Timothy Redmond conducts and presents concerts throughout Europe. He is Professor of Conducting at the Guildhall School of Music and Drama, Music Director of the Cambridge Philharmonic and is a regular guest conductor with the London Symphony and Royal Philharmonic Orchestras.
He has appeared in the UK with orchestras including the BBC Concert, Philharmonic and Symphony Orchestras, the Birmingham Contemporary Music Group, Britten Sinfonia, City of Birmingham Symphony Orchestra, English Chamber Orchestra, Hallé, London Philharmonic Orchestra, the Philharmonia, Royal Liverpool Philharmonic Orchestra, Sinfonia Viva and the Ulster Orchestra. He also has a long-standing association with the Manchester Camerata. He has conducted widely throughout Europe and the US with orchestras including the St Louis Symphony, Filarmonica Arturo Toscanini, Orchestra della Svizzera Italiana and the Rotterdam Philharmonic.
Timothy Redmond is well-known as a conductor of contemporary music and has a particular association with the music of Thomas Adès. Since working closely with the composer for the premiere of The Tempest at Covent Garden, he has conducted critically-acclaimed productions of Powder Her Face for English National Opera, the Royal Opera House and St Petersburg’s Mariinsky Theatre. He recently gave the Hungarian premiere of Totentanz, the Irish premiere of Living Toys and assisted the composer for the New York premiere of The Tempest at the Metropolitan Opera.
In the opera house he has conducted productions for Opera North (Don Giovanni), English National Opera (world premiere of Will Todd’s Damned and Divine), English Touring Opera (Daughter of the Regiment, The Magic Flute, Carmen), Almeida Opera (world premiere of Raymond Yiu’s The Original Chinese Conjuror) and ROH Linbury (European premiere of Tobias Picker’s Thérèse Raquin). He gave the world premiere of Peter Ash’s The Golden Ticket for Opera Theatre of St Louis and for Independent Opera at Sadler’s Wells he conducted the UK premieres of Šimon Vosček’s Biedermann and the Arsonists and Karl Amadeus Hartmann’s Simplicius Simplicissimus. He has conducted productions in Bregenz (Austrian premiere of Richard Ayres’ The Cricket Recovers), Tenerife (Glyndebourne productions of Carmen, Gianni Schicchi and Rachmaninov’s The Miserly Knight), Los Angeles (Barber’s A Hand of Bridge) and Wexford (The Silver Lake, The Golden Ticket). He has also conducted opera for New York’s American Lyric Theater, at the Buxton and Aldeburgh Festivals and as a member of music staff at De Vlaamse Opera, Strasbourg, Garsington and Glyndebourne.
His recordings include Alison Balsom’s album Paris with Guy Barker (Warner Classics), Dreams with Ophélie Gaillard and the RPO (Harmonia Mundi), discs with Natasha Marsh and Mara Carlyle for EMI and CDs with the LSO, Royal Northern Sinfonia and Philharmonia.
Recent highlights have included premieres of works by Edward Rushton and Peter Maxwell Davies with the LSO, debuts with orchestras in Canada, Romania and Serbia, a tour to China with the RPO, Henze and Martinů double-bills for the Guildhall School and the 2014 LSO BMW Open Air Classics concert at which he conducted for 10,000 people in Trafalgar Square.
This season he conducts Power Her Face for Ireland’s Opera Theatre Company, Eugene Onegin in Cambridge and Menotti’s The Consul for Guildhall Opera. He gives concerts in France, Macedonia, Serbia and Turkey and appears in the UK with the Manchester Camerata, BBC Scottish Symphony Orchestra and the LSO.
Timothy Redmond studied at the Royal Northern College of Music, Manchester University and the Accademia Musicale Chigiana in Siena. He furthered his studies in masterclasses with George Hurst, Ilya Musin, Yan Pascal Tortelier and Pierre Boulez and as an assistant to Elgar Howarth, Valery Gergiev and Sir Colin Davis.
Much of the musical success must lie with conductor Timothy Redmond, who led the [St Louis Symphony] orchestra with great conviction, rhythmic precision, and rhapsodic sweep. Opera Today