Born in West Sussex, Nick Pritchard read music as a choral scholar at New College, Oxford and studied with Russell Smythe at the Royal College of Music International Opera School (RCMIOS) where he was the recipient of the Eric Joseph Shilling Prize. He was awarded the London Bach Society Singer’s Prize in 2013 and is currently both a Samling Artist and a member of the Orchestra of the Age of Enlightenment’s ‘Rising Stars’ scheme. In 2017, he won the Whatsonstage Opera Poll award for Breakthrough Artist in UK
Opera. On the concert platform he has performed with ensembles including L’Orchestre de Chambre de Paris, the Philharmonia Orchestra, the BBC National Orchestra of Wales, the Gabrieli Consort, The English Concert, the English Festival Orchestra, the Instruments of Time and Truth, the St Paul Chamber Orchestra, Early Opera Company, the Monteverdi Choir, the Dunedin Consort, the Kings Consort, and Ensemble Pygmalion. He has worked with such conductors as Christian Curnyn, Paul McCreesh, Harry Bicket, Sir John Eliot Gardiner, John Butt, Raphaël Pichon, and David Hill.
Operatic roles include Lysander in A Midsummer Night’s Dream under Ryan Wigglesworth as part of the Aldeburgh Festival’s 70th anniversary, Prologue in The Turn of the Screw and Ferrando in Cosi fan tutti for Opera Holland Park and Nevill Holt Opera, Amphinomus in Il ritorno d’Ulisse in patria under Christian Curnyn for the Royal Opera House, Matthew in Mark Simpson’s Pleasure for Opera North, Aldeburgh and The Royal Opera, Henry Crawford in Mansfield Park under David Parry for The Grange Festival, Acis in Acis and Galatea under Laurence Cummings as part of the London Handel Festival, Aquilio in J.C. Bach’s Adriano in Siria for the Classical Opera Company, Telemaco in Il ritorno d’Ulisse in patria and Mercurio in La Calisto, both for English Touring Opera, John/Angel 3 in Written on Skin with Melos Sinfonia under Oliver Zeffman, Telemaco for Iford Arts under Christian Curnyn, Paulino in The Secret Marriage for British Youth Opera (for which he won the Dame Hilda Bracket award from Sadler’s Wells), the title role in Handel’s Venceslao with Opera Settecento, Ruggiero in Caccini’s La Liberazione di Ruggierio for the Brighton Early Music Festival, Tamino in Die Zauberflöte Irish National Opera, and the title role in Albert Herring for the RCMIOS.
Recent and future highlights include Bach Cantatas with Les Violons du Roy under Jonathan Cohen, Purcell’s The Indian Queen for the Opéra de Lille under Emmanuelle Haïm, Damon in Acis and Galatea with Early Opera Company, Il Tempo in Il Trionfo del Tempo e del Disinganno with Concerto Köln, Handel’s Jephtha with Trigonale Festival der Alten Musik in Austria, recitals at the Wigmore Hall with La Nuova Musica, and performances of Bach with the Irish Baroque Orchestra, the Bach Choir, the Instruments of Time and Truth and Les Talens Lyriques. Engagements that could sadly not take place last season include Ferrando in Cosi fan tutti for the Opéra national du Rhin in Strasbourg, Bach’s St John Passion with the RTÉ National Symphony Orchestra, Mendelssohn’s Die Erste Walpurgisnacht at the Muziekgebouw Amsterdam, and an appearance at the Three Choirs Festival.