James McOran-Campbell

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Belfast Newsletter, 5th June 2009

"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."

If you would like further details just click the mail icon below to email James.

This page last updated 15/09/09.