Rodelinda returns to ENO: A "hugely impressive" role debut as Bertarido

Tim marked the opening of his 2017/18 season with a return to English National in his first staged production of Handel's Rodelinda as Bertarido. This acclaimed production by Richard Jones, sees the countertenor reunited with long-term collaborator, conductor Christian Curnyn. Within an exceptional cast, Tim's Bertarido has received much acclaim.

"New to the role of Bertarido is the hugely impressive Tim Mead, who brings a plangent tone to this scene and virtuoso bravado elsewhere."  
Evening Standard

"an immensely assured and accomplished performance"

"In counter-tenor Tim Mead as Bertarido, and soprano Rebecca Evans as Rodelinda, the central roles are gorgeously taken. Mead’s singing has found new fire and purity"  

"a performance of astounding charisma by Tim Mead. Here is an artist whose stature as an operatic leading man grows and grows. The countertenor plays Rodelinda's not-so-late husband hero Bertorido and he is magnetic, both physically and vocally" 
Whats on Stage

"As her missing-presumed-dead husband Bertarido, Tim Mead draws on a wide range of colour and charts his character intelligently" 

"Tim Mead sounds effortless as Bertarido, whether in rage or rapture"
The Stage

"Tim Mead is magnificent as Bertarido and his laments (accompanied by bewitching recorders and bassoon) combine wonderfully effulgent tone with intensity of expression."
Classical Source

"Counter-tenor Tim Mead was an imposing presence both vocally and physically as Bertarido (the character usurped by Grimoaldo); his lament is set in a sleazy bar as he drinks away his sorrows... Mead makes the role his own."
Seen and Heard International

"As Bertarido, Tim Mead’s countertenor reaches ethereal heights as its smoothness, lightness and expansiveness all come together to produce a vocal performance that is as precise as it is moving."

"The countertenor Tim Mead sang Bertarido with elegance and grace making the exiled king a noble and sane man, winning the audience on his side with the beauty of his voice."

"Tim Mead surprised me with the impact and strength of his performance as the exiled King; his always expressive countertenor seems to have found new fullness and depth, and he persuasively communicated Bertarido’s sincerity and self-belief. Bertarido’s aria of despair when he believes that Rodelinda has forsaken him was utterly compelling"
Opera Today

"Tim Mead is excellent as Bertarido. Lamenting his fate – all but Garibaldo lament their fate at at least one point in the opera – he lets the pure sound of his voice and the music do the work, rather than emoting. Yet he can convey exasperation or desperation both vocally and in his occasionally shambling gait. His Act 2 duet with Rodelinda (Io t’abbraccio) is delicious – and so poignant as they are physically parted by their rooms separating off to the wings."
The Opera Critic

"All the leading singers give, beautiful performances, with Tim Mead (Bertarido) and Rebecca Evans (Rodelinda) the pick of a fine cast"

"Tim Mead's (Bertarido) “Dove sei” was simply breathtaking, his technical assuredness resulting in a sparkling silver thread of sound, able to shimmer at the quietest of moments."
British Theatre Guide

"Tim Mead's powerful Bertarido. Mead was fully equal to the role's pathetic quality, giving us much assured and beautiful singing whilst giving a sense of the character's dangerous quality and making Bertarido very sexy too. It is only towards the end of the opera that Bertarido gets his mojo back and is allowed the sort of virtuoso aria that castratos expected, and Mead certainly did not disappoint here. In their Act Two duet, Mead and Evans matched each other for intensity, creating a powerful moment when time stopped" 
Planet Hugill

Tim's season continues with his debut at the Opera National de Paris in the role of Hamor in Handel's Jeptha, conducted by William Christie and directed by Claus Guth.