American conductor Timothy Myers enjoys a career that encompasses a wide breadth of opera and symphonic repertoire, as well as a continued commitment to quality long-term relationships with institutions and artists.
Noteworthy recent engagements have included concerts with the North Carolina Symphony and Baltimore Symphony, Adams’ Doctor Atomic and R. Strauss’ Capriccio with Curtis Opera Theatre, a Lyric Opera of Chicago debut conducting the Rising Stars Concert, and the workshop of Ricky Ian Gordon and Lynn Nottage’s commission for the Metropolitan Opera, Intimate Apparel.
In 2016 Myers made his European debut with a highly acclaimed production of Barber’s Vanessa at Wexford Festival Opera, where he returns in 2017 to lead a new production of Jacopo Foroni’s rediscovered Margherita, the first performances since its 1848 premiere.
Also in the 17/18 season Myers continues his long affiliation with Houston Grand Opera conducting Bernstein’s West Side Story; a debut with Florida Grand Opera leading his first Salome; Samson et Dalila in concert for his return as a guest conductor at North Carolina Opera; and Sweeney Todd at Atlanta Opera.
With the close of the 16/17 season, Myers concluded his nearly decade-long tenure as the Artistic and Music Director of North Carolina Opera, where Myers’ work inspired a precipitous rise in the performance standard and the forging of collaborations with multiple local and national organizations. Repertoire highlights from his tenure include Das Rheingold, Act II of Tristan und Isolde and Act I of Die Walküre, Eugene Onegin and Rusalka.
A protégé of Lorin Maazel, Myers was the first associate conductor of the Castleton Festival, where he led multiple symphonic and opera performances over his tenure. Myers has conducted the American, Jerusalem, Beijing NCPA, North Carolina, Portland (ME), Toledo, Chautauqua, Tulsa and Palm Beach symphony orchestras, and the Malaysian, Johannesburg and Brooklyn philharmonic orchestras.
“Conductor Timothy Myers shaped the performance incisively and showed great care for the score’s nuances, drawing consistently poised, colorful playing from the orchestra.”
“Barber’s rich score is superbly conducted by Timothy Myers, who relishes the music’s magnificence, brings out its intriguing detail and supports his singers.”
“Conductor Timothy Myers makes it easy for such moments, his masterful, utterly confident control revealing Mozart’s deep insights into human nature. At Saturday’s opening, Myers was on fire from the first phrases of the overture, propelling the score along with unflagging energy and effervescence. His double duty as harpsichordist for the recitatives was impressive and amusing, his baton between his teeth for the quick change to the keyboard.”
“Timothy Myers conducted an excellent orchestra; his musical insight and instincts are perfect for the operatic pit, and his connection with the singers during moments of recitative was obvious. Myers is an astoundingly gifted young musician and a true treasure to have with the North Carolina Opera as its musical director. (La Traviata, North Carolina Opera)”
“In many ways the night belonged to the orchestra and chorus. Conductor Timothy Myers was in masterful control of every phrase, bringing out the subtleties of Verdi’s score as well as the stirring drama. (Aida, North Carolina Opera)”
“Conductor Timothy Myers gave clear and sympathetic musical leadership… (With Blood, With Ink, Fort Worth Opera)”
“The orchestrations for the small, nine-member instrumental ensemble, ably led by Timothy Myers, are skillfully and colorfully calibrated to support and echo the singers rather than compete with them. (A Coffin in Egypt, Opera Philadelphia)”
“A nine-person instrumental ensemble is smoothly conducted by Timothy Myers. (A Coffin in Egypt, Houston Grand Opera) ”
“The second half of the program was devoted to the “Firebird” Suite, in one of the finest performances I have heard by the Portland Symphony Orchestra in many years, encompassing a huge range of dynamics, startling contrasts, lyricism, tone painting and orchestral color. In some of the passages, it seemed as if an invisible choir were singing behind the instruments. The final hymn lived up to its billing as one of the most stirring orchestral passages ever written.”
“Young for one in his profession but climbing the ranks quickly is American conductor Timothy Myers, who brings vigour to his leadership of the JPO. Bizet’s exotic rhythms and musical colours, considered scandalously outlandish at the opera’s debut, flourish under his baton. (Carmen, Opera Africa)”