The Barber of Seville
Role: Dr. Bartolo
Conductor: Anthony Barrese - Director: TBA
"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
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Role: Joseph De Rocher Conductor: Sara Jobin - Director: David Radamés Toro
“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
Finnish-American baritone Timothy Mix begins the 2019-20 season with his return to San Francisco Opera in the role of Count Capulet Romeo et Juliette, and travels to Annapolis Opera to sing the role of Scarpia Tosca. He returns to Urban Arias for performances of Glory Denied in the role of Older Thompson in Washington DC, where last season he performed the world premiere of Peter Hilliard and Matt Boresi’s The Last American Hammer. Following his success in this role, the artist travels to Pittsburgh Opera for further performances as Milcom Negley. At Opera Idaho, he revives his portrayal of the title role of Joseph de Rocher in Dead Man Walking.
Last season’s highlights included an American premiere of Alexander Zhurbin’s song cycle TSVETAEVA with the Russian Chamber Art Society and he joined Los Angeles Philharmonic Orchestra to sing Caliban The Tempest in Swedish under the baton of Suzanna Malkki. Tim travelled to Bergen National Opera to appear as Albert Werther and finished the season as Joseph De Rocher Dead Man Walking at Opera Delaware with great success.
Appearing at the prestigious summer festival Santa Fe Opera, Tim’s debut in 2016 as Count Capulet Romeo et Juliette under the direction of Stephen Lawless was the first of several engagements there; he returned the following season to jump into the role of Tsar Dodon in Paul Cullen’s Le Coq d’Or, and most recently sang the role of Jack Hubbard in a new production of Dr Atomic. His San Francisco Opera appearances include Le Bret Cyrano de Bergerac in 2010, Elder Ott/Blitch (c) Susannah in 2014 and de Brétigny Manon in 2017. At Opera Colorado he sang Enrico Lucia di Lammermoor, Belcore L’elisir d’Amore (also at Virginia Opera,) and Escamillo Carmen. Well-known by Opera Theatre of St Louis audiences, Tim made his role and house debut as Marcello La Boheme (also at Arizona Opera and Palm Beach Opera), and later Belcore in James Robinson’s production of The Elixir of Love.
Tim frequently appears in concert in Russian repertoire with the Russian Chamber Art Society of Washington DC, and with them recently added the title role Eugene Onegin to his repertoire. Other local engagements include the title role Rigoletto and Pere Germont La Traviata in concert with the Baltimore Concert Opera, Sharpless Madama Butterfly with Lyric Opera Baltimore and his engagements with Washington National Opera include Renato Un Ballo in Maschera as well as Ford Falstaff, a role he also sang at New York City Opera. Returning to NYCO, a highlight of his career was winning the company’s Christopher Keene award for Excellence as Edward Gaines Margaret Garner.
Other US successes include his appearance at Opera Delaware in the role of Claudius Amleto by Franco Faccio, and a role debut of Amonasro Aida with Opera Southwest. He joined the Bard Music Festival as the baritone soloist and narrator for Ginastera’s Estancia, conducted by Leon Botstein. Tim sang the title role Don Giovanni at Opera Grand Rapids, and at Opera Southwest. Tim’s international engagements include Escamillo at Finnish National Opera.
Tim has a broad repertoire of Finnish song which he presents in recital, and his concert appearances include Verdi’s Requiem with The Florida Orchestra, Carmina Burana with Oregon Symphony, and with Gustavo Dudamel and the Los Angeles Philharmonic he sang the role of Ping Turandot in concert
Reviews 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
Reviews as MIlcom Negley in The Last American Hammer
The cast is strong. Baritone Timothy Mix created and to date quite literally owns the role of Milcolm Negley. He sang the part for Urban Arias when the work was given four performances in Washington, D. C., in September 2018, and until last evening, The Last American Hammer had been heard nowhere else. The music requires a flexible range, some of it ringing on the high side, some of it dark and brooding in color. He was capable of singing both effectively, and in appearance can flip his posture and facial expression from menacing to hopeless helplessness on a dime.
George B. Parous - Pittsburgh In The Round
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
Reviews as 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
Reviews as Enrico in Lucia di Lammermoor
Tim Mix was simply and wonderfully menacing as the evil brother, his facial expressions and stage movements oozing ill will. As with the rest of the cast, his vocal skills were paramount in making this "Lucia" a significant success, his strong baritone even reflecting dastardly deeds in tone and presentation. Very impressive.
John Shulson - The Virginia Gazette
Reviews as Tsar Dodon in The Golden Cockerel at 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
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
Deborah Sanders: Arbour Artists
Phone: +44 7731 652613
Tim is available to teach privately in person or online. If interested please contact him at email@example.com.