Timothy Ridout, selected as a BBC New Generation Artist in 2019, is one of the most sought after violists of his generation. This season he appears as soloist with the Orchestre de Lille, Salzburg Camerata, Philharmonia Orchestra, Chamber Orchestra of Europe, Tapiola Sinfonietta, Orchestre National Bordeaux Aquitaine, Aachen Symphony, BBC Symphony and Siberian State Symphony Orchestras. Ridout was selected to join the Borletti-Buitoni Trust’s roster of Fellowship winners for 2020. In January 2020 he won Hamburg Symphoniker’s inaugural Sir Jeffrey Tate Prize.
Other highlights this season include recitals at Wigmore Hall, Auditorium du Louvre and the Lucerne Festival. Ridout takes part in the Lockenhaus, Heimbach and Kronberg Festivals, collaborating with Isabelle Faust, Janine Jansen, Kian Soltani, Benjamin Grosvenor, Lars Vogt, Nicolas Altstaedt and Christian Tetzlaff, among many others. Further afield he returns to Japan and joins the Marlboro Academy in the USA on the invitation of Mitsuko Uchida.
Over the last year Ridout has made his debut with the Hamburg Symphoniker, undertaken a residency with Baden-Baden Philharmonie, and performed the Walton Concerto with the Tonhalle-Orchester Zurich under the auspices of the Orpheum Foundation. He has worked with conductors including Christoph Eschenbach, David Zinman, Gabor Takács-Nagy, Sylvain Cambreling, Jamie Phillips and Sir Andras Schiff.
During 2019 Ridout collaborated with Steven Isserlis, Joshua Bell, Jeremy Denk, the Quatuor Arod and Nash Ensemble at Wigmore Hall and made his debut at the Konzerthaus Berlin, Heidelberger-Frühling, Montpelier and Aspen Music Festivals. Sought after as a chamber musician he took part in festivals across Europe including the Bergen, Rosendal, Evian, Boswil Sommer, Musikdorf-Ernen and Molyvos Festivals.
In 2016 Ridout won 1st Prize in the Lionel Tertis Competition and was selected by Young Classical Artists Trust (YCAT). Other prizes include the 2019 Thierry Scherz Award at the Sommets Musicaux de Gstaad and 1st Prize at the 2014 Cecil Aronowitz Competition.
Born in London in 1995, Ridout studied at the Royal Academy of Music graduating with the Queen’s Commendation for Excellence. He completed his Masters at the Kronberg Academy with Nobuko Imai in 2019 and in 2018 took part in Kronberg Academy’s Chamber Music Connects the World.
Ridout records for the Harmonia Mundi Nova series and with Orchestre de Chambre de Lausanne for Claves Records. He plays on a viola by Peregrino di Zanetto c.1565 – 75 on loan from a generous patron of Beare’s International Violin Society.
“The irregular rhythms of Martinů’s Rhapsody-Concerto sound completely natural in Ridout’s hands as he alternates between unobstructive technical brilliance in the fast sections and a disarmingly gorgeous singing tone in the piece’s concluding moments.”
(The Strad, May 2020)
‘There was a persuasive sense of journeying towards a clear ‘end’: and, in the closing moments the frenetic alternation of arpeggiation and chordal outbursts cleared into a pizzicato conclusion of striking beauty and resonance.’
“The young violist Timothy Ridout plays four striking works with viola. In his the mid-twenties, he is already the recipient of many awards. It is therefore not surprising that he not only performs with a sophisticated technique, but presents a very personal interpretation.”
(Pizzicato, March 2020)
“You don’t even have to hear Timothy Ridout. You can see what he has to say with his instrument […]”
(Hamburger Abendblatt, February 2020)
“[…] a performer whose touch could not be surer and whose musical instinct inspires confidence on every level, all conveyed through 24-carat dark-gold tone. Ridout won the Lionel Tertis Viola Competition a few years back and I think Tertis himself would be proud.“
(The Arts Desk, February 2020)
“Violist Timothy Ridout shines with virtuosity.”
(Neueste Nachrichten, January 2019)
(Badisches Tagblatt, January 2019)
“Top performances were in abundance… Amongst the standouts was Timothy Ridout’s transfixing rendition of Britten’s Lachrymae. Closing a concert intended as an elegy to Benjamin Britten on the very date of the composer’s 100th birthday, the young British violist soared to new heights in a rendition that brought many to tears, a virtual recreation of the Dowland text, ‘Flow my tears’.”
(Viola Congress Rotterdam, Utrecht Strings, November 2018)
“I was strongly impressed by the gorgeous singing tone that Timothy Ridout produced. Furthermore, he was soulful and sensitive in his delivery of the music… I greatly admired Timothy Ridout’s performance of this great concerto [Walton]… He was able to deliver when virtuosity was required, but what will live longest in my memory was his wonderful response to the many ardently lyrical passages.”
(Seen and Heard International, August 2018)
“…Ridout tilting Walton’s final chord from minor to major in such an understated way that it became the most modest of triumphs.”
(Bachtrack, August 2018)
“This disc contains some of the best music written for the viola in the 19th Century… [Ridout] is a fine, young violist with a solid tone, perfect intonation, solid technique, and charisma. I look forward to hearing more from him.”
(American Record Guide, 2018)
“A gorgeous tone, a thoughtful approach to phrasing and an infectious sense of impetuosity.”
(The Gramophone, May 2017)
“Ridout displays a consistently imaginative ear for tonal colours and an exciting variety of vibrato … clearly a talent to follow.”
(The Strad, July 2017)
“Timothy Ridout, with his technical perfection and beautifully warm and soft tone, perfectly matched the Romantic yearning [of Cecil Forsyth’s Viola Concerto in G minor].”
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