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James McOran-Campbell

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Adolf in The Jacobin by Dovrak at the Buxton Opera Festival

James McOran-Campbell makes a suitably sly Adolf.

George Hall, Guardian, 13th July 2014

Mouse, Peacock, Leftovers and God in How the Whale Became by Julian Philips – ROH Linbury , December 2013

Perhaps yet more notable were Donna Lennard, whose development as Frog through the evening was charismatic, and James McOran-Campbell, whose effortless stage presence and dramatic ability was wonderfully equalled vocally. McOran-Campbell demonstrated astonishing range, dramatically and vocally, with an absolutely charming, all-controlling God, a menacing and malevolent Leftovers and an utterly resplendent Poor Thing with wonderfully camp vocal exhibitions while encased in a shining skin-tight outfit.

Edward Lewis, Classicalsource.com

But for me the outstanding performance came from baritone James McOran-Campbell. He has a lovely voice and a wonderfully charismatic stage presence. It came as no surprise to discover McOran-Campbell already features on the infamous “Barihunks” website.

Miranda Jackson, Opera Britannia

With a coloratura frog and a brilliant peacock able to leap from tenor (corr. baritone!) to falsetto, the score offers every variety of operatic voice, mostly in short bursts rather than songs.[…] In How the Whale Became, a joyful cast of five took on multiple roles: Fflur Wyn as Girl/Polar Bear/Cow, Donna Lennard (Frog), Andrew Dickinson as Boy/Wild Bull, James McOran-Campbell as Poor Thing/Leftovers and Njabulo Madlala as Whale/Elephant. Charm never toppled into mawkishness.

Fiona Maddocks – The Observer

There’s also a terrific cast...

Rupert Christiansen – Telegraph

Still, there were some terrific performances from Fflur Wyn, Donna Leonard, Andrew Dickinson, James McOran-Campbell and Njabulo Madlala who threw themselves into their multiple roles with verve and conviction...

Keith McDonnell – WhatsonStage.com

Don Giovanni for Opera Vera at St Paul’s Covent Garden, Nov 2013

It was refreshing to hear good young voices in an opera that deals so candidly with human urges and emotions. James McOran-Campbell as the wicked Don was magnetic: a man possessed by a sexual energy that left him unable to function at normal levels of human interaction. His command of the role was assured and his vocal quality terrifically exciting.

Mark Valencia, The Arts Desk.com

Belcore in L’Elisir d’Amore for NI Opera - Newtownabbey, Co. Antrim

Baritone James McOran-Campbell as the lusty Sgt Belcore is suitably self-assured and vocally commanding.

David Byers, The Irish Times, 30 Sept 2013

Alasdair in Ghost Patrol by Stuart MacRae for Scottish Opera – Edinburgh Festival 2012

In Ghost Patrol, the orchestra… finally gets something seriously dramatic to play – and Mathew Richardson’s production turns a chamber setting into grand opera, virtuosically designed by Samal Blak and vividly acted by James McOran-Campbell, Nicholas Sharrat and Jane Harrington […] which MacRae drapes in a score as sophisticated as it is soulful – beauty and pain indivisible.

Andrew Clark, Financial Times, 4th Sept 2012

Crisply staged by Matthew Richardson, the piece benefits from the committed performances of Jane Harrington, Nicholas Sharratt and James McOran-Campbell.

Rupert Christiansen, The Telegraph. 31st August 2012

...the instrumental writing and the sonorities in MacRae's score are far more striking than his vocal lines. The performances – James McOran-Campbell and Nicholas Sharratt the ex-soldiers, Jane Harrington as the girl caught between them – are first-rate, though, and Matthew Richardson's production does everything required of it...

Andrew Clements, the Guardian. 1st September 2012

MacRae’s opera, with no-holds-barred libretto by Louise Welsh, is immediately exciting, making exacting and effective use of rhythm to portray the ugliness and trauma of war. While MacRae’s is somehow less self-conscious than Watkins’, both scores benefit from excellent casts and dependable conducting from Michael Rafferty.

Carol Main, the Scotsman. 31st August 2012

Planet Hugill - Online Classical Music Blog - September 2012

Title role Eugene Onegin for Grange Park Rising Stars at Cadogan Hall, London

James McOran-Campbell was delightfully young fogey-ish in the first two acts; managing to convey something of the character's appeal without being too buttoned up. McOran-Campbell is undoubtedly a singer able to convey charisma, which is essential in this role. In the first two acts, the character is very much reactive, he doesn't tell us what he is feeling but we have to learn from his interaction with others. McOran-Campbell was enormously helped here by Medcalf's beautifully detailed production, which set the piece firmly in a society where small gestures told. In act three, Onegin finally lets his emotions out and here McOran-Campbell let rip in thrilling form. He and Domnich were vividly intense in the final scene.

Robert Hugill

Bachtrack.com September 2012

Title role Eugene Onegin for Grange Park Rising Stars at Cadogan Hall, London

With the return of Onegin, musical and dramatic tension was brought to the fore, culminating in the stormy dialogue between Tatyana and our protagonist in which she asks him whether his love for her is due to her new status in society. He throws himself at her feet declaring his undying love, but she tells him it can never be and storms off the stage. The hairs on the back of my neck, and I’m sure many others’, were on end as Tatyana and Onegin part forever with Tchaikovsky’s heartbreaking music filling the Hall. I left with the feeling that I had experienced a true night at the opera – Russian decadence, glorious music and a cast that blew me away with their young talent. Rising stars indeed.

Emily Owen

Opera Now September 2012

Title role Eugene Onegin for Grange Park Rising Stars at Nevill Holt

James McOran-Campbell's Onegin was stylish and handsome and cold, with that necessary show of passion just visible beneath the surface. He was fanciable and believable, with a magnificent, metal-edged baritone. In their fiendish final encounter, McOran-Campbell and Domnich gave such fiercely moving and powerful performances that a stunned silence prevailed before the audience broke into hysterical cheers and foot stamps. Bravo!

Rosie Johnston

Words and Music 2010

Freddie Eynsford-Hill in My Fair Lady for Surrey Opera, Harlequin Theatre, Redhill, February 2010.

"Previously I had always winced at the part of Freddie but James McOran-Campbell was so perfect in the part with beautiful voice that I was completely converted. "

Gordon Bull

Opera Now Magazine, July 2009

"James McOran-Campbell's Belcore was the bombe surprise of the evening. Startlingly handsome with a fine-grained bass, he showed remarkable dexterity and ease of tone with Donizetti's glittering score. His comic timing was faultless; his lascivious gyrations hilarious.”

 

Belfast Newsletter, 5th June 2009

Falke, in Tom Hawkes' production of Die Fledermaus at Castleward Opera

"James is the wonderfully scheming Falke, the orchestrator of the joke, in revenge for once having been left in a compromising position in a bat costume, by Eisenstein. His characterization brings to mind the worst kind of Tory politician, with the redeeming feature of a glorious voice. "

Andrea Rea

 

Opera Magazine, January 2009

The Poisoned Kiss by Vaughan Williams for New Sussex Opera at the Winter Garden, Eastbourne, 9th November 2008

"... It was perhaps Louise Innes and James McOran-Campbell (as the servant pair, Angelica and Gallanthus) who most fully realized the work's tricky mix of comedy and pathos, pastiche and true emotion."

Mark Pappenheim

 

Sunday Telegraph, Seven, 29th June 2008

Rusalka by Antonin Dvorjak - Grange Park Opera

"Clive Bayley was superbly authoratative as Rusalka's merman father, and there was a finely sung and acted game-keeper from James McOran-Campbell"

Peter Reed

 

The Stage, 4 February 2008

Hamlet by Ambroise Thomas - English Pocket Opera - Cochrane Theatre, Holborn

“Baritone James McOran Campbell sings stunningly in the title role, sweetly conveying Hamlet’s melancholy and prevarication.”

Graham Gurrin

The Scotsman, 18 April 2007

Recital of La Bonne Chanson by Fauré, accompanied by Nicholas Ashton

"...a highly eloquent and persuasive performance from baritone James McOran-Campbell"

Susan Nickolls

Sunday Times, 1 October 2006

The Barber of Seville - Pimlico Opera - Sadlers Wells

"Catch if you can Pimlico Opera’s Barber of Seville… played by an excellent young cast. All the soloists have good voices, and manage Rossini’s fearsome demands capably, but James McOran-Campbell’s Figaro is a real charmer, with voice and looks to match. Clearly a name to watch... I haven’t enjoyed a Barber as much in years.”

Hugh Canning

Music and Vision

The Barber of Seville Sept 2006

“As Figaro, James McOran-Campbell was impressive; he is possessed of a lovely resonant baritone voice which he uses admirably. His sense of line in this music was good and his way with the fioriture quite admirable. But more than his, he has a strongly attractive stage presence. His Figaro dominated the action without McOran-Campbell ever giving in to over-acting or excessive mugging.”

Robert Hugill

The Stage Online - Wed 27 September 2006

“The star of the show is, however, James McOran-Campbell. His confident, leather-jacketed Figaro is a fully realized portrayal, tonally mellifluous and forcefully projected. It belongs already in a bigger house and, perhaps, a subtler production.”

David Gutman

Manchester Evening News

The Barber of Seville Sept 2006

“Vocal quality was high, especially from James McOran-Campbell’s vivd and likeable Figaro.”

Robert Beale

Opera Magazine September 2006

Cosi fan Tutte - Garden Opera - Richmond June 22 (Guglielmo)

"... - a fully realized portrayal by James McOran-Campbell conveying both humour and passion and, finally, sung with deep anger - rejected a second-best relationship, and he and Dorabella went their separate ways, infected perhaps by the cynicism that drives Alfonso".

Margaret Davies


Opera Magazine March 2005

La Cenerentola - OperaEast Productions, Cambridge Dec 16 2004.

."..members of the cast stood out for their potential: James McOran-Campbell, as Dandini, was the finest actor and offered glimpses of a huge voice that could prove magnificent in ten years time…"

Jo Kirkbridge

Newbury Weekly News - Spring 2004

The Legend of Tantuna - Opera Galleria

"Immediately impressive was the quality of Anderson-Hall's tenor and McOran-Campbell's baritone voices, which blended so well into the fabric of this musical folk tale. Owen provided sensitive accompaniment throughout, always on cue, his dynamics at the keyboard heightening or lowering the prevailing mood as required. The voices were used to such good effect that at times it was difficult to accept that we were listening to just two voices and one piano; the baritone rich and fruity and the tenor clear and mellifluous. As a recital of some of the best arias in opera by two excellent singers, this show could stand on its musical content alone."

Derek Ansell

Brief Encounter, world premiere by Peter Wiegold at the National Opera Studio. 2004

"Like David Lean's film, the opera starts as Laura (Cora Burggraaf) and Alec (James McOran-Campbell) attempt to close their unconsumated affair with dignity and grace…

As it stands, Brief Encounter is definitely worth seeing - for the uniformly excellent singing of this year's NOS students and the excitement of seeing what can and cannot be done with such iconic material…"

Anna Picard


A local paper in Oxford: Opera - The Rape of Lucretia

"Without scenery and costume, we concentrated both on the characterisation of an outstanding young cast, and particularly on Ronald Duncan's text, with its many moments of simplicity and beauty…

All three men were outstanding. James McOran-Campbell made "Tarquin's ravishing strides", in his slow walk behind the orchestra, as sensational as any on stage - with the astonishing accompaniment of untuned drum…"

Hugh Vickers

Opera Magazine July 2004

National Opera Studio Showcase 2004 At the Queen Elizabeth Hall, May 6

"Kate Royal's already rich lyric soprano was offset by her poised stage presence here and as Mélisande in the Pelléas Tower scene, where James McOran-Campbell partnered her creditably."

George Hall


The Times - Tuesday, September 3rd 2002.

"…There was the raw material of some fine voices, too: a forceful Countess who suggested a Donna Anna in the making and Cora Burggraaf's bright, strong Susanna in particular. James McOran-Campbel's Count is mellifluous…".

Robert Thicknesse


From Opera Magazine, November 2002.

"Sarah Jane Davies (Countess) may not stay with Mozart for too long: her substantial, vibrant soprano and generous phrasing suggested a Mimì before too long, and who knows what soon after. John Lofthouse fielded a richly coloured bass-baritone as Figaro, with musical instincts just as promising. In this respect he was neatly balanced with James McOran-Campbell's Count, more baritonal, a natural actor whose stage manner suggested a young Keenlyside."

Rodney Milnes


From the Housman Society Newsletter after a recital called "Housman Songs in Summer" with Mark Packwood:


"Mark Packwood had devised a programme of rarely heard settings of Housman's poetry and his singer was to have been Quentin Hayes, a baritone with whom he has worked frequently at the Royal Opera House. Unfortunately he had to withdraw with vocal problems but we were very fortunate that James McOran-Campbell, a recent graduate from the Guildhall School of Music, did a wonderful job as stand-in, especially as he had to learn most of the songs especially for this concert.

In the more familiar territory inhabited by the second half there was still room for songs by James Hamilton and Frank Lambert before we moved on to E.J. Moeran's Ludlow Town, John Ireland's We'll to the woods no more and Butterworth's almost popular Six Songs from A Shropshire Lad. Here James McOran-Campbell came into his own and sang with commendable freedom and spontaneity. His diction was excellent, and his platform manner for such a young singer confident and convincing.

... the quality of his voice was impressive with a rich tone and a very well focussed top register. Mark Packwood supported him throughout with the most sensitive playing and their partnership in the Butterworth enabled them to communicate the full force of the telling poignancy behind this powerful music."

 

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This page last updated 21/09/12.