opera

2020  cover: Henry Kissinger (Adams Nixon In China), Scottish Opera

2019  Young English Clerk (Britten Death In Venice), St Endellion Festival

           Ormondo (Rossini L’inganno felice), West Green Opera

           Harasta/Badger/Parson (Janacek Vixen), Silent Opera (Trento, Italy)

           cover: Captain Ross (MacRae/Welsh Anthropocene), Scottish Opera

2018  Doctor Grenvil (Verdi La Traviata), Longborough Festival Opera

           Brander (Berlioz La Damnation de Faust), St. Endellion Festival

2017  Harasta/Badger/Parson (Janacek Vixen), Silent Opera (Vaults Festival; Helsinki Festival; Beijing Music Festival)

           Mr. Redburn (Britten Billy Budd), St. Endellion Festival

2016  Leporello (Mozart Giovanni), Silent Opera (Beijing Music Festival)

           cover: Quince (Britten A Midsummer Night’s Dream), Glyndebourne Festival Opera

           Aristobolo (Handel Berenice), La Nuova Musica (London & Göttingen Handel Festivals)

           Don Alfonso (Mozart Cosí fan Tutte), Spira Mirabilis

2015  Zuniga (Bizet Carmen), Scottish Opera

           Nikitich (Mussorgsky Boris Godunov), St. Endellion Festival

2014  Doctor Grenvil(Verdi La Traviata), Glyndebourne on Tour

           Masetto (Mozart Don Giovanni), Glyndebourne Festival Opera

2013  Alasdor (Britten/Luke Styles Wakening Shadow), Glyndebourne

           Hunter & cover: Third Fate (Rameau Hippolyte et Aricie), Glyndebourne Festival Opera

           Caronte (Monteverdi L’Orfeo), Silent Opera

2012  Gremin (Tchaikovsky Eugene Onegin), Ryedale Summer Festival

           Simone (Puccini Gianni Schicchi), Opera Holland Park (Christine Collins Young Artist)

           Caronte (Monteverdi L’Orfeo), La Nuova Musica, Kings Place

           Colline (Puccini La Bohème), Silent Opera

2011  Colline (Puccini La Bohème),Glyndebourne on Tour (cover)& Vignette Productions (touring)

Concert repertoire

Oratorio repertoire includes: Bach: St. John Passion; Mass in B minor; Magnificat§ Beethoven: Missa Solemnis § Brahms: Requiem § Dvořák: Te Deum § Elgar: The Dream of Gerontius§ Fauré: Requiem § Duruflé: Requiem § Handel: Messiah; Dixit Dominus§ Haydn: The Creation; Nelson Mass; Paukenmesse;Harmoniemesse; Missa In Tempore Belli§ Mozart: Requiem§ Rossini, Petite Messe Sollonelle § Verdi: Requiem

Education work

2016-17  ‘King Arthur’s Quest’                        OAE Education

2017-      ‘Fairy Queen/Three Wishes’             OAE Education

2019-      ‘A World of Magic’                         OAE Education

              ‘The Moon Hares’ (Community Opera) OAE Education

Recordings

2014  Carissimi & Charpentier Oratorios, with La Nuova Musica/David Bates

press

For St John Passion with Britten Sinfonia/Mark Padmore, 2017:

From The Independent:

“…Tim Dickinson made a gravely noble Christ… It was one of the most moving realisations I’ve ever heard.”

From The Telegraph:

“Timothy Dickinson made a dignified Christ, light in timbre but without bluster or bravado.”

From The Guardian:

“…all three of the baritones and basses (Tim Dickinson’s weighty Christus, Ben Howarth’s sturdy Peter and [Eamonn] Dougan’s more ambiguous Pilate) made notably telling dramatic contributions.”

For Berenice at the Göttingen Handel Festival, 2016:

From Early Music Today:

“Timothy Dickinson as Aristobolo combined a wonderfully warm, round, powerful tone with and immensely strong stage presence”

From Opera:

“…it would have been nice to hear more from Timothy Dickinson as Berenice’s captain than his two arias; it was good to hear a real bass voice allied with accuracy and flexibility across its range.”

For Orontea at Wigmore Hall, 2015:

From Bachtrack:

“Timothy Dickinson’s smooth bass sounded magnificent as Creonte”

For Carmen with Scottish Opera, 2015:

From Glasgow Theatre Blog:

“There’s strong support from the other featured roles, in particular, Timothy Dickinson, who delivers a memorable Zuniga.”

For Sacrifices at Spitalfields Festival, 2012:

From The Independent:

“…the vocal consort sang beautifully … The overlapping dissonances of ”In carmine doloris“ were dizzying in the generous acoustic of Shoreditch Town Hall”

From Exeunt Magazine:

“…this is an almost impeccable hour-long production whose intelligent and restrained use of theatre animates two pieces of music whose dramatic potential might otherwise be lost.”

From The Times:

“…Staples and Bates drew poignant, assured performances from the young actors and singers, especially impressive with the latter negotiating complex polyphony from memory.  Carissimi’s anguished final chorus was properly heartbreaking.”

For Messiah with La Nuova Musica:

Timothy Dickinson was next up: his well-supported bass shook heavens and earth, making his first accompanied recitative tell of prophetic events of truly great moment. His voice shaped the ensuing darkness beautifully, with the strings creating an almost reptilian sense of horror.

 Hilary Finch, The Times

Timothy Dickinson’s ‘Thus Saith the Lord’ had all the dark majesty of a Norfolk night sky. If Rasputin had sung Handel, it would surely have sounded like this.

Paul Sharp, www.venue.co.uk

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