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 both a Samling Artist and a member of the Orchestra of the Age of Enlightenment’s ‘Rising Stars’ scheme. In 2017, he won the Whatsonstage Opera Poll award for Breakthrough Artist in UK Opera.

On the concert platform he has performed with ensembles including L'Orchestre de Chambre de Paris, the Philharmonia Orchestra, the BBC National Orchestra of Wales, the Gabrieli Consort, The English Concert, the English Festival Orchestra, the Instruments of Time and Truth, the St Paul Chamber Orchestra, Early Opera Company, the Monteverdi Choir, the Dunedin Consort, the Kings Consort, and Ensemble Pygmalion. He has worked with such conductors as Christian Curnyn, Paul McCreesh, Harry Bicket, Sir John Eliot Gardiner, John Butt, Raphaël Pichon, and David Hill.

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 and Nevill Holt Opera, 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), the title role in Handel’s Venceslao with Opera Settecento, Ruggiero in Caccini’s La Liberazione di Ruggierio for the Brighton Early Music Festival, Tamino Die Zauberflöte Irish National Opera, and the title role in Albert Herring for the RCMIOS.

Recent and future highlights include Tamino Die Zauberflöte for Glyndebourne, performances of Bach’s St John Passion under Sir John Elliot Gardiner and with the Britten Sinfonia, the world premiere of Gabriel Jackson’s The World Imagined at Three Choirs Festival with BBCNOW and David Hill, Bach Cantatas with Les Violons du Roy under Jonathan Cohen, 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, Handel’s Jephtha with Trigonale Festival der Alten Musik in Austria; recitals at the Wigmore Hall with La Nuova Musica; and performances of Bach with the Irish Baroque Orchestra, the Bach Choir, the Instruments of Time and Truth and Les Talens Lyriques.

Engagements that could sadly not take place last season include Ferrando Cosi fan tutti for the Opéra national du Rhin in Strasbourg, Bach’s St John Passion with the RTÉ National Symphony Orchestra, and Mendelssohn’s Die Erste Walpurgisnacht at the Muziekgebouw Amsterdam.

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St John Passion, Monteverdi Choir and Sir John Eliot Gardiner

Virtual Performance (streamed by Deutsche Grammophon), April 2021

The soloists were young, and perfectly chosen. Nick Pritchard’s tireless Evangelist was a miracle, his diction exemplary, his shaping of the line infallible.

CClarke, Seen and Heard International

It’s Nick Pritchard, however, who holds the centre. Operatic without affectation, weighing every word, movement and articulation with care, his Evangelist is wonderfully humane – part of the crowd who demand blood, even as he pities them. There are echoes of James Gilchrist here and, when the time comes, it looks like Pritchard is ready to step into the older tenor’s shoes as the great English Evangelist of his generation.

Alexandra Coghlan, iNews

The outstanding soloist, however, was Nick Pritchard’s eloquent narrator, sung with a range of colour and incisive delivery of the text that vouchsafes his place as the go-to Evangelist of the day

Richard Morrison, The Times

Bach Cantatas, Les Violons du Roy

Les Palais Montcalm & La Salle Bourgie (February 2020)

British tenor Nick Pritchard stands out with his subtle and malleable voice and luminous top notes, as shown in his recitative in the cantata, Sehet, wir gehn hinauf gen Jerusalem BWV 159.

Emmanuel Bernier, Le Soleil

CD: VIVAT 119 Decades. A Century of Song – Volume 4 1850-1850 (released January 2020)

released January 2020

Nick Pritchard’s dulcet lyric tenor and shapely phrasing are just what is needed here, whether in the nostalgic ‘Soucenance’ or the diaphanous, shimmering ‘Le sylphe’.

Richard Wigmore, Gramophone

... gems such as Franck’s finely crafted songs, nicely delivered by Nick Pritchard.

Natasha Loges, BBC Music Magazine, performance****, recording ****

I’ve heard [Nick Pritchard] singing live on two previous occasions, both times in English music, and I’ve been very impressed with him. It now transpires that he’s extremely well suited to French music too. His timbre is on the light side – though not lacking in strength – and there’s a plangency in his tone which fits well with the French language. Souvenance is a nice song and Susan Youens draws a very apt comparison with the piano part in Schubert’s Gretchen am Spinnrade. Le Sylphe has a light, flowing piano part which Malcolm Martineau delivers with a lovely touch. The melodic line is light and airy and Pritchard makes it most attractive. He sings the final song in the group, Aimer eloquently and once again he benefits from splendid support from Martineau.

John Quinn, Musicweb International

John Blow An Ode on the Death of Mr Henry Purcell, La Nuova Musica

Wigmore Hall (January 2020)

The evening featured the tenor Nick Pritchard and the countertenor Christopher Lowrey, whose performance of John Blow’s An Ode on the Death of Mr Henry Purcell was of star quality. Both of them, notwithstanding their early-music specialism, have a fruity tone to their voices that really suits the mannered music of this period, in this work, adding a richness that enhanced the embellishments of the music that Blow requires, as well as contrasting perfectly with the effortlessly ‘straight’ tone of the two recorders.

Sam Smith, MusicOMH

Handel Messiah, The Kings Consort

Teatro Cervantes, Malaga (December 2019)

Among the best were undoubtedly the male voices: Nick Pritchard was of great interest, a tenor with a bright future, who’s voice is not hugely exaggerated and is used very intelligently. The voice has a beautiful timbre, almost silvery, but with prominent musicality and a singing line that displayed elegance and subtlety in arias such as “Comfort ye, my people” and “Ev’ry valley shall be exalted” – delicate and thoughtful throughout the former, luminous and virtuosic in the latter.

Mario Guada,

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

Nick Pritchard’s Opera Repertoire


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

Francesca Caccini

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


La Calisto (Mercurio)


The Secret Marriage (Paulino)


Mansfield Park (Henry Crawford)


Acis and Galatea (Acis)
Alcina (Oronte)


L'incoronazione di Poppea (Lucano)
Il ritorno d’Ulisse in patria (Telamaco, Amphinomus)


Così fan tutte (Ferrando)
Die Zauberflöte (Tamino)


L’heure Espagnole (Torquemada)

Mark Simpson

Pleasure (Matthew)

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