Nick Pritchard

Tenor

"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). He was an inaugural member of the Orchestra of the Age of Enlightenment’s (OAE) ’Rising Stars’ scheme (2017-19) and is a Samling artist. In 2017, he won the Whatsonstage Opera Poll award for Breakthrough Artist in UK Opera.

Described as a ‘Masterly Evangelist’ in The Guardian, he has sung the role in both the St John and Matthew Passions of JS Bach with Edward Higginbottom and The Instruments of Time and Truth, in New York with The Choir of New College, Oxford, with the Orchestra of the Age of Enlightenment and John Butt, with Polyphony and the OAE and most recently under Sir John Eliot Gardiner with the Monteverdi Choir.

On the concert platform he has performed with Ensemble Pygmalion, Concerto Köln, Les Talens Lyrique, Les Violons du Roy, Orchestra of the Age of Enlightenment, English Concert, Early Opera Company, Philharmonia Orchestra, The Royal Philharmonic Orchestra, BBC National Orchestra of Wales, Gabrieli Consort, Britten Sinfonia, the Monteverdi Choir and orchestra, Early Opera Company, St Paul Chamber Orchestra and L’Orchestre de Chambre de Paris (Britten’s Les Illuminations and Serenade for Tenor, Horn and Strings). He has worked under conductors including David Bates, Harry Bicket, John Butt, Jonathan Cohen, Christian Curnyn, Maxim Emelyanychev, Adam Fischer, Sir John Eliot Gardiner, Emmanuelle Haïm, Simon Halsey, Raphaël Pichon, Christophe Rousset, and Sir András Schiff.

Operatic roles include Lysander A Midsummer Night’s Dream under Ryan Wigglesworth as part of the Aldeburgh Festival’s 70th anniversary, Tamino Die Zauberflöte for Glyndebourne on Tour and for Irish National Opera and Peter Whelan, Prologue The Turn of the Screw and Ferrando Cosí fan tutte for Opera Holland Park, Amphinomus The Return of Ulysses under Christian Curnyn for the Royal Opera House, Purcell’s The Indian Queen for the Opéra de Lille under Emmanuelle Haïm, 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, Telemaco The Return of Ulysses and Mercurio La Calisto, both for English Touring Opera, Albert in Albert Herring for RCMIOS, John/Angel 3 Written on Skin, and Paulino The Secret Marriage for British Youth Opera (for which he won the Dame Hilda Bracket award from Sadler’s Wells).

On the recital platform he has performed Schubert’s Die Schöne Müllerin with Gary Matthewman at the Elgar Room in The Royal Albert Hall, Britten’s Winter Words with Sholto Kynoch for the Oxford Lieder Festival and at Leeds Lieder with Ian Tindale, An die Ferne Geliebte with Christopher Glynn at the Two Moors Festival, and a Schubert recital with Graham Johnson at Wigmore Hall. He also appears on a disc titled Decades – a Century of Song (volume 4) for the Vivat label, performing songs by César Franck, accompanied by Malcolm Martineau.

A regular performer of New Music, he has also given several World Premieres, including creating the role of Matthew in Mark Simpson’s opera Pleasure (Opera North, Aldeburgh and The Royal Opera House), Through these Pale Cold Days, a song cycle for Tenor, Viola and Piano written by Ian Venables for the 100th anniversary of the Battle of the Somme, Sleepsinging by Cassandra Miller (with David Bates and La Nuova Music at Wigmore Hall), Daniel Kidane’s Songs of Illumination (with Ian Tindale at the Leeds Lieder Festival), Gabriel Jackson’s Passion of our Lord Jesus Christ (with The Choir of Merton College, Oxford and Benjamin Nicholas) and Bob Chilcott’s Christmas Oratorio (The Three Choirs Festival and Adrian Partington).

Nick has recently made his BBC Proms debut singing Mozart Requiem with La Nuova Musica under David Bates. Future highlights include Oronte Alcina in a new Tim Albery production for Opera North, Colonel Fairfax The Yeoman of the Guard for The Grange Festival, a revival of The Indian Queen under Emmanuelle Haïm and Evangelists for the OAE and Polyphony and with the Netherlands Chamber Orchestra at the Concertgebouw.

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

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, Codalario.com

Nick Pritchard’s Concert Repertoire

Bach

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

Beethoven

Mass in C
Missa Solemnis

Britten

Les Illuminations
Serenade
Spring Symphony
St Nicolas
War Requiem

Charpentier

Messe de Minuit
Te Deum

Handel

Israel in Egypt
Judas Maccabaeus
Messiah
Ode to St. Cecilla
Samson
Solomon

Haydn

Nelson Mass
The Creation
The Seasons

Jackson

The Passion of our Lord Jesus Christ

Mendelssohn

Elijah

Monteverdi

Vespers of 1610

Mozart

Mass in C minor
Requiem

Purcell

King Arthur
Ode on St Cecilia’s Day

Rossini

Petite Messe Solenelle

Nick Pritchard’s Opera Repertoire

Britten

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)

Cavalli

La Calisto (Mercurio)

Cimorosa

The Secret Marriage (Paulino)

Dove

Mansfield Park (Henry Crawford)

Handel

Acis and Galatea (Acis)
Alcina (Oronte)

Monteverdi

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

Mozart

Così fan tutte (Ferrando)
Die Zauberflöte (Tamino)

Ravel

L’heure Espagnole (Torquemada)

Mark Simpson

Pleasure (Matthew)

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