February 01, 2020Reviews of Older Thompson in Glory Denied
If there's such a thing as beyond perfect, baritone Timothy Mix is that thing. As the older Thompson, Mix sings the climax of Glory Denied, a passage which might be characterized as what could happen if "The Catalogue Aria" and "We Didn't Start the Fire" had a baby. The America to which Thompson returned in 1973 didn't resemble the one he'd left in 1964, and Mix's performance of this sobering and revealing portion of the opera is outstanding.
Mary Lincer for BroadwayWorld
Timothy Mix was outstanding. He carried both the stiffness and pain in his body of a POW and showed the haunted eyes and outlier mask that I have seen in my half-brother (a Navy SEAL in that same war.) His performance made me weep. His aria on his return, “Welcome Home," which Cipullo had crafted with just a list of words that he delivered with dizzying speed, captured the culture shock of returning to a country no longer recognizable. Accompanied by fast-flipping images of fashion and iconic news events (times-are-a-changin’,) Mix delivered in that one song the emotionally overwhelming experience that all of us felt coming back from Southeast Asia to the good ol’ USA during that period.
Susan Galbraith for DC Theatre Scene
"It is hard to imagine a more perfect cast for Glory Denied than this one."....."Timothy Mix has many scenes where his muscular voice is perfectly matched to the score, both to the gentle music and to that which is filled with anxiety."
Barbara Mackay for DC Metro Theater Arts
June 30, 2019Albert in Werther with The Bergen National Opera
Tim Mix brought dynamism to Albert’s line, text and demeanour, not hiding his anger when the time came...
Opera Magazine, Yehuda Shapiro, June 2019
May 12, 2019Reviews of Joseph De Rocher in Dead Man Walking
As death-row inmate De Rocher, Mix delivers a rangy portrait that highlights not only the inherent melodrama of this troubled criminal but also delves into his uncertainty and vulnerability.
BroadStreetReview, Gail Obenreder, 30 April 2019
Tim Mix is sensational as Joseph De Rocher, the invention of librettist Terrence McNally. He is a composite of two death row convicts befriended by Sister Helen. Mix is tall and muscular, the image of a menacing villain. His baritone voice is powerful as he sings his big aria while doing pushups.
The Cultural Critic, Steve Cohen, May 2019
September 30, 2018Reviews of Milcom Negley in The Last American Hammer world premiere
Timothy Mix, a baritone known from appearances with Washington National Opera, brought boundless energy and vocal strength to the role of the conspiracy theorist. He ranted, raged, roared, and raved, spittle flying, somehow managing to make his unhinged character sympathetic.
Washington Classical Review, Charles T. Downey, 24 September 2018
There are some super moments. Timothy Mix is one of the bright lights. With a robust voice and an equally strong physical instrument, he moves between the braggadocio required of his hepped-up angry character, who demands to have his say and be heard, followed by the unmasking of a frightened, lost soul.
DC Theatre Scene, Susan Galbraith, 25 September 2018
August 31, 2018Reviews of Frank Hubbard in Dr. Atomic
Meteorologist Frank Hubbard was exceedingly well served by Tim Mix’s steady, powerful baritone.
Opera Now, James Sohre, 3 August 2018
Hubbard, sung by the beautifully resonating baritone Tim Mix...
Opera Magazine (Netherlands), Maria Nockin, 15 August 2018
Tim Mix was solid as the much maligned meteorologist Frank Hubbard.
Sharps and Flatirons, Peter Alexander, 7 August 2018
July 31, 2017Reviews of Tsar Dodon in The Golden Cockerel with The Santa Fe Opera
The remarkable baritone Tim Mix sings and fidgets up a storm in a tireless vocal and physical tour de force as Tsar Dodon. His was just the right ‘Mix’ of buffoonery and bravado, and he skilfully used his sizeable instrument to create an indelible vocal characterization. But Mr. Mix is also capable of important moments that are not larger-than-life, namely, beautiful phrases that bring some humanity to the bumbling monarch. Later in the show, as power has corrupted him, Tim limns his rock solid pontifications with an arrogant cynicism. This is a beautifully schooled voice, a very musical performer, and a committed, inventive actor.
Opera Today, James Sohre, July 2017
Santa Fe Opera assembled an excellent cast of singing actors. As Tsar Dodon, Tim Mix showed off a smooth, even voice throughout his range. His character provoked plenty of laughs, whether he was struggling with his sword or ogling women.
Bachtrack, Ilana Walder-Biesanz, July 2017
Tim Mix, as Tsar Dodon, boasts a solid baritone...Mix assumed the part worthily as a mainstream baritone Tsar and proved an appropriately birdbrained leader, though one who evinced sincere pain over the death of his sons.
The Santa Fe New Mexican, James M. Keller, 16 July 2017
Tsar Dodon is a lazy, blue-bearded fool who wants to rule his lands while lying in bed. Solidly sung and broadly played by baritone Tim Mix...
Classical Voice North America, Johanna Keller, 23 July 2017
American baritone Tim Mix was a vocally and dramatically vivid Tsar Dodon...
Ludwig van Toronto, Joseph So, 1 September 2017
Tim Mix, who performed the entire role of the Tsar, in a plush fat suit, showed skill as a singing actor.
Opera Wire, Arya Roshanian, July 2017
August 11, 2016Opera Today review of Santa Fe Romeo and Juliette
Tim Mix displayed a fine legato and beguiling tone as a capable Daddy Capulet
James Sohre - Opera Today
April 24, 2015“From Moscow to Hollywood, Songs from the Movies” Marks End Of RCAS Season
While “Be My Love" was made famous by Mario Lanza, it was Tim Mix ‘s beautiful rendition of that song in his rich baritone voice that captured the hearts of the audience. With equal interpretive gifts, he performed the classic tune “As Time Goes By" from the film Casablanca by Herman Hupfeld. And his delivery of Andrey Petrov’s “No Bad Weather in Nature," in impeccable Russian was exquisite.
Lisa McFarren-Polgar • FestivalDC.com
February 01, 2015Opera News review of Lyric Opera Baltimore's production of Madama Butterfly
"Timothy Mix's firm baritone and keen dramatic instincts served him well as Sharpless."
Tim Smith for Opera News
November 08, 2014Tim's debut in the role of Sharpless
Timothy Mix is a solid presence, vocally and dramatically, as the American consul, Sharpless.
Tim Smith - The Baltimore Sun 11/8/2014
September 01, 2014Opera magazine review of Elixir in St. Louis
\"Sporting an ample red beard, Tim Mix brought a swagger and a decent voice to Belcore.\"
George Loomis for Opera magazine Sept. 2014
July 08, 2014OPERA TODAY review of OTSL Elixir
Tim Mix’s bearded, side-burned, übercool Belcore, has a buzzing swagger in his voice, testosterone in his delivery, and he presents a total performance that is blustery and appealing. Mr. Mix is also not afraid to explore darker corners of the Sergeant’s personality, with good results.
James Sohre - Opera Today July 8, 2014
June 09, 2014Word is spreading about The Elixir of Love in St. Louis
John von Rhein of the Chicago Tribune made a special visit to St. Louis last week because of the buzz about Elixir. Here's what he had to say about Tim.
Tim Mix is pompously funny and sings strongly as the bearded bully Belcore, forever flexing his biceps to impress the town's swooning young female population.
John von Rhein - The Chicago Tribune June 9, 2014
June 01, 2014Reviews from OTSL's Elixir!
Baritone Tim Mix used his supple baritone to good effect; he has a great line of swagger, and was appropriately over the top as the blowhard Belcore
Sarah Bryan Miller - St. Louis Post Dispatch June 1, 2014
Baritone Tim Mix is the swaggering Sergeant Belcore, the role he played in the 2007 Boulder production. He, too, has a big, accurate voice that easily navigates the rapid patter Donizetti often assigns to his comic villains. His gets the character's absurdly inflated self-regard just right, which makes his eventual comeuppance as satisfying as it should be.
Chuck Lavazzi - KDHX.org June 1, 2014
Tim Mix brings a rich and powerful baritone to the role of Belcore, the recruiting sergeant, and he is a gifted comic. His Belcore is the sort of show-off muscle-man who, were they on the beach, would kick sand in poor Nemorino's face. With a splendid auburn beard and sideburns (which are, of course, a little anachronistic) he looks very like George Bernard Shaw performing as some miles gloriosus, the "braggart warrior."
Steve Callahan - Broadwayworld.com June 3, 2014
Baritone Tim Mix as egotistical, “cock of the walk," Belcore—the soldier whom Adina flirts with and nearly marries—struts about the stage in a most amusing portrayal which reminds one of Will Ferrell if he could sing opera.
Christopher Reilly - Alive Magazine June 3, 2014
November 17, 2013Review from concert of Russian Bel Canto at the Embassy of Austria
Timothy Mix  wowed the audience with his enormous and pure baritone voice, strong upper range, and glorious, rumbling low register. Mix has a commanding presence that played very well in a concert of Russian music...
Jane Coyne for DC Metro Theatre Arts
October 01, 2013Albuquerque Arts & Entertainment - October 2013
Albuquerque Arts & Entertainment has Tim on its Oct. 2013 cover with a story promoting the Opera Southwest Don Giovanni on page 15. Notably, the cast also includes Tim's wife Emily Ezzie as Donna Elvira.
June 24, 2013More from Tabarro/Pagliacci at Opera Theatre of St. Louis
"As Giorgetta and Michele, the unhappily married barge dwellers, the soprano Emily Pulley and the baritone Tim Mix revealed the couple’s misery with emotionally nuanced singing and acting."
"Mr. Mix wielded his sonorous baritone to even more potent effect as Tonio in the company’s sizzling production of “Pagliacci,"
VIVIEN SCHWEITZER - The New York Times June 23, 2013
"Baritone Tim Mix gets things just right in both operas: the solid, stolid Michele, driven to violence only in desperation; Pagliacci’s damaged, mocking Tonio—but also the sobering setup act in the Prologue. Add a gorgeous, well-textured voice and a too-rare command of legato."
Scott Cantrell - Dallas Morning News June 24, 2013
"Mr. Mix has a rolling baritone of natural beauty and pristine production. His instrument is thrillingly even up and down the range."
"Several performers did admirable double duty"..... "Mr. Mix presented an especially well-sung Tonio"... "He did reaffirm my thinking that this solid talent is a voice to watch."
James Sohre for Opera Today - June 20, 2013
June 06, 2013Tim's return to St. Louis in the double bill of Tabarro/Pagliacci
"As the brooding Michele, no-nonsense in work and life, baritone Tim Mix is both sympathetic and scary. Mix snarled and schemed chillingly as Tonio, the hunchbacked clown who attempts rape and then spitefully encourages the murders that Brubaker’s Canio is all too ready to commit. Both men offered powerful singing and acting"
Sarah Bryan Miller - St. Louis Post Dispatch June 2, 2013
"Mix's beautiful and solid turn as Michele, the brooding, troubled barge owner, is the cornerstone performance in Il tabarro. It contrasts superbly with his edgy, off-kilter take on the mercurial and devilish hunchback, Tonio, in the nightcap."
Lew Prince - Riverfront Times June 6, 2013
"Baritone Tim Mix is utterly credible as the tragic Michele, the black-hearted Tonio, and the mild-mannered Prologue of “Pagliacci," who delivers the artistic manifesto of the verismo movement. It’s a classic triple-threat performance, beautifully sung."
Chuck Lavazzi - KDHX 88.1 June 2, 2013
"Tim Mix, a former Gerdine Young Artist, is strong as Michele, both in his brooding acting style and with his rich, resonant baritone."
Mark Bretz - Ladue News June 4, 2013
February 09, 2013Tim Debuts Don Giovanni with Opera Grand Rapids
"Timothy Mix, tall and handsome, had the look of Don Giovanni, a masterful presence, and an opulent baritone."
MLive Feb 9, 2013 - Jeffrey Kaczmarczyk
November 04, 2012Tim Mix shines in La Bohème at Lyric Opera Baltimore
"Timothy Mix brought a big, colorful baritone and abundant expressive fire to the role of Marcello, the painter hung up over the flirtatious Musetta"
Tim Smith for the Baltimore Sun - Nov. 4, 2012
April 21, 2012Tim Mix in La Traviata at the Dallas Opera
"Tim Mix gets to play the unenviable role of the Baron. He normally is hated and seen as an ogre. He too finds subtleties in his delivery that makes his rage of jealousy understandable to an audience. He also has a powerful voice that commands attention."
Mark-Brian Sonna, Associate Critic for John Garcia's THE COLUMN
"Baritone Timothy Mix portrays a virile Baron Douphol competing for Violetta."
Marilee Vergati for examiner.com
"Tim Mix is a sympathetic, yet severe Baron."
Gregory Sullivan Isaacs for Theaterjones.com
November 14, 2011Tim Mix in Carmen at the San Francisco Opera
"the Dancairo of Timothy Mix had real flash."
Michael Milenski for Opera Today
"Timothy Mix and Daniel Montenegro were fiercely athletic smugglers."
Joshua Kosman, San Francisco Chronicle Tuesday, November 8, 2011
"Timothy Mix's Le Dancaïre stood out"
Emily Hilligoss Mon., Nov. 21 2011 for SF Weekly
September 25, 2011Orlando Philharmonic Goes to the Opera
Baritone Timothy Mix showed the most acting range with an expressive face, as well as a grand vocalization of "E sogno? O realta?" from Verdi's "Falstaff."
September 25, 2011|By Matthew J. Palm, Orlando Sentinel Entertainment Critic
July 18, 2011Review of Turandot with L.A. Philharmonic. Conducted by Gustavo Dudamel.
Baritone Timothy Mix was animated and incisive as the leader of the trio of ministers Ping, Pang and Pong.
MIKE SILVERMAN For The Associated Press
LOS ANGELES July 18, 2011 (AP)
February 26, 2011Baritone performs well in debut recital
Baritone performs well in debut recital
For The Daily Gazette
SARATOGA SPRINGS -- Baritone Timothy Mix gave a debut recital Friday night at the Arthur Zankel Music Center to a small but enthusiastic crowd who had braved slippery roads to cheer him on. Despite the concert being done on short notice to replace an ailing Anthony Dean Griffey, Mix put together an assortment of opera arias, show tunes and a folk song that he sang with superb style. Now in his early 30s, Mix has amassed stellar credentials and this season will sing with companies in San Francisco and Washington, among others. But he is also a student of opera baritones. This recital was based on those baritones who have inspired him over the years since his days at Peabody Conservatory, where he said he spent countless hours listening to recordings. Among the many baritones he listed prior to singing an aria that they were famous for were Thomas Allen, John Charles Thomas, Lawrence Tibbett, George London and Enzio Pinza.
Mix impressed with his big, rich voice that sounded like an orchestral trombone section. There's a heroic quality to his voice with its strength and intensity, to which he adds an even timbre throughout, fluid phrases, effortless delivery and superb diction. All of these supported each aria's character. One could almost hear the bravos from an audience, were he singing these arias at the opera house.
His very skilled accompanist, Christopher Cano, who frequently works with singers, was accurate, usually kept the balances, used a light pedal and was very supportive.
They began with Handel's "Arm, Arm Ye Brave" from "Judas Maccabaeus," which showed off his silken phrasing, resolute mien and strong inflections.
He did two Verdi arias: one from "Don Carlos," which was focused, intense and expressive; and an aria from "Falstaff" that was dramatic and powerful.
There were two Mozart arias: one from "Le Nozze di Figaro," in which Cano was especially terrific, and one from "Don Giovanni," in which Mix caressed the lyrics with a gentler quality and lightened his usual forceful delivery.
In the Puccini aria from "Il Tabarro," Mix snarled, raged and was fiercely thrilling.
But he showed a marvelous sensitivity and unexpected flair in the two more popular tunes: Jerome Kern's "The Way You Look Tonight" and Daniel Kelley's "Home on the Range." His superbly regulated voice, gentle way with the lyrics, natural stretch to the phrases and open, friendly manner created a mood that was spellbinding. The Kern was wonderfully romantic, and Kelley's cowboy lament was longing and lovely.
As an encore, he sang "Some Enchanted Evening" from "South Pacific," which was almost a lullaby of exotic appeal.
Copyright (c) 2011 The Daily Gazette Co. All Rights Reserved.
February 24, 2011Baritone Timothy Mix to celebrate past stars at Zankel Hall recital
Baritone Timothy Mix to celebrate past stars at Zankel Hall recital
Baritone Timothy Mix celebrates past stars
By Joseph Dalton Special To The Times Union
Published 12:00 a.m., Thursday, February 24, 2011
At age 32, Timothy Mix might be considered part of the iPod generation. The operatic baritone who performs Friday night at Skidmore College's Zankel Music Center admits that listening to recordings has been a major influence on his own artistic development. And he's plenty comfortable putting on an LP.
"My wife and I have a large vinyl collection. Sometimes that's the best way to find out-of-print recordings," he says. "In a thrift store, you can buy a whole opera for a dollar."
While putting his own interpretive stamp on each selection in his upcoming recital, Mix's choice of repertoire might feel like a sampling of his large record collection. He chose the particular arias, art songs and standards in order to reference important baritones and basses of the past.
A couple of examples: Before singing an aria from Mozart's "Don Giovanni," Mix will say a few words about the great Canadian-born George London (1920-1985). He's also included Jerome Kern's "The Way You Look Tonight" in tribute to the Ukrainian Igor Gorin (1904-1982), also an operatic star but one who was known for crossover repertoire.
"I spent my formative years just listening to the great singers," recalls Mix. "A lot of voice teachers might say you'll learn bad habits from recordings, but these guys had great habits as well. Why not take as much as you can from them?"
Despite an immersion in recordings, Mix isn't self-taught.
"I've been singing since before I can remember, and in high school I just decided I wanted to do it better," says Mix. "I found a really great teacher and he forced me to audition for the high school musicals. And the next thing I knew, I was applying to conservatories."
It was at a summer opera workshop before his senior year in high school that a passion for opera really took hold. "I was doing what's called the seduction scene from 'Susannah.' I played the pastor who tries to talk some sense into this girl who's been called loose. Throughout the scene, he becomes more and more attracted to her. That was when I fell in love with opera -- the music, the drama, the performance."
This season, Mix has performed with the San Francisco, Washington and Portland Operas, among others. Some local audience members may recall his powerful role in 2007 for the New York City Opera production of "Margaret Garner." The opera, with a libretto by novelist Toni Morrison, was composed by Richard Danielpour, who was a visiting artist at Skidmore during that same season. The college sponsored a busload of students, faculty and staff who attended.
Mix is mindful that his program should serve an educational function, since he's performing at a music school.
"I'll introduce each piece, so people don't have to be glued to the translations and mention which baritone I'd placed with the piece and why," he explains. "Not a lengthy discussion, but just how each piece fits in with the program. Everything should be a teaser to get people interested in these baritones. There are scads of great singers to explore."
Joseph Dalton is the author of "Artists & Activists: Making Culture in New York's Capital Region" and a regular contributor to the Times Union. He blogs at: http://www.hudsonsounds.org.
Baritone Timothy Mix with pianist Christopher Cano
What: The program includes arias by Handel, Verdi, Mozart and Puccini, plus a few art songs and standards.
When: 8 p.m. Friday
Where: Zankel Music Center, Skidmore College, Saratoga Springs
Read more: http://www.timesunion.com/default/article/Baritone-Timothy-Mix-to-celebrate-past-stars-at-1026915.php#ixzz1EutEF6EQ
May 02, 2010Review of Toledo Opera's "L'elisir d'amore"
"Baritone Timothy Mix as Belcore, the bumptious sergeant and ladies' man, was powerful and convincing. His voice has great strength and flexibility, never burdened by vocal gymnastics or dramatic nuances." Sally Vallongo - The Toledo Blade
November 21, 2009Tim Mix in Washington National Opera's Falstaff
"Timothy Mix, as Ford…asserted tonal strength to match his colorful characterization."
Tim Smith, Baltimore Sun
"baritone Timothy Mix (Ford) displayed immense vocal talent"
T.L. Ponick for The Washington Times
"Baritone Timothy Mix sang and acted a multifaceted Ford, strongly into the plot and interacting fully with the other characters. Aided by a powerful stage presence, he proved more a personage than the title character. "
Ronald G. Precup for Intermissionmag.com
September 01, 2009Opera News - Sept. '09 issue
Opera Theatre of St. Louis - Marcello in La Boheme summer of 2009
"Timothy Mix has been a solid presence in Saint Louis since his 2004 debut in Carmen, and the baritone's development from Gerdine Young Artist to leading man was completed in 2006, with his impressive Harry Easter in Kurt Weill's Street Scene. With a vigorous, ringing voice, Mix's Marcello was a strapping guy (who easily hoisted Musetta into his arms) with a heart of gold." - Judith Malafronte
August 15, 2009Mirjam Helin International Singing Competition
Timothy takes 2nd prize in Helsinki Finland