Timothy Myers

Conductor

Biography

Internationally acclaimed for his eloquence, energy and command on the podium, Timothy Myers is driven by a wide breadth of repertoire and projects. He opened his 2019-20 season to rave reviews at the Wexford Festival, where he conducted Massenet’s Don Quichotte, dubbed by The Sunday Times as “the festival hit, thanks to Rodula Gaitanou’s moving direction…and eloquent conducting by Timothy Myers” (his third appearance there). Looking ahead, Timothy makes two company debuts conducting Carmen; first at Pittsburgh Opera, and then at the Opera Theatre of St. Louis. He will return to Austin Opera for Turandot, and will continue his role there as Artistic Advisor. Recognized for his ability to engage audiences through his in-depth and versatile artistic planning, Myers is known for his authentic, resonant and creative vision on and off the stage.

Highlights of his 2018-19 season include Timothy’s debut with Santa Fe Opera conducting Bizet’s Les pêcheurs des perles, conducting the world premiere of The Fix (Joel Puckett/Eric Simonson) for his debut at Minnesota Opera and leading Silent Night (Keving Puts) for his debut at Austin Opera.

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. His concert work has led him to work with orchestras internationally, including the American, Jerusalem, Beijing NCPA, North Carolina, Portland (ME), Toledo, Chautauqua Symphonies, as well as the Malaysian, Johannesburg and Brooklyn Philharmonic Orchestras.

With the close of the 16/17 season, Myers concluded his tenure as the Artistic and Music Director of North Carolina Opera, where his 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 Wagner’s Das Rheingold, Act II of Tristan und Isolde and Act I of Die Walküre, Tchaikovsky’s Eugene Onegin and Dvorak’s Rusalka; most recently, he returned to conduct Act III of Wagner’s Siegfried in November 2019.

Recent News

Reviews

★★★★★ “the orchestra under Timothy Myers was superb, delivering Massenet’s sumptuous score with a thrilling range of dynamics. We heard the quietest pianissimos and startling whoosh of crescendos.”

Irish Examiner Oct 2019

Cathy Desmond

Irish Examiner, Oct 2019

“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.”

John Allison

The Telegraph 2016

“Myers is a conductor you need to know.”

 

Jennifer Harrington

Primephonic July 2019

More Reviews

★★★★★ “the orchestra under Timothy Myers was superb, delivering Massenet’s sumptuous score with a thrilling range of dynamics. We heard the quietest pianissimos and startling whoosh of crescendos.”

Cathy Desmond, Irish Examiner Oct 2019

★★★★ “Timothy Myers’ spirited direction, gave a scintillating account of Massenet’s masterly score.”

, Bachtrack Oct 2019

“Don Quinchotte proved to be the festival hit, thanks to Rodula Gaitanou’s moving direction of a fine young cast and eloquent conducting by Timothy Myers, who captured the valedictory atmosphere of Massenet’s 1910 piece.”
Hugh Canning, The Times

 

First Rate…If the staging was of a very high standard, no less can be said of the musical side, under the direction of the American conductor Timothy Myers…Under his direction, the Orchestra of Wexford Festival Opera produced a warm and exciting performance which captured the Spanish coloring of the work, and drew attention to the beauty of Massenet’s score, in which he successfully revealed its textural qualities. The musical interludes, in particular, were wonderfully played and very evocative.”
Alan Neilson, Operawire, Nov 2019

 

“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.”

Roy C. Dicks, News & Observer

“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)”

Harrison Russin, CVNC 

“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)”

Roy C. Dicks, News & Observer 

“Conductor Timothy Myers gave clear and sympathetic musical leadership… (With Blood, With Ink, Fort Worth Opera)”

Scott Cantrell, The Dallas Morning News 

“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)”

Heidi Waleson, Wall Street Journal 

“A nine-person instrumental ensemble is smoothly conducted by Timothy Myers. (A Coffin in Egypt, Houston Grand Opera) “

George Loomis, Financial Times 

“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.”

Christopher Hyde, Portland Press Herald 

“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)”

Dillon Davie, Mail & Guardian