Nick Pritchard


"In Bach’s St John Passion, the tenor Nick Pritchard [is] a supple, lucid Evangelist."

Fiona Maddocks, The Guardian

"His is a lovely English tenor with a core of muscularity...and beautifully showcased here in Britten’s writing."

Alexandra Coghlan, The Arts Desk

"Nick Pritchard’s Ferrando phrased an airy ‘Un aura amorosa’ … He is a natural Mozartian."

Hugh Canning, Opera Magazine

"Nick Pritchard’s Albert easily presided over the whole evening, his authority, pace and characterisation never in doubt."

Peter Reed, Classical Source

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Born in West Sussex, Nick Pritchard read music as a choral scholar at New College, Oxford and studied with Russell Smythe at the Royal College of Music International Opera School (RCMIOS) where he was the recipient of the Eric Joseph Shilling Prize. He was awarded the London Bach Society Singer’s Prize in 2013 and is currently a Samling Artist.

Recent and future engagements include Ferrando Cosi fan tutti for both the Opéra national du Rhin in Strasbourg and Nevill Holt Opera, Tamino Die Zauberflöte for Irish National Opera, Purcell’s The Indian Queen for the Opéra de Lille under Emmanuelle Haïm, Damon Acis and Galatea with Early Opera Company, Il Tempo Il Trionfo del Tempo e del Disinganno with Concerto Köln, the title role in Handel’s Venceslao with Opera Settecento, Bach’s Easter Oratorio with the BBC National Orchestra of Wales, Handel’s Messiah with the Nieuwe Philharmonie, the Royal Philharmonic Orchestra at the Royal Albert Hall and the London Festival of Baroque Music, Bach’s B Minor Mass The English Concert under Harry Bicket, Bach Cantatas with Les Violons du Roy under Jonathan Cohen, Handel’s Jephtha with Trigonale Festival der Alten Musik in Austria, Bach’s St Matthew Passion with the OAE as part of the Valletta International Baroque Festival, and Bach’s St John Passion with the Saint Paul Chamber Orchestra, the BBC National Orchestra of Wales under John Butt, the Instruments of Time and Truth, and with Polyphony and the OAE under Stephen Layton (Evangelist).

Operatic roles include Lysander A Midsummer Night’s Dream under Ryan Wigglesworth as part of the Aldeburgh Festival’s 70th anniversary, Prologue The Turn of the Screw and Ferrando Cosi fan tutti for Opera Holland Park, Amphinomus Il ritorno d’Ulisse in patria under Christian Curnyn for the Royal Opera House, Matthew in Mark Simpson’s Pleasure for Opera North, Aldeburgh and The Royal Opera, Henry Crawford Mansfield Park under David Parry for The Grange Festival, Acis Acis and Galatea under Laurence Cummings as part of the London Handel Festival, Acis Acis and Galatea for Handel House with La Nuova Musica under Laurence Cummings, Aquilio in J.C. Bach's Adriano in Siria for the Classical Opera Company, and Telemaco The Return of Ulysses and Mercurio La Calisto, both for English Touring Opera, John/Angel 3 Written on Skin with Melos Sinfonia under Oliver Zeffman, Telemaco for Iford Arts under Christian Curnyn, Paulino The Secret Marriage for British Youth Opera (for which he won the Dame Hilda Bracket award from Sadler’s Wells), Ruggiero in Caccini’s La Liberazione di Ruggierio for the Brighton Early Music Festival, and Tamino Die Zauberflöte and the title role in Albert Herring for the RCMIOS.

This biography is for information only and should not be reproduced.

Mozart Così fan tutte (Ferrando)

Nevill Holt Opera (June 2019)

Nick Pritchard’s fluently lyrical Ferrando.

George Hall, The Stage

Nick Pritchard is both a dynamic and sensitive Ferrando.

Sam Smith, Music OMH

Mozart Die Zauberflöte (Tamino)

Irish National Opera (May 2019)

Nick Pritchard gave his portrayal of Tamino a touch of Christy Mahon-style country guile.

Ian Fox, Opera Magazine

Tamino is met here with grace and a warm lyricism by Nick Pritchard.

Michael Dungan, The Irish Times

Nick Pritchard was a convincing Tamino, the sweet heft of his tenor carrying easily to the back of the theatre. His acting of this indecisive hero was charmingly accomplished…

Andrew Larkin, Bachtrack

… two terrific performances in the Wexford opening night of this production from Nick Pritchard and Anna Devin as Tamino and Pamina. Lyrical and authoritative, they breathe personality into these characters, showing them as they ought to truly be; beacons for a new way, rejecting the ways of the past, steadfast in love above everything else.

Keris Nine, OperaJournal

Nick Pritchard was reliably lyrical as Tamino.

Emer O’Kelly, Irish Independent

Handel Venceslao, Opera Settecento

London Handel Festival (April 2019)

In the title role – unusually, for a Baroque opera, given to a tenor – Nick Pritchard charted the range of situations the King confronts with lyrical authority, as he vacillates between paternal leniency and public justice in contemplating capital punishment for his son but eventually abdicates in favour of him when a rebellion emerges.

Curtis Rogers, Classical Source

Bach St John Passion, Orchestra of the Age of Enlightenment

St John’s Smith Square (April 2019)

Nick Pritchard’s masterly Evangelist is a truthful reporter, a cool witness to the crucifixion story without gilding the telling.

Fiona Maddocks, The Guardian

Nick Pritchard has been going from strength to strength as the Evangelist, and here he gave a heartfelt account of the narrative, very much in the Peter Schreier style, telling the story with directness and empathy. He rose to all the technical challenges such as the lines about Peter’s denial (und ging hinaus und weinete bitterlich) and he phrased the crucial ‘Als nun Jesus wusste alles, was ihm begegnen sollte’ (Jesus therefore, knowing everything that was to happen to him) with both significance and tenderness.

Melanie Eskenazi, musicOMH

Bach St John Passion, Instruments of Time and Truth

Girona, Barcelona & Madrid (March 2019)

Nick Pritchard is a great Evangelist: a pleasant timbre and with perfect style.

Manel Cereijo, Ocio y Cultura

The exceptional Evangelist Nicholas Pritchard sung entirely from memory and exhibited a great mastery of German with exquisite diction, as well as silky timbre across the whole range, magnificent stage presence, subtle narrative while being at the same time remarkably expressive; it was without a doubt the best vocal performance of the evening.

Mario Guada,

Handel Messiah, Royal Philharmonic Orchestra

Royal Albert Hall (December 2018)

Tenor Nick Pritchard was in good voice, balancing roundness of tone with emotional and expressive bite, and offering a creamy version of “Ev’ry valley shall be exalted”, and, untiring later in the work, a fiery “Thou shalt breakthem”, undaunted by its top notes.

Benjamin Poor, BachTrack

Bach St John Passion (Arias), St Paul Chamber Orchestra

Cathedral of Saint Paul & Ordway Concert Hall (November 2018)

Soprano Joélle Harvey and tenor Nick Pritchard were equally authoritative, performing with heartfelt intelligence and commitment.

Terry Blain, Minneapolis Star Tribune

…tenor Nick Pritchard brought some welcome clarity to his lines.

Rob Hubbard,

Handel The Triumph of Time and Truth, Instruments of Time and Truth

King’s Place (October 2018)

As Pleasure, Nick Pritchard – who made a honeyed Ferrando in Così fan tutte at Holland Park this summer – lent theatrical swagger as well as passages of vocal brilliance to his role as tempter-in-chief.

Boyd Tonkin, The Arts Desk****

Britten The Rape of Lucretia (Male Chorus), Grimeborn

The Arcola Theatre (July 2018)

…the tenor is the best thing in the show… Pritchard and Natasha Jouhl as the Male and Female Chorus never leave the stage and are alive to every flicker of subtext in their taxing roles.

Mark Valencia, WhatsOnStage****

Haydn Harmoniemesse, Orchestra of the Age of Enlightenment

Queen Elizabeth Hall (July 2018)

Schiff’s soloists … Nick Pritchard … were forceful and eloquent.

Geoff Brown, The Times****

…the excellent soloists … Nick Pritchard.

Fiona Maddocks, The Observer*****

Dangerous Liaisons, Orchestra of the Age of Enlightenment

Queen Elizabeth Hall (June 2018)

Pritchard was an elegant Renaud and Orphée.

Anna Picard, The Times

Nick Pritchard (no relation!) displayed refined musicianship and a light, almost ethereal, tenor voice and never more so than as Charpentier’s Orphée.

Jim Pritchard, Seen and Heard International

Mozart Così fan tutte (Ferrando)

Opera Holland Park (May 2018)

Pritchard's mellifluousness and well sustained legato made for a memorable "Un'aura amorosa".

John Johnston, bachtrack****

The honey-voiced Pritchard commands some show-stealing moments in Act II – not least in the duet with Fiordiligi, "Fra gli amplessi".

Boyd Tonkin, The Arts Desk

Nick Pritchard’s sensitive Ferrando … a degree of excellence rarely encountered.

George Hall, The Stage****

Nick Pritchard’s Ferrando phrased an airy ‘Un aura amorosa’ … He is a natural Mozartian.

Hugh Canning, Opera Magazine

Nick Pritchard’s Ferrando…his soft-grained tenor coped admirably with Mozart’s long-phrased demands.

Francis Muzzu, Opera Now

Nick Pritchard as Ferrando is possessed of an extremely pleasing tenor, and gives a moving account of ‘Ah, lo veggio’.

Sam Smith, MusicOMH****

Pritchard sang his opening aria, 'Un aura amorosa' with beautiful honeyed tone and throughout impressed with this beauty of line, but not at the expense of character and his relationship with Eleanor Dennis' Fiordiligi brought real intensity to the later scenes.

Robert Hugill, Planet Hugill****

Bach St John Passion, Polyphony

St John’s Smith Square (March 2018)

The Britten Sinfonia joined conductor Stephen Layton and his choir, Polyphony, in Bach’s St John Passion, with the tenor Nick Pritchard a supple, lucid Evangelist.

Fiona Maddocks, The Guardian

Nick Pritchard has sung the Evangelist with English Touring Opera, and here sang the whole thing from memory, using the score as he would a stage prop. He was both an observer of the action and a participant in it, spelling out the importance of what was unfolding, whilst showing us that he was affected by it. He created some wonderful moments of tension: the interminable wait after Peter’s denials, and the heartbreaking ‘und weintete bitterlich’ – Peter’s bitter weeping as he realises what he has done.

Ruth Hansford, Planet Hugill

Handel Acis and Galatea (Acis), London Handel Festival

St John’s Smith Square, March 2018

Among the engaging soloists, Nick Pritchard was especially impressive, singing Acis with sweetness and power.

Richard Morrison, The Times

...the warm-toned Nick Pritchard.

Richard Fairman, Financial Times

As Acis, Nick Pritchard sang with his customary mellifluous grace.

Yehuda Shapiro, Opera Magazine

There was some very beautiful singing from Nick Pritchard as Acis.

Sam Smith, MusicOMH****

Monteverdi The Return of Ulysses, Royal Opera

The Roundhouse, January 2018

Nick Pritchard … was one of three outstanding Suitors.

Mark Valenica, WhatsOnStage

Britten St Nicolas, London Choral Sinfonia

St John’s Smith Square, December 2017

The tenor soloist, Nick Pritchard, achieved the ideal balance between the intimate confessional moments such as ‘Poor man! I found him solitary, racked by doubt: born, bred, doomed to die…’ and the grand declamatory phrases.

Melanie Eskenazi, MusicOMH****​

Benjamin, Written on Skin (John/Angel 3), Melos Sinfonia

LSO St Luke's, October 2017

Nick Pritchard and Bethan Langford offer strong support as the interventionist angels and relatives, rounding out a precociously strong cast.

Alexandra Coghlan, The Arts Desk****

Terrific supporting performances, too, from Bethan Langford and Nick Pritchard.

Richard Morrison, The Times

Bethan Langford and Nick Pritchard brought a refreshing normality to their roles of Marie and John and struck stylized poses in their interventions as the Angels. Both sang with firmness and warmth … Pritchard’s tenor suave and buoyant.

Yehuda Shapiro, Opera Magazine

Dove Mansfield Park (Henry Crawford)

The Grange Festival, September 2017

“Nick Pritchard’s trenchant tenor admirably expressed Henry Crawford’s base and selfish motives”.

Peter Reed, Classical Source ****

Nick Pritchard charmed with a gently-cushioned tenor.

Yehuda Shapiro, Opera Magazine

“Pritchard made a highly elegant Henry using his lovely tenor to create a seductive line”.

Robert Hugill, Planet Hugill

Britten A Midsummer Night’s Dream (Lysander)

Aldeburgh Fesitval, Snape Maltings (June 2017)

…elsewhere there’s plenty of youthful energy from lover Nick Pritchard.

Hannah Nepil, The Financial Times

...striking performances from her principals, including the excellent, youthful quartet of lovers – Eleanor Dennis (Helena), Clare Presland (Hermia), Nick Pritchard (Lysander), George Humphreys (Demetrius).

Hugh Canning, Opera Magazine

Nick Pritchard’s Lysander was earnest and his tenor had an occasional grain which deepened the characterization.

Claire Seymour, Opera Today

The lovers – Lysander (Nick Pritchard), Hermia (Clare Presland), Demetrius (George Humphreys) and Helena (Eleanor Dennis) – were also well matched vocally. Each singer showed clearly defined characterisation in the frenzied world Shakespeare planted them in.

Martyn Harrison,

Lovers Nick Pritchard, George Humphreys, Eleanor Dennis and Clare Presland remind us just how much young British vocal talent is currently available.

Alexandra Coghlan,

But my, what a cast was there… Nick Pritchard as Lysander… we were spoilt royally.

Mark Valencia,

Clare Presland, Eleanor Dennis, Nick Pritchard and George Humphreys all sang with passion and spirit as their affections fluctuated.

Gareth Jones, The Ipswich Star

Bach St John Passion, English Touring Opera

Wiltshire Music Centre, Bradford on Avon (October 2016)

Of the young voices among the soloists – all required to move around the stage a good deal – tenor Nick Pritchard was the most impressive: the clarity of words, his full but sweet tone, together with the ability to inject an urgency into his sound without undue effort, stood out.

Rian Evans, The Guardian

Monteverdi Ulysses’ Homecoming (Telemachus)

English Touring Opera, Hackney Empire (October 2016)

But there are also outstanding performances from… Nick Pritchard’s forthright, attractive Telemachus.

Tim Ashley, The Guardian

Fine performance too from Nick Pritchard as the loyal son Telemachus.

Richard Morrison, The Times

The male voice trio with…Telemachus (Nick Pritchard) is sublime.

Michael Church, The Independent

The tenor Nick Pritchard was in glorious voice as their son Telemaco.

Peter Reed, Opera Magazine

Nick Pritchard’s outstanding Telemachus.

Alexandra Coghlan, The Spectator

Nick Pritchard is vital as his son Telemachus.

George Hall, The Stage

Pritchard exhibits tremendous stamina and focus.

Claire Seymour, Opera Today

As Telemachus, Nick Pritchard revealed fearless nobility, singing with strength and stamina.

Mark Ronan,

Mark Simpson Pleasure (Matthew)

Opera North and on tour (May 2016)

Pritchard and Timothy Nelson are both affecting as two lost souls adrift in this Hedonistic Hades.

Alfred Hickling, The Guardian

Tenor Nick Pritchard as Matthew, vulnerable and hungry for love…brought ardour and, for want of a better word, muscularity.

Fiona Maddocks, The Observer

The four soloists are all very good…Timothy Nelson and Nick Pritchard as the two muddled young men in the case.

Rupert Christiansen, The Telegraph

The engaging tenor of Nick Pritchard.

Martin Dreyer, York Press

Britten St Nicolas

London Choral Sinfonia, St John's, Smith Square (December 2015)

I was certainly impressed by the soloist Nick Pritchard, who is one of the hot new tenors on the circuit and sang the title role with the ardour I recall from its finest exponent , the late Philip Langridge.

Michael White, Catholic Herald

La Liberazione di Ruggerio dall’Isola d’Alcina

Brighton Early Music Festival, The Old Market (November 2015)

Pritchard and Devin look and sound gorgeous.

Tim Ashley, The Guardian

King Arthur, Early Opera Company

Wigmore Hall (February 2015)

Six singers shared out the songs and doubled as chorus… Nick Pritchard, lofty and more serious…The whole thing was a classy entertainment, and hugely enjoyable.

Tim Ashley, The Guardian

The Secret Marriage

British Youth Opera (September 2013)

Tenor Nick Pritchard finds the perfect pace and tone-colour for his ardent recitatives.

Michael Church, The Independent

Everyone’s singing is a delight. Nick Pritchard and Alice Rose Privett are wonderfully tender and believable lovers.

Charlotte Valori, Bachtrack

Albert Herring

Royal College of Music International Opera School (July 2015)

At the heart of the drama is Nick Pritchard’s Albert, a performance that plays the long game. Sweetly timid (aided by a splendid pink pinny) and vocally restrained throughout Act I, Pritchard displays tremendous control, holding plenty back for his drunken Act II release. His is a lovely English tenor with a core of muscularity that gives promise of a Clayton-esque future, and beautifully showcased here in Britten’s writing. Dramatically too this Albert is nicely judged, displaying no obvious camp beyond a brief exchange of glances with the leather-jacketed extra from West Side Story who haunts the shop.

Alexandra Coghlan, The Arts Desk

Nick Pritchard’s Albert easily presided over the whole evening, his authority, pace and characterisation never in doubt. His drunken soliloquy revealed how skilfully he’d kept us waiting for him to take control, and his warm, lithe tenor did the rest in charm, melancholy and intensity. In its restrained way, it was a knock-out performance, and those don’t come around so often.

Peter Reed, Classical Source

Nick Pritchard’s Opera Repertoire


Albert Herring (title)
A Midsummer Night’s Dream (Lysander)
The Turn of the Screw (Prologue/Quint)

Francesca Caccini

La liberazione di Ruggiero dall’isola di Alcina (Ruggiero)


The Secret Marriage (Paulino)


Mansfield Park (Henry Crawford)


Acis and Galatea (Acis)
Alcina (Oronte)


L’incorazione di Poppea (L’incorazione di Poppea)
Il ritorno d’Ulisse in patria (Telamaco)


Così fan tutte (Ferrando)
Die Zauberflöte (Tamino)


L’heure Espagnole (Torquemada)

Nick Pritchard’s Concert Repertoire


B Minor Mass
Christmas Oratorio (Evangelist and arias)
St John Passion (Evangelist and arias)
St John Passion (Evangelist and arias)


Mass in C
Missa Solemnis


Les Illuminations
Spring Symphony
St Nicolas
War Requiem


Messe de Minuit
Te Deum


Israel in Egypt
Judas Maccabaeus
Ode to St. Cecilla


Nelson Mass
The Creation
The Seasons


The Passion of our Lord Jesus Christ




Vespers of 1610


Mass in C minor


King Arthur
Ode on St Cecilia’s Day


Petite Messe Solenelle

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