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, then travels to Annapolis Opera to sing the role of Scarpia Tosca. He returns to Urban Arias for performances of Glory Denied in the role 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 San Antonio he sings the role of Monterone Rigoletto.
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.
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Dead Man Walking, Opera Delaware
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
Werther, Bergen National Opera
Tim Mix brought dynamism to Albert’s line, text and demeanour, not hiding his anger when the time came...
Opera Magazine, Yehuda Shapiro, June 2019
UrbanArias, The Last American Hammer
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
Santa Fe Opera, Dr Atomic
Meteorologist Frank Hubbard was exceedingly well served by Tim Mix’s steady, powerful baritone.
Opera Now, James Sohre, 3 August 2018
Hubbard, sung by the beautifully resonating baritone Tim Mix...
Opera Magazine (Netherlands), Maria Nockin, 15 August 2018
Tim Mix was solid as the much maligned meteorologist Frank Hubbard.
Sharps and Flatirons, Peter Alexander, 7 August 2018
Santa Fe Opera, The Golden Cockerel
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
Tsar Dodon is a lazy, blue-bearded fool who wants to rule his lands while lying in bed. Solidly sung and broadly played by baritone Tim Mix...
Classical Voice North America, Johanna Keller, 23 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
Timothy Mix's opera repertoire
Dr Atomic (Jack Hubbard)
Cyrano de Bergerac (Le Bret)
Carmen (Escamillio, Dancairo, Morales, Zuniga)
Billy Budd (Mr. Flint)
Gloriana (Henry Cuff)
Margaret Garner (Edward Gaines)
Lucia di Lammermoor (Lord Enrico Ashton)
L'elisir d'amore (Belcore)
Roberto Devereux (Nottingham)
Susannah (Elder Ott/Blitch)
Cold Sassy (Clayton McAllister)
Roméo et Juliette (Count Capulet)
Dead Man Walking (Joseph De Rocher)
The Last American Hammer
The Makropulos Affair (Prus)
Cavalleria Rusticana (Alfio)
Manon (Monsieur de Brétigny)
Don Giovanni (title, Masetto)
Le Nozze di Figaro (Almaviva)
La Boheme (Marcello)
Madama Butterfly (Sharpless)
La Fanciulla del West (Jack Rance)
Gianni Schicchi (title)
Il Tabaro (Michele)
Le Coq d’Or (Tsar Dodon)
The Bartered Bride (Krusina)
Rake's Progress (Nick Shadow)
Eugene Onegin (title)
La Traviata (Pere Germont, Baron Douphol)
Rigoletto (title, Monterone)
Un Ballo in Maschera (Renato)
Il Trovatore (Count di Luna)
Street Scene (Harry Easter)
Timothy Mix's concert repertoire
Songs and Dances of Death
The Tempest (Calibran)
The Road of Promise (Salomon and Jeremiah)