
Nathan: Pleasure / Royal Opera, London
“Timothy Nelson, as Val’s estranged son, was strong and moving before his tragic suicide.”
“Timothy Nelson and Nick Pritchard, both making Royal Opera debuts, are splendid as Nathan and Matthew respectively.”