Anglo-German conductor, Tim Anderson is rapidly making a name for himself as an interpreter of 20th and 21st century repertoire. He has conducted for companies such as the Royal Opera House, Covent Garden, Teatro Real Madrid, Dutch National Opera, Opéra National de Montpellier and Stadttheater Klagenfurt. In concert, he has appeared with contemporary music ensembles such as Klangforum Wien, Birmingham Contemporary Music Group and London Sinfonietta and at venues including Vienna’s Konzerthaus, London’s Southbank Centre and Barbican, and Katowice’s NOSPR Hall.
Recent highlights include debuts at Opera Australia with Brett Dean’s Hamlet and at Staatsoper Hamburg with Gordon Kampe’s Die kreide im Mund des Wolfes; the world premiere of Bernhard Lang’s Hiob at Stadttheater Klagenfurt, where he previously conducted the world premiere of Salvatore Sciarrino's Il canto s'attrista, perché?; performances of Thomas Ades’ Powder Her Face for Semperoper Dresden and multiple concerts with Klangforum Wien including at the Wien Modern festival and on tour in Asia.
Notable performances also include Philip Venables’ Denis and Katya for Dutch National Opera, Opéra national de Montpellier, and with Music Theatre Wales; Gerald Barry’s first opera The Intelligence Park with the London Sinfonietta, Music Theatre Wales and Royal Opera House; the critically-acclaimed 30th anniversary production of Mark-Anthony Turnage’s Greek. He has also enjoyed premieres of works by Robert Reid Allan with the Birmingham Contemporary Music Group (CBSO Centre), and by George Lewis and Alex Paxton with the London Sinfonietta (Queen Elizabeth Hall, Southbank Centre).
He has cultivated expertise in Wagnerian opera while working as an assistant on Das Rheingold with Vladimir Jurowski (London
Philharmonic Orchestra); Die Walküre with Sir Donald Runnicles (Deutsche Oper Berlin);
Tristan und Isolde with Marc Piollet (Teatro Real Madrid); and Lohengrin with Hartmut Haenchen (Teatro Real Madrid).
He has also worked as an assistant for Ivor Bolton on Rusalka (Teatro Real); Nicholas Carter on Brett Dean's Hamlet, (Adelaide Festival); and Giancarlo Andretta on Le nozze di Figaro (Glyndebourne Festival).
While working on the music staff in Madrid, he conducted several performances before joining the music teams at English National Opera and the Glyndebourne Festival.
As a guest artist, he has assisted at theatres, orchestras, and festivals, including the Royal Opera House Covent Garden; Oper Stuttgart; Bregenzer Festspiele; Trondheim Opera; Garsington Opera; Northern Ireland Opera; Opera North; Sinfonieorchester Basel; the London Philharmonic Orchestra; and the Birmingham Contemporary Music Group.
In the 2025/26 season, he conducts Mark-Anthony Turnage’s The Railway Children at Glyndebourne and in London (Queen Elizabeth Hall). He also tours Europe with Klangforum Wien.
Tim studied Music at New College, Oxford, where he held an instrumental scholarship (as a pianist) and the Joan Conway Scholarship in performance studies (for his conducting). He also studied conducting with Peter Stark, with Michael Omer at Guildhall, where he was a junior student, and at the Jorma Panula Academy in Helsinki.
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Die Kreide im Mund des Wolfs
Staatsoper Hamburg
Everything is under the careful, precise direction of Tim Anderson
Frankfurter Allgemeine Zeitung
Brett Dean: Hamlet
Opera Australia (July 2024)
Conductor Tim Anderson commands the combined forces in the pit, on stage and in the auditorium superbly. His innate understanding of Hamlet [...] enables him to deliver arguably the finest reading of the score to date.
Jansson J. Antmann, Limelight
Eloquent and beguiling: Operatic Hamlet is a triumph. Conductor Tim Anderson is the linchpin, landing sounds arriving from every direction like a sonic air traffic controller[...] The ensemble is unequivocally outstanding[...] No more words, just go and see them.
Harriet Cunningham, Sydney Morning Herald
Tim Anderson conducts the orchestra with easy clarity through a score which is anything but easy.
Nicholas Routley, Australian Stage
This extraordinary show [...] is admirably steered by Anglo-German conductor Tim Anderson.
Steve Moffatt, The Daily Telegraph
The orchestra was impressively prepared and the chorus sang with aplomb and remarkable accuracy [...]
High accolades are due to the last but certainly not least essential member of the creative team. Tim Anderson, conducting Dean’s complex score for the first time, stood assuredly in front of the large performing forces. Not only did he give precise indications for the difficult entries to all, but he kept the stream of the music elegantly, never failing to manage the intricate balances between stage and orchestra allowing the Dane prince’s story to evolve and Dean’s music to shine, creating a momentous occasion indeed.
Zoltan Szabo, Operawire
Making his Australian debut, conductor Tim Anderson does a fantastic job in delivering this complex score.
Gina Fairley, Artshub
Thomas Adès: Powder Her Face
Staatsoper Dresden (October 2023)
"The often demanding score is full of rhythmic finesse - simply breathtaking how confidently and brilliantly conductor Tim Anderson led the excellently prepared chamber orchestra. A production as entertaining as it is bizarrely thought-provoking."
Elisabeth Richter, Deutschlandfunk
"The [orchestra] gives expression to this unusual sound world under the dependable and considered direction of Tim Anderson. The work doesn’t seek to scare off or distress the listener but to draw them into the life of [the Duchess]. Anderson gives the music shape and sets the momentum."
Jens Daniel Schubert, Sächsische Zeitung
"The perfectly assembled ensemble of singers sang and played with full physical commitment and with an intensity that took one's breath away ... The enthusiastic final applause of the premiere audience was certainly not least due to the sovereign Tim Anderson and his committed project orchestra."
Thomas Thielemann, Der Opernfreund
"In conductor Tim Anderson an ideal custodian for the demanding score and an inspiring leader of the young, impeccably performing orchestra was found … a magnificently presented theatrical event."
Andreas Schwarze, Dresden Neuste Nachrichten
"Tim Anderson leads his troops with a diligence and precision that compels admiration…"
Thierry Verger, Forum Opera
Bernhard Lang: Hiob
Stadttheater Klagenfurt (February 2023)
Tim Anderson acts with verve and power on the podium of the Carinthian Symphony Orchestra, making Bernhard Lang's orchestral sounds, enhanced with synthesizer and quarter-tone experiments, shine.
Jörn Florian Fuchs, BR Klassik
Tim Anderson on the podium of the audibly committed Carinthian Symphony Orchestra has a firm grip on the score... the Klagenfurt Stadttheater succeeded in giving a remarkable performance...
Reinhard Kager, FAZ
It is precisely in the combination of his entirely contemporary tonal language with traditional melodic elements that Lang strikes a chord with today's audiences, as the enthusiasm at the end of the Klagenfurt premiere proved... The British-German conductor Tim Anderson, an authority in the field of contemporary music, seems to have enjoyed working with the Carinithian Symphony Orchestra as well as the choir...
Michael Cerha, Der Standard
The Kärntner Sinfonieorchester, with a large orchestra and a jazz trio, under the commanding and pinpoint precise conducting of Tim Anderson, knows how to present the music with the utmost concentration, precision and commitment... The moderately modern, fairly tonal, very accessible and listenable work is extremely rich in contrasts. The music touches again and again...
Dr. Helmut Christian Mayer, Opera Online
Bernhard Lang's music is a deliberately eclectic mix of styles... Tim Anderson holds the tension at the podium of the Carinthian Symphony Orchestra.
Die Presse
On the musical side of the production, British conductor Tim Anderson has some experience of contemporary repertoire and leads the large orchestra through the work with infectious enthusiasm.
Valentino Hribernig-Körber, Online Merker - Die internationale Kulturplattform
The musical director of the performance is the British-German conductor Tim Anderson, who deserves the utmost respect and admiration for his part in the success, which was enthusiastically celebrated by the audience in the sold-out house.
Manfred A. Schmid, Online Merker
Salvatore Sciarrino: Il canto s’attrista, perché?
Stadttheater Klagenfurt (February 2021)
...soon you are caught in the pull of the music. Especially when it is implemented as ambitiously and bravely as by the Carinthian Symphony Orchestra under the knowledgeable, prudent and precise conductor Tim Anderson.
Dr Helmut Christian Mayer, Opera Online
...the Carinthian Symphony Orchestra... was also in top form under the direction of Tim Anderson.
Florian Amort, Frankfurter Allgemeine
Conductor Tim Anderson ensures persuasiveness and the best craftsmanship.
Walter Gürtelschmied, Die Presse
Mark-Anthony Turnage: Greek
Grimeborn Opera Festival (August 2018)
Tim Anderson conducts superbly.
Mark Valencia, WhatsOnStage
...under the visibly and audibly proficient conducting of the Kantanti Ensemble by Tim Anderson, the 18-player orchestra... was on top.
Roderic Dunnett, Seen and Heard International
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