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About Timothy Dickinson

British Bass-Baritone Timothy Dickinson has been noted for his “wonderfully warm, round, powerful tone” (Early Music Today). His work ranges from recitals across the UK to Operatic roles at Glyndebourne, Scottish Opera, Longborough and elsewhere. He has toured internationally with Silent Opera, in their groundbreaking production of ‘Vixen’, and has also been a regular guest at the St Endellion Festivals in Cornwall.


Timothy is also very active as an Oratorio soloist, embracing a broad repertoire including Bach’s Passions; the Requiems of Verdi, Faure and Duruflé, and Haydn’s ‘The Creation’. He has also sung with various ensembles, including The Sixteen, BBC Singers, Ensemble Plus Ultra and La Nuova Musica, with whom he appears on ‘Sacrifices’ (Harmonia Mundi). Additionally, he has enjoyed a deeply rewarding association with the education department of the Orchestra of the Age of Enlightenment, performing with young people across the country in several newly-devised shows based around the music of Purcell and Mozart.

In recital, Timothy has formed a partnership with pianist Anyssa Neumann, with whom he has devised a recital of music and readings inspired by Don Quixote, which the pair have performed on numerous occasions throughout the UK. Timothy was the recipient of the 2013 Wessex Glyndebourne Award, and is an Alumnus of the National Opera Studio, London.

Timothy has also worked as a voiceover artist for TV and audiobooks, and enjoys an occasional parallel musical life as a singer-songwriter.

He now lives in Bruton with his wife and two children.

A full list of credits and experience can be found here.

My latest projects

Latest Projects



An online Opera Highlights concert recorded and presented during the Covid-19 Lockdown. Featuring Aoife O'Sullivan, Victoria Simmonds, Paul Hopwood and Matthew Fletcher.


Featuring works for bass-baritone and piano, this program draws on the vein of music and poetry inspired by Miguel de Cervantes’s epochal character, Don Quixote.

At the center of this Don Quixote-inspired program are the two great song-cycles by Maurice Ravel and Jacques Ibert, both written for Georg Wilhelm Pabst’s 1933 film, starring the Russian bass Fyodor Chaliapin. While Ibert’s songs were chosen over Ravel’s for inclusion in the film, both sets include guitar-like flourishes and Spanish-inflected rhythms, charting Quixote’s journey, his devotion to Dulcinea, his ecstatic visions, and his eventual death. Jules Massanet’s opera Don Quichotte, another vehicle for Chaliapin, also features, as does Marcel Delannoy’s Don Quichotte songs and selections from Manuel de Falla’s Don Quixote-based puppet opera, El retablo de maese Pedro.

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