Reviews 2

● London Symphony Orchestra, LSO St Lukes
17 May 2012

Evening Standard, Barry Millington, 18 May 2012
All this was shown lucidly by Redmond, who in addition to conducting splendidly alert accounts of these pieces as well as the neo-classical Octet and Dumbarton Oaks, delivered engaging commentaries. It is hard to imagine the presentation being done better.

● Hallé, Bridgewater Hall, Manchester 
26 June 2011

Manchester Evening News, Robert Beale, 30 June 2011
Timothy Redmond is a man of many parts. Orchestra conductor, yes – but on the evidence of Sunday night’s first of the 2011 Hallé Proms he’s also no mean Shakespearean declaimer, too.

In the role of Chorus from Shakespeare’s Henry V (and others) he had the sinews stiffened and the blood summoned up just in reading the heroic texts, while the orchestra and Hallé Choir gave vent to Walton’s magnificent music from the film score.

He’s also got good ideas about conducting music, and made his case for this selection of The Greatest Choruses In The World. I admired his punchy way with the Dies Irae from Mozart’s Requiem, and the rollicking tempo and glorious Italian finish to the Sanctus from Verdi’s Requiem.

● Filharmonica Arturo Toscanini, Auditorium Niccolò Paganini, Parma 
16 May 2011

Gazetta di Parma, 18 May 2011
Un delizioso paesaggio inglese… attivata dalla guida vivace di Timothy Redmond.

● Opera Theatre of St Louis, Loretta-Hilton Center, The Golden Ticket
13-26 June 2010

Chicago Tribune, John von Rhein, 1 July 2010
It was skillfully played by members of the St. Louis Symphony under Timothy Redmond.

Wall Street Journal, Heidi Waleson, 22 June 2010
Timothy Redmond was the skilful conductor.

Financial Times, George Loomis, 22 June 2010
Timothy Redmond conducts with a verve that matches James Robinson’s energetic staging, with Martin Pakledinaz’s colourfully inventive costumes nicely complementing Schwengl’s sets.

Opera Today, James Sohre, 21 June 2010
Much of the musical success must lie with conductor Timothy Redmond, who led the reduced orchestra (think “Albert Herring” or “Ariadne”) with great conviction, rhythmic precision, and rhapsodic sweep.

Theatermania, Steve Allen, 16 June 2010
The production also benefits from the snappy stage direction by James Robinson and the work of conductor Timothy Redmond, who leads members of the St. Louis Symphony in fine fashion.