Timothy Redmond conducts and presents concerts throughout Europe. He is a regular guest conductor with the London Symphony and Royal Philharmonic Orchestras and he works with many of the leading British and European orchestras. Since 2019 he has been the Music Director of the Winston-Salem Symphony, USA.
He has given concerts in the UK with the Philharmonia, Royal Northern Sinfonia and London Philharmonic Orchestra, with the BBC Concert, Philharmonic and Symphony Orchestras, with the Hallé, Royal Liverpool Philharmonic and Ulster Orchestras, and 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 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 conducted the work’s European premiere at the Wexford Festival. 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 MISTERLY KNIGHT) and Los Angeles (Barber’s A HAND OF BRIDGE). 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 new 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 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 concerts with the LSO at the Barbican, the RPO at the Royal Albert Hall and Manchester Camerata at the Bridgewater Hall. He makes his debut with the English Chamber Orchestra, with the City of Birmingham Symphony Orchestra at Symphony Hall and with Birmingham Contemporary Music Group at the Wigmore Hall. Other highlights include a new recording with the RPO for Universal Records, a return to the Macedonian Philharmonic in Skopje, Verdi’s FALSTAFF in Cambridge and the UK premiere of Hartmann’s SIMPLICIUS SIMPLICISSIMUS with the Britten Sinfonia for Independent Opera at Sadler’s Wells.
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. He was recently appointed Professor of Conducting at the Guildhall School of Music and Drama.
“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.