For Hail, O Queen with Dunedin Consort/Nicholas Mulroy, 2023:

"Towards the end of the concert, we heard the ‘Ave, Dulcissima’ of the outrageous Carlo Gesualdo, (1566-1613), Prince of Venosa and famously a double murderer (although found not guilty of a crime, conveniently), and this proved one of the high points of the evening. Five voices – Rachel Ambrose Evans, Sarah Anne Champion, Will Wright, James Robinson and the excellent bass, Tim Dickinson - sang this eerily chromatic music perfectly, nicely moulded by Nicholas Mulroy."

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For Dido's Ghost with Dunedin Consort/John Butt, 2021:

From theArtsDesk.com:

"Matthew Brooks’ Aeneas likewise sang strongly and with emotional awareness throughout, and Timothy Dickinson (Elymas) and Dunedin’s David Lee (Ascanius) were no less committed."

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For St John Passion with Britten Sinfonia/Mark Padmore, 2017:

From The Independent:

“…Tim Dickinson made a gravely noble Christ… It was one of the most moving realisations I’ve ever heard.”

From The Telegraph:

“Timothy Dickinson made a dignified Christ, light in timbre but without bluster or bravado.”

From The Guardian:

“…all three of the baritones and basses (Tim Dickinson’s weighty Christus, Ben Howarth’s sturdy Peter and [Eamonn] Dougan’s more ambiguous Pilate) made notably telling dramatic contributions.”

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For Berenice at the Göttingen Handel Festival, 2016:

From Early Music Today:

“Timothy Dickinson as Aristobolo combined a wonderfully warm, round, powerful tone with and immensely strong stage presence”

From Opera:

“…it would have been nice to hear more from Timothy Dickinson as Berenice’s captain than his two arias; it was good to hear a real bass voice allied with accuracy and flexibility across its range.”

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For Orontea at Wigmore Hall, 2015:

From Bachtrack:

“Timothy Dickinson’s smooth bass sounded magnificent as Creonte”

For Carmen with Scottish Opera, 2015:

From Glasgow Theatre Blog:

“There’s strong support from the other featured roles, in particular, Timothy Dickinson, who delivers a memorable Zuniga.”

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For Sacrifices at Spitalfields Festival, 2012:

From The Independent:

“…the vocal consort sang beautifully … The overlapping dissonances of ”In carmine doloris“ were dizzying in the generous acoustic of Shoreditch Town Hall”

From Exeunt Magazine:

“…this is an almost impeccable hour-long production whose intelligent and restrained use of theatre animates two pieces of music whose dramatic potential might otherwise be lost.”

From The Times:

“…Staples and Bates drew poignant, assured performances from the young actors and singers, especially impressive with the latter negotiating complex polyphony from memory.  Carissimi’s anguished final chorus was properly heartbreaking.”

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For Messiah with La Nuova Musica:

Timothy Dickinson was next up: his well-supported bass shook heavens and earth, making his first accompanied recitative tell of prophetic events of truly great moment. His voice shaped the ensuing darkness beautifully, with the strings creating an almost reptilian sense of horror.

 Hilary Finch, The Times

Timothy Dickinson’s ‘Thus Saith the Lord’ had all the dark majesty of a Norfolk night sky. If Rasputin had sung Handel, it would surely have sounded like this.

Paul Sharp, www.venue.co.uk