● Savitri/Blond Eckbert, Guildhall Opera, London
5-12 June 2023

Bachtrack, David Truslove, 7 June 2023

From the pit Redmond and his superbly efficient instrumentalists underlined Weir’s smoothly integrated lyricism and neurosis

London Unattached, Andrew Lohmann, 6 June 2023

Tim Redmond conducted both pieces and dragged so much colour from each score that I nearly want to go again and sit with my eyes closed to listen.

● Peter Pan, the Dark Side, Fondazione Haydn, Bolzano
25-26 March 2023

Opera Wire, Alan Neilson, 1 April 2023

Timothy Redmond, conducting the Orchestra Haydn di Bolzano e Trento, brought Mitterer’s score to life with an energetic and dramatically intense performance.

Connessi all’Opera, Francesco Bertini, 31 March 2023

In merito alla realizzazione musicale, è senza dubbio sugli scudi il concertatore Timothy Redmond, già apprezzato a Bolzano con Powder Her Face e a Trento con Dionysos Rising. Ancora una volta, dimostra di saper lavorare brillantemente con la musica contemporanea: la sua raffinata preparazione gli consente sia di combinare sapientemente l’esecuzione live con il multiforme impiego dell’elettronica, sia di gestire con precisione e compattezza tanto i solisti di canto, quanto l’orchestra. Quest’ultima è ovviamente l’Haydn di Trento e Bolzano, che ormai può solo ulteriormente confermare la sua incredibile solerzia, compattezza e attenzione a fraseggio e riuscita complessiva.

nonsolocinema.com, Luca Benvenuti, 29 March 2023

Alla guida dell’Orchestra Haydn, il maestro Timothy Redmond valorizza in modo impeccabile la partitura di Wolfgang Mitterer

● Powder Her Face, Fondazione Haydn, Bolzano
25-26 March 2022

Connessi all’Opera, Francesco Bertini, 7 April 2022

L’Orchestra Haydn di Bolzano e Trento, sotto l’attenta guida di Timothy Redmond, uno specialista del repertorio contemporaneo e, in particolare, della produzione di Adès, padroneggia la partitura dimostrando anche di aver ben introiettato lo stile e il linguaggio particolarmente estroso del compositore.

Le Salon Musical, Alessandro Cammarano, 25 March 2022

Timothy Redmond – e insieme a lui l’Orchestra Haydn di Bolzano e Trento – si rende protagonista di una prova di assoluto rilievo: la sua direzione lucidamente analitica riconduce ad unico percorso narrativo le frastagliature intriganti della partitura, il tutto attraverso agogiche affabulanti e ritmi capaci di incalzare.

● Venice Biennale, Fondazione Haydn, Nieder, Vacchi e il filo rosso della memoria

Le Salon Musical, Alessandro Cammarano, 30 September 2020

Ad eseguire i due lavori l’Orchestra Haydn di Bolzano e Trento – da alcuni anni complesso di riferimento per la musica d’oggi – sotto la direzione perfetta di Timothy Redmond, che rende gli impaginati con minuziosa acribia unendola ad una costante urgenza ritmica e a scelte dinamiche mai banali e sempre aderenti al dettato musicale.

● The Orchestral Music of Jonathan Dove, Orchid Classics
Released May 2019

Sunday Times, Hugh Canning, 7 July 2019
Dazzlingly orchestrated and played. Redmond is a passionate advocate.

Musicweb-international, John Quinn
Timothy Redmond, Lawrence Zazzo and the BBC Philharmonic have served Jonathan Dove’s music brilliantly and their performances have been captured in excellent, very realistic sound.

classicalear.co.uk,Michael Quinn, 27 June 2019
…all superbly realised under Timothy Redmond’s articulate, authoritative baton.

● Winston-Salem Symphony
28-30 April 2019
CVNC.org, Peter Perret, 28 April 2019
The Finale (quasi una fantasia) lived up to its name by weaving a spell over the audience while the orchestra played this astounding score with virtuosity and passion. I have rarely heard the Winston-Salem Symphony sound so good. Perhaps the largest cause for this excellence was the conductor himself, Redmond.

Journalnow.com, Ken Keuffel, 29 April 2019
Redmond inspired the players before him to tackle every challenge in the most effective and satisfying ways possible.

● Irish National Opera, Dublin, Madama Butterfly
24-30 March 2019

The Arts Review, Chris O’Rourke, 26 March 2019
The RTÉ Concert Orchestra, under conductor Timothy Redmond, wonderfully convey Puccini’s sweeping, almost cinematic score.

Bachtrack, 25 March 2019, Andrew Larkin
There was much to commend in conductor Timothy Redmond’s rendition of the music, with lush, luxuriant string playing from the RTÉ Concert Orchestra.

● Irish National Opera, Wexford and on tour, Powder Her Face
24 February-9 March 2018

Bachtrack, Michael Roddy, 8 March 2018
The INO orchestra, under the baton of Timothy Redmond, was top-notch.

Irish Examiner, Cathy Desmond, 5 March 2018
What makes the evening fly is the superb 15 piece band…You are unlikely to see a better production.

Irish Times, Michael Dervan, 28 February 2018
The orchestra in Thomas Adès’s first opera, Powder Her Face, is often like a kind of Greek chorus…Their energy and adaptability, and the riot of colour exploding from the INO Orchestra under Timothy Redmond are unflagging.

● Guildhall School, Silk Street Theatre, The Consul
31 October-6 November 2017

musicomh.com, Sam Smith, 1 November 2017
The orchestra, conducted by Timothy Redmond, plays extremely well

The artsdesk, David Nice, 31 October 2017
…poignant high strings sensitively managed by a Guildhall Orchestra on amazing form under Timothy Redmond,

Bachtrack, John Johnston, 31 October 2017
Conductor Timothy Redmond drew vivid playing from the orchestra.

● Independent Opera at Sadler’s Wells, Simplicius Simplicissimus
11-19 November 2016

The Observer, Stephen Pritchard, 20 November 2016
Timothy Redmond conducted the Britten Sinfonia with admirable commitment to Hartmann’s bracing score.

Opera Today, Clare Seymour, 19 November 2016
Hartmann’s score was incisively articulated by players from the Britten Sinfonia…Conductor Timothy Redmond did not let one detail escape…The probing string counterpoint which accompanies the Hermit’s oration becomes a mis-harmonised Bach chorale, which Redmond crafted – as the pitch rose, repetitive fluttering motifs were introduced and a powerful accelerando took hold – into a stirring declaration.

The Spectator, Michael Tanner, 19 November 2016
Under the convincing baton of Timothy Redmond, and in David Pountney’s translation, one can’t imagine the work being better served…

The New York Times, Michael White, 17 November 2016
All this was handsomely realized by the Britten Sinfonia, moonlighting as the pit-band at Sadler’s Wells… conducted by the new-music specialist Timothy Redmond…

What’s On Stage, Mark Valencia, 16 November 2016
There is so much that’s good about a performance whose scale and ambition make the Lilian Baylis Studio burst at the seams, from David Pountney’s fine vernacular translation through the scorching performance of Stephanie Corley in the title role to the virtuosic playing of the Britten Sinfonia under Timothy Redmond. The latter make a powerful case from Hartmann’s chamber score, projecting it with a swashbuckling bravura…

The Independent, Alexandra Coghlan, 15 November 2016
The Britten Sinfonia are the luxury band, and under conductor Timothy Redmond give rhetorical voice to this violent, sardonic score, full of musical wit and rage.

The Guardian, Tim Ashley, 15 November 2016
Timothy Redmond conducts the Britten Sinfonia with considerable force

The artsdesk, Helen Wallace, 15 November 2016
Timothy Redmond’s galvanising authority…

The Stage, George Hall, 14 November 2016
…skillfully performed here by the Britten Sinfonia under the baton of Timothy Redmond.

The Times, Richard Morrison, 14 November 2016
Timothy Redmond conducts securely, and the Britten Sinfonia delivers Hartmann’s fiendishly angular lines mostly with panache.

Bachtrack, Matthew Rye, 12 November 2016
Hartmann’s score was vividly brought to life by the musicians of the Britten Sinfonia under the direction of Timothy Redmond.

Planet Hugill, Robert Hugill, 12 November 2016
Under Timothy Redmond the Britten Sinfonia really relished Hartmann’s music and it was the composer’s experience as a symphonist which really came out so that the orchestral writing took on a vivid life of its own.

Classicalsource, Richard Whitehouse, 11 November 2016
…the assured playing of the Britten Sinfonia, capably conducted by Timothy Redmond…

● Guildhall School, Silk Street Theatre, Ariane & Alexandre Bis
31 May-6 June 2016

Classicalsource, Colin Clarke, 4 June 2016
It was this sense of being completely on the ball that reflected the performance as a whole, thanks to the conducting of Timothy Redmond. The orchestra, on fine form, followed him with exactitude; the score was crisp and frequently delightful…
A triumph for GSMD; and a real privilege to experience these fabulous pieces.

Opera Today, Clare Seymour, 2 June 2016
The score [of Ariane] recalls Stravinsky in chirpy neo-baroque mode — Pulcinella, premiered at the Paris Opéra in 1920 comes strongly to mind — but Martin? also punctuates Ariane with three fairly lengthy Sinfonias, à la Monteverdi’s Orfeo, and the GSMD Orchestra, conducted by Timothy Redmond, played them with crisp punchiness, the rhythms sharply defined and the woodwind colours striking. [In Alexandre Bis] Redmond summoned plenty of fizz from the pit too, though it was the strings who shone this time…the instrumental playing during the evening was some of the best I have heard from the young GSMD players and would be a credit to any professional ensemble.

The Times, Neil Fisher, 2 June 2016
…the fascinating score, well conducted by Timothy Redmond…

Boulezian, Mark Berry, 2 June 2016
Here, as in Ariane, the orchestra proved remarkably adept, under Timothy Redmond’s baton, at tracing and communicating the changing moods of the score.

Bachtrack, Dominic Lowe, 1 June 2016
The orchestra under Timothy Redmond were well-paced and the woodwind in particular should be singled out for the quality and colour of their playing.

The Arts Desk, David Nice, 1 June 2016
Timothy Redmond makes the orchestra sound as professional and idiomatic as you could wish; chamber ensemble strings make some ravishing sounds…what a delight to hear the idiom so easily done.

● Independent Opera at Sadler’s Wells, Biedermann and the Arsonists
14-19 November 2015

The Financial Times, Hannah Nepil, 18 November 2015
Vose?ek’s score burns like acid. This Czech composer delights in chilling effects — a well-timed glissando, a deep tuba growl — spiked with a sarcasm that might make Shostakovich proud. At one point there’s even a wry reference to Don Giovanni. It certainly galvanises the members of the Britten Sinfonia, who, under Timothy Redmond, consistently give their all.

The Guardian, George Hall, 18 November 2015
Vose?ek’s chamber work is scored for 15-piece ensemble – here the pristine Britten Sinfonia under the eagle-eyed baton of Timothy Redmond – with a preponderance of clarinets, trombones and percussion giving its soundworld an abrasive edge. Convulsively pacy, the work plays for an intense 90 minutes, driven by a winning combination of menace and brittle musical wit.

The Stage, Edward Bhesania, 18 November 2015
The Britten Sinfonia is deftly directed by Timothy Redmond, with the score’s nervous gestures, tolling bell and comical trombones often giving the air of a grotesque cabaret…Entertaining, disturbing and enduringly topical, this could turn out to be a modern operatic classic.

● Guildhall School, Silk Street Theatre, Ein Landartz & Phaedra
8-15 June 2015

Boulezian, 15 June 2015
This was a fine performance by any – not just youthful – standards. Henze’s love of flickering colours and their transformation – again I thought, whatever he himself might have made of this comparison, of Strauss’s Daphne – shone through, as full of dramatic propulsion as harmony and rhythm. Redmond’s direction again proved sure, indeed more than that: vital.

Opera Today, Clare Seymour, 12 June 2015
The instrumental playing was again impressive. Henze’s instrumental voices are quite soloistic, and the transparency and depth of the woodwind and brass textures was dramatic — they were capable of powerfully creating the mythic earthquake, but also of spinning sinuous threads of sound. Conductor Timothy Redmond paced things well: the urgency of the first act gave way to more mystical meanderings in the second — there’s a lot of symbolism and metaphor but not much action in Christian Lehnert’s libretto — but Redmond sustained the dramatic moment by foregrounding the textural variety of the score, as groups of instruments formed sub-sets of colour.

Artsdesk, Peter Quantrill, 10 June 2015
Timothy Redmond’s conducting was discreetly effective and nurtured some delicate playing from the pit-band. In every respect the production values offered more than might be expected of even specialised, accomplished students.

Classicalsource, Nick Breckenfield, 8 June 2015
All credit to the orchestra – swelled to 25 for Phaedra – under Timothy Redmond’s expert direction – and to the Guildhall Opera Department for continuing to produce such innovative and varied programming for its students and audiences.