Belcore: L’elisir d’amore / English Touring Opera

 

“Timothy Nelson gives Nemorino’s rival Belcore plenty of testosterone, while singing the role with refinement” (The Guardian)

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“The Belcore of Timothy Nelson is suavely sung and played with macho panache.” (The Stage)

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“Baritone Timothy Nelson was a fine Belcore, robust in presence and in voice. Of the singers, he was the one who made the most of the English text with some pointed diction, and showed an instrument that flipped on a dime from velvet to steel.” (Bachtrack)

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“Timothy Nelson's entrance as Belcore was quite a tour de force, appearing over the sea wall wearing a pair of shorts and proceeding to preen and gyrate in a manner that was hilariously self-regarding. You could hardly take this Belcore seriously, yet he clearly felt himself a king amongst men. Nelson got Belcore's musical character off to a tee and throughout the evening he was a great delight and formed a lovely contrast to the other characters.” (Planet Hugill)

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“Timothy Nelson seems to have cornered the market in Belcores this year as the soldier who lacks only modesty. And he has made the part his own with a combination of his rich baritone, which has both richness and edge, and his commanding presence. Nelson’s Belcore is full-on with arrogant braggadocio.” (Mark Aspen)

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Tarquinius: The Rape of Lucretia / English Touring Opera

 

“There’s an unsettling charisma to the music that Britten writes for Tarquinius, at least when performed with the sort of reckless charm that Timothy Nelson brought to the role. Like the rest of the cast, Nelson was wholly inside his character and perfectly comprehensible without the surtitles; an impressive foil to (Clare) Presland’s nobly sung Lucretia.” (The Spectator)

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Title Role: Eugene Onegin/ Wild Arts

 

“Casting was shrewd and apt, with Timothy Nelson imposing and supercilious in the title role” (Opera)

 

“Casting was especially good, with Timothy Nelson’s mahogany-voiced Onegin a model of cool politeness. Knowingly provocative to Lensky in the Act 2 ball, he finally poured remorse and belated ardour into his closing duet with Tatyana to bring searing intensity” (Opera Today)

 

“Dromgoole draws out sometimes agonising intensity from the central couple’s doomed entanglement” (The Times)

 

“With his burnished baritone Nelson is able to hint at protectiveness or even warmth in his long aria that explains he is not a man yet ready for love” (Mark Aspen)

 

“Timothy Nelson is a formidable Onegin, knowing just how to exude the right level of romantic wistfulness and misanthropic disdain (think Shakespeare’s Timon)” (Plays to See)

 

“Nelson has plenty of charisma” (Opera Now)

 

“There was much singing to enjoy… Timothy Nelson impressed in Onegin’s less haughty moments – letting down Tatyana with touching sincerity – and crumpled effectively on killing his best mate.” (Backtrack)

 

“… sung expressively by rich-toned British baritone Timothy Nelson” (Seen and Heard International)

 

“A performance that really drew you into the characters' world led by Timothy Nelson's sexily disdainful Onegin” (Planet Hugill)

 

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Belcore: L’elisir d’amore / Wild Arts

 

“The experienced Timothy Nelson was Belcore to the life, preening and pattering to the manner born” (The Reviews Hub)

 

“Nelson’s lustrous and robust baritone… demonstrates all the bluster and swagger of a braggart who thinks he is God’s gift to women.  ” (Mark Aspen)

 

“Timothy Nelson… was rather more obnoxious than some Belcores, but very attractively sung. I’d love to hear him in Verdi” (Mark Aspen)

 

“… a deliciously hammy Belcore” (Opera Now)

 

“Nelson portrays Belcore with a level of pomposity that stays just the right side of caricature, keeping the inflated sense of self-importance under control whilst at the same time allowing the audience to take a dislike to his manner. In common with the rest of the cast he too sings beautifully, with the requisite power but also a level of refinement as well.” (The Reviews Hub)

 

“The villain of the piece, Captain Belcore (Timothy Nelson), had an impressive voice which certainly hit the back wall! Full of Naval pomposity and arrogance, he was a sheer joy and gave a focal point and urgency to the love interest.” (Fairy Powered Productions)

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Capellio: I Capuleti e i Montecchi / English Touring Opera

 

“Capellio, in turn, had an affronted dignity in Timothy Nelson’s rather refined bass…” (The Arts Desk)

 

“Timothy Nelson was a stentorian patriarch” (The Guardian)

 

“Fine singing too from Timothy Nelson’s heavy father Capellio…” (ReviewsGate)

 

“The strength of Nelson’s sturdy baritone… has commanding effect.” (Mark Aspen)

 

“As Capellio, Timothy Nelson’s warm baritone allowed for many instances of irascibility…” (Opera Today)

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Marcello: La Bohème / Opera North

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“... a strong ensemble of singers who will surely go on to greater future recognition, especially Timothy Nelson’s Marcello and Samantha Clarke’s Musetta. Visitors to the Grange Festival may recall Timothy’s outstanding Sid in the classic production of Albert Herring, and here he sang the role of the hapless painter with similar commitment and freshness.” (Music OMH)

 

“Timothy Nelson plays Marcello the painter as a fully rounded human being, playful, jealous, a bit of a lad with his Jackson Pollock-style daubs and his boozy sulks but a good friend when the chips are down.” (Only in Newcastle)

 

“Timothy Nelson’s smooth-toned Marcello” (Ilkley Gazette)

 

“Timothy Nelson, Emyr Wyn Jones and Henry Neill were convincing as beatnik bohemians, and their mischief-making with the pantomiming landlord Benoit in Act I made for amusing viewing.” (Opera)

 

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Lieutenant Gordon: Silent Night / Opera North

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“Lieutenants Audebert and Horstmayer are the most ambivalent characters in the piece – both intelligently acted and splendidly sung, as is Timothy Nelson’s forthright Lieutenant Gordon.” (The Reviews Hub)

 

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Elviro: Serse / Opera Holland Park

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“Timothy Nelson stars as both Arsamene's servant and Romilda's father and masters both perfectly.” (Broadway World)

 

“…a rich baritone with a fine comic sensibility that shines in the drinking song ‘Del mio caro Bacco’.” (London Unattached)

 

“Timothy Nelson provided much-needed comic relief as Elviro and Ariodate, whilst also demonstrating a flexible full-toned baritone.” (London Theatre One)

 

 

Mustafa: L’italiana in Algeri / Diva Opera

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“The Mustafa of Timothy Nelson deploys a stage presence and voice full of mischief, austerity and buffoonery depending on the situation.  The timbre is handsome, assertive and brilliant, rich with a depth that never borders on excessive seriousness.  A tool that gives the English baritone an undeniable charisma.” (Olyrix)[Translated from French]

 

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Falke: Die Fledermaus / Diva Opera

 

“The powerful and ultra resonant baritone of Timothy Nelson made light work of the role of Falke. This singer is destined for bigger roles” (Olyrix) [Translated from French]

 

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Sid: Albert Herring / The Grange Festival

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“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 mellifluous 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)

 

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Anténor: Dardanus / English Touring Opera

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“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)

 

“Timothy Nelson was notably velvety of tone…”  (Opera)

 

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Nathan: Pleasure / Opera North

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

 

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

 

“Timothy Nelson’s baritone Nathan is searingly convincing.”  (Yorkshire Press)

 

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Nathan: Pleasure / Royal Opera, London

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“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)