Timothy Redmond conducts opera and concerts throughout Europe and in the US. He is Professor of Conducting at the Guildhall School of Music and Drama, a regular guest conductor with the London Symphony and Royal Philharmonic Orchestras and conductor and co-creator of the Royal Albert Hall’s My Great Orchestral Adventure™ concert series. He has appeared in the UK with orchestras including the BBC Symphony, Concert, Philharmonic and Scottish Symphony Orchestras, the Birmingham Contemporary Music Group, Britten Sinfonia, City of Birmingham Symphony Orchestra, English Chamber Orchestra, Hallé, London Philharmonic Orchestra, the Philharmonia, Royal Liverpool Philharmonic Orchestra, Sinfonia Viva and the Ulster Orchestra. He also has a long-standing association with the Manchester Camerata. He has conducted widely throughout Europe and the US with orchestras including the St Louis Symphony, Filarmonica Arturo Toscanini, Oulu Sinfonia, Orchestra della Svizzera Italiana and the Rotterdam Philharmonic. He has held Music Director positions with the Cambridge Philharmonic (UK) and Winston-Salem Symphony (US) and is Principal Conductor of Know The Score ® (Royal Philharmonic Orchestra). Timothy Redmond is well-known as a conductor of contemporary music and has a particular association with the music of Thomas Adès. Since working closely with the composer for the premiere of The Tempest at Covent Garden, he has conducted critically-acclaimed productions of Powder Her Face for English National Opera, Irish National Opera and the Royal Opera House, Covent Garden. He gave the Russian premiere of Powder Her Face at St Petersburg’s Mariinsky Theatre, the Hungarian premiere of Totentanz with Concerto Budapest, the Irish premiere of Living Toys with Crash Ensemble and conducted the composer in Concerto Conciso at the Wigmore Hall with BCMG. He also assisted Adès for the New York premiere of the Grammy-award winning production of The Tempest at the Metropolitan Opera and edited the vocal score of the opera for Faber Music. In the opera house he has conducted over 80 productions for companies including Opera North (Don Giovanni), English National Opera (world premiere of Will Todd’s Damned and Divine), English Touring Opera (Daughter of the Regiment, The Magic Flute, Carmen), Almeida Opera (world premiere of Raymond Yiu’s The Original Chinese Conjuror) and ROH Linbury (European premiere of Tobias Picker’s Thérèse Raquin). He gave the world premiere of Peter Ash’s The Golden Ticket for Opera Theatre of St Louis and for Independent Opera at Sadler’s Wells he conducted the UK premieres of Šimon Vosček’s Biedermann and the Arsonists and Karl Amadeus Hartmann’s Simplicius Simplicissimus. He has conducted productions in Bregenz (Austrian premiere of Richard Ayres’ The Cricket Recovers), Tenerife (Glyndebourne productions of Carmen, Gianni Schicchi and Rachmaninov’s The Miserly Knight), Los Angeles (Barber’s A Hand of Bridge) and Wexford (The Silver Lake, The Golden Ticket). He created the opera-in-concert series in Cambridge, for which he has conducted La Bohème, Candide, Carmen, Eugene Onegin, Falstaff, Die Fledermaus, Peter Grimes, La Traviata, Die Zauberflöte and Jonathan Dove’s The Adventures of Pinocchio and for Guildhall Opera he has conducted double bills of Henze’s Phaedra and Ein Landarzt and Martinů’s Ariane and Alexandra Bis. He has also conducted opera for New York’s American Lyric Theater, at the Buxton and Aldeburgh Festivals and as a member of music staff at De Vlaamse Opera, Strasbourg, Garsington and Glyndebourne. His recordings include Alison Balsom’s album Paris with Guy Barker (Warner Classics), Dreams with Ophélie Gaillard and the RPO (Harmonia Mundi), discs with Natasha Marsh and Mara Carlyle for EMI and CDs with the LSO, Royal Northern Sinfonia and Philharmonia. Most recently he recorded The Orchestral Music of Jonathan Dove with the BBC Philharmonic for Orchid Classics. Off the podium, he has made several hundred commercial orchestral arrangements for organisations including BBC Proms in the Park, EMI and the Royal Albert Hall and which have been performed by orchestras worldwide. He worked as an orchestrator on the movie Moomins and the Winter Wonderland and recently composed new musical settings of Lynley Dodd’s classic Hairy Maclary children’s stories for the London Symphony Orchestra and Hallé Orchestras. In the 2020/21 season, he gave world premieres at the Venice Biennale (Italy), Thaxted Festival (UK) and in Skopje (Macedonia) and made his debut at Vienna’s Muzikverein with the Tonkünstler Orchester. At the beginning of the global pandemic, he commissioned composer Jeff Moore to write a new work, Dancing Folk, that brought together thousands of musicians from 50 countries in a virtual orchestra; and with the Winston-Salem Symphony he made a series of Etherbound films over the course of the year that have been seen over half a million times. Highlights of 2021/22 include Powder Her Face in Italy, Mahler 2 in Ely Cathedral, concerts in Italy and Austria with the Orchestra Haydn di Bolzano e Trento and performances with the Hallé and LSO. Timothy Redmond studied at the Royal Northern College of Music, Manchester University and the Accademia Musicale Chigiana in Siena. He furthered his studies in masterclasses with George Hurst, Ilya Musin, Yan Pascal Tortelier and Pierre Boulez and as an assistant to Elgar Howarth, Valery Gergiev and Sir Colin Davis.