Critical acclaim

Der Fliegende Holländer OperaUpClose, 2023

‘Warm and earthy of voice, Timothy Dawkins as Daland was very much a man on the make.’ – Opera Magazine

‘The warmly enveloping bass of Timothy Dawkins as Daland...’ – The Stage

‘Bass Timothy Dawkins captured the dubious morals of Daland with richness and convincing strength.’ – Bachtrack

‘Timothy Dawkins impressed with a gorgeous rich bass which rings around the building.’ – London Theatre

‘Timothy Dawkins provides fine support.’ – The Times

‘Timothy Dawkins is Daland, willing to put aside his mission to defend his country. His sonorous bass sounds wonderful in the former church.’ – Salterton Arts Review

‘Timothy Dawkins made the most of the scurrilously opportunistic Daland.’ – Stage Talk

‘Timothy Dawkins is more than up to Wagner’s demands, even if, up close the full blast of the voice was occasionally too powerful.’ – The Guardian

‘The excellent Timothy Dawkins is an initially likeable but ultimately greedy Daland.’ – Broadway World

Il Viaggio à Reims English Touring Opera, 2023

‘Timothy Dawkins, whose antique collecting Don Profondo is a witty and wry observer of events has real stage presence. Dawkins relished his patter aria about the nationalistic predilections of everyone’s luggage.’ - Opera Today

‘A word too for the droll and dextrous Timothy Dawkins as Don Profondo, notably in his inventory of the luggage of his fellow passengers’ – The Reviews Hub

‘Timothy Dawkins as Don Profondo was very much an observer and wry commentator. He was delightful as the vague antique collector complete with dazzling patter aria about everyone’s luggage’ – Planet Hugill 

Fidelio Royal Opera House, Covent Garden, 2020

‘Timothy Dawkins impressed as Second Prisoner’ – Music OMH

Rigoletto Vezere Festival, France

‘With a dagger in his belt and a chilling gaze, Timothy Dawkins plays Sparafucile with all the nebulosity required, with his warm bass voice and dark intonations. A credible contract killer to make an entire room shiver.’ 

Rigoletto Longborough, 2015

‘One voice in particular impressed me as standing out for a special mention. I only wish Verdi had written him a larger part so I could hear more of it. That is the vocal talent of Timothy Dawkins, a deep and mighty bass that reverberated with sable gusto in the role of Sparafucile.’ – Bachtrack

‘Timothy Dawkins is a dry, suitably untrustworthy Sparfucile.’ – The Arts Desk

Don Giovanni ETO, Spring 2016

‘Timothy Dawkins was big voiced Commendatore.’ – Opera Magazine

‘Timothy Dawkins showed powerful bass depth as the Commendatore.’ – Mark Ronan

After being killed in the opening moments Timothy Dawkins returns with a voice of commanding strength as the Commendatore to drag Giovanni off to hell.’ – Daily Record

‘Timothy Dawkins sings with tremendous authority in a highlight of the evening.’ – Broadway World

‘Timothy Dawkins’ Commendatore, emerging in formal top hatted grandeur dominates the finale. If his first scene confrontation shows the enraged human father, his entry into the increasingly anarchic supper room is as menacingly supernatural as one could wish’ – Anne at the Theatre

Fidelio Longborough, 2017

‘Timothy Dawkins, as Don Fernando, has the sonorous nobility that the story, and Beethoven’s increasingly exhalted music, demand.’ – Spectator

‘Timothy Dawkins’ well sung Minister is a very modern male, a soldier in government.’ – The Arts Desk

Don Fernando’s nobility came to the fore in Timothy Dawkins’s beautifully sung performance’ – Opera Magazine

Madama Butterfly West Green House Opera

‘The power in Timothy Dawkins’ bass makes for a truly chilling moment when the Bonze enters.’ – MUSICOMH

The tales of Hoffmann English Touring Opera, 2015

‘A shout out too for the underused Timothy Dawkins as Crespel, Antonia’s father. A splendid cameo.’ – What’s on Stage

‘Timothy Dawkins acted and sang commandingly as Antonia’s father, Crespel’ – Opera Today

Rigoletto Grange Park

‘Timothy Dawkins’ Sparafucile possesses a baleful, ink-black bass, brilliantly matched by an initial appearance which leaves him scarily invisible as he lurks in the shadows.’  – The Stage

‘Timothy Dawkins’ compellingly sung Sparafucile.’ – The Times

‘Strong vocal support and some solid acting from Timothy Dawkins as Sparafucile made for a delicious climax.’ – The Arts Desk

‘Timothy Dawkins’ Sparafucile was supported on a fine-grained flowing bass, the character’s sinister quality much enhanced by his lurking in the shadows during his duet with Rigoletto – a malign yet unseen vocal presence.’ – Opera News

‘The true bass of Timothy Dawkins’ Sparafucile who proved as sinister and menacing as he is supposed to be – an impressive sing.’ – Musical Criticism

‘Timothy Dawkins’ smoky, sonorous bass proved a fine choice for Sparafucile. His positioning, quite literally in the shadows for his duet with Rigoletto, was a brilliant move, the disembodied voice leering out of the darkness from an invisible source.’ – Opera Magazine

La Traviata Grange Park

‘Timothy Dawkins was an impressively grim Baron, quite chilling in the scene at Flora’s party’ – Robert Hugill

‘Timothy Dawkins plays Baron Duphol to perfection, complete with shades and a distinct air of menace’ – Bachtrack

‘A well judged cameo from Timothy Dawkins as Baron Duphol’ – Music OMH

The Queen of Spades Grange Park

‘Timothy Dawkins as Surin was strongly characterful’ – Robert Hugill

‘Good support from Timothy Dawkins as Surin’ – The Arts Desk

Il Barbiere di Siviglia

‘The most accomplished singing of the evening came from the fine young bass Timothy Dawkins as Don Basilio; generous of tone, musicianly and always pleasing on the ear – even at full stretch, Dawkins’ La Calunnia was one of the evening’s high spots. He showed a mastery of stagecraft and comic timing.’ – Opera Magazine

Don Giovanni Batignano

‘Timothy Dawkins was very good as Leporello; he has a nice rounded timbre with no breaks between the registers and he produces his sound well throughout his range.’ – Opera Magazine, festival issue

L’Ombra and the Seven Deadly Sins Batignano

‘Timothy Dawkins gave a fine performance in the title role and as The Mother.’ – Opera Magazine, festival issue

Albert Herring Aldeburgh Festival

‘There was an excellently sung and perfectly bumbling Superintendent Budd from Timothy Dawkins.’ – The Independent

‘Of particular note was the commanding voice and fine acting of Timothy Dawkins as Superintendent Budd.’ – Opera Now

‘Timothy Dawkins supplied a magnificent dark voice as The Policeman.’ – Eastern Daily Press

Albert Herring ETO

‘Timothy Dawkins was a splendid Superintendent Budd (who in fact could have stepped straight out of a production of The Pirates of Penzance into this)’
Seen and Heard International

‘Timothy Dawkins provided fine vocal depth and stage presence as Superintendent Budd’
Mark Ronan

‘Timothy Dawkins was a strong Superintendent Budd – the role is a gift for a singer who can make the most of the characters strong utterances – Dawkins clearly relished the role and made a real impression – a fine singing actor’
Robert Hugill

‘There was a very amusing characterisation from Timothy Dawkins as Superintendent Budd’
Financial Times

‘Timothy Dawkins, in immaculate dark uniform, commanded the stage in the the somewhat self- important role of Superintendent Budd’ – Seen and Heard International

‘Superintendent Budd is down to earth and slightly out of his social depth. ... Timothy Dawkins captured the character’s bluffness in both voice and action’ – The Opera Critic

‘Bass Timothy Dawkins was a witty Superintendent Budd, wily and self congratulating’ – Opera Today

‘Timothy Dawkins as Superintendent Budd gave me the most laughs’ – What’s On, Bath

Fortunio Grange Park

‘Timothy Dawkins stylishly provided the farce element as Maitre André, the older, rich and cuckolded husband’ – Opera Magazine

‘In the role of the cuckolded husband Maitre André, Timothy Dawkins provided warm tonal colour and an authoritative more steely timbre, when needed for his confrontation scene with his errant wife. He did not quite escape the trap of a younger, attractive bass trying to assume the characteristics of an older man, but the verve and spirit of his performance made it easy to forgive him that’ – Musical Criticism

‘Timothy Dawkins as the aged jealous husband Maitre André strengthened his singing with lively acting’ – The Times 

 La Fanciulla del West Grange Park

‘Timothy Dawkins’ confident Ashby’ – Financial Times

‘There was a strong stand out performance from Timothy Dawkins as Ashby’ – Opera Magazine

‘Timothy Dawkins as Ashby, stood out in this production’ – Sunday Telegraph

Arianna (Goehr)

‘Timothy Dawkins gave a fine performance in several roles.’ – The Times

‘As The First Messenger, Timothy Dawkins, with a long important narration, was outstanding.’ – The Observer

‘The Messenger of Timothy Dawkins stands out on this recording.’ – Gramophone Magazine

Rigoletto Longborough Festival

‘Timothy Dawkins makes particularly strong, nasty work of the hired thug Sparafucile; how could this be the same Dawkins who beams from his programme photograph?’ – The Times

‘Timothy Dawkins’ ruthless Sparafucile… ’ – Music and Vision

‘The powerful voiced Timothy Dawkins in the role of the murderous brother Sparafucile provided the cement that kept the bricks of the production firmly together.’

‘Timothy Dawkins as a sepulchral Sparafucile who you wouldn’t want to meet on a dark night.’ – Opera Now

Tosca Grange Park
‘Timothy Dawkins’ barrel-voiced Angelotti was vividly portrayed’ – The Times

‘Timothy Dawkins’ cavernous Angelotti… ’ – The Stage

‘Timothy Dawkins was an excellent Angelotti’ – Musical Criticism

The Cunning Little Vixen Grange Park (David Alden production)

‘Timothy Dawkins was an excellent Parson.’ – Opera Magazine

La Boheme Opera Holland Park

‘Timothy Dawkins’ Colline, whose rich and characterful bass is a major asset …’ – The Stage

‘Timothy Dawkins [Colline] completed the energetic quartet of students putting in a most notable vocal performance.’ – Opera Japonica

Feuersnot (Strauss) Chelsea Opera Group

‘Special praise for a notable bass Timothy Dawkins.’ – Financial Times

Le Nozze di Figaro

‘Timothy Dawkins as Figaro was more than convincing with a powerful and beautiful voice’ – La Montagne

‘The star of the show was Figaro, admirably taken by Timothy Dawkins, a singer with a splendid voice who exudes dramatic confidence.’ – David Fingleton, The Spectator


‘The undisputed star of the night is Timothy Dawkins’s Mephistopheles, an old-fashioned devil in full-length black leather, his phrasing immaculate. His Act III seduction of Martha is a highlight.’ – The Herald

‘There was splendid singing from Timothy Dawkins (Mephistopheles) who got off to an excellent start, and furthermore, was able to sustain that high level of performance throughout’ – Edinburgh Evening News

La Navarraise (Massenet)

‘Timothy Dawkins as General Garrido was particularly impressive.’  – Opera Magazine

Un Ballo di Maschera (Verdi) Opera Holland Park

‘There was encouragingly solid vocal casting in Timothy Dawkins as Count Horn.’ –Evening Standard

Fidelio Opera Holland Park

‘Timothy Dawkins provides appropriately ringing tones of liberation as the Minister of Justice.’ – Time Out

Don Giovanni Holland Park

‘Timothy Dawkins’ firm, full bass shapes Masetto’s music with a pleasing confidence.’ – The Stage

La Boheme Scottish Opera on Tour

‘Timothy Dawkins almost steals the show as Benoit and Alcindoro.’ – The Stage

Verdi opera gala City Music Hall Glasgow

‘There was a good burnished bass in Timothy Dawkins.’ – Glasgow Herald


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“Of particular note was the commanding voice and fine acting of Timothy Dawkins as Superintendent Budd.”







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