Cavalli's La Calisto (Endymione) - Hampstead Garden Opera April 2014
"The other voice that caught my ear was James Hall...as Endymion, whose counter-tenor has a lovely pure timbre."
"Strong support comes from James Hall's Endymion - surely this is a young countertenor we're going to hear a lot more from..."
Jommelli's La Didone (Osmida) - Ensemble Serse April 2014
"James Hall's Osmida had smooth, well-regulated, graceful utterance."
(Andrew Porter, Opera Magazine)
"The oily Osmida, who constantly changed sides and risked being blasted by his own petard, was sung with burgeoning confidence and conviction by James Hall."
"...Tom Verney as Didone, and James Hall as Osmida, were both excellent. Both have beautifully silky voices... While Jommelli may not have given Osmida the flashiest arias, Hall's performance was nevertheless very satisfactory and solid."
Dido & Aeneas (Witch and Spirit) - OperaUpClose Feb-Mar 2014
"Special mention for countertenor James Hall - a pure voice allied to a ready wit."
"the singing is exceptional - from Ian Beadle's strapping Aeneas, to James Hall's strong countertenor voice..."
Stile Concertato: Vivaldi Solo Cantatas with Albion Baroque - November 2013
"The recitative was heart-wrenchingly sung by Hall... [his] energy and desperate passion [was] emphatically matched by the ensemble's playing..."
Na'ama Zisser's Black Sand (Nathanael) - August 2013
"Over this insomniac soundscape, Nathanael's countertenor soars... In another gorgeous moment, the musicality of a yawn is explored with playful dexterity by Nathanael (James Hall)... Nathanael, in Black Sand, is far more endearing: we are asked not so much to judge him as to enter into madness with him, to feel for him and ultimately to love him..."
(Charlotte Valori, onestoparts.com)
Michelangelo Drawing Blood Tour (Countertenor Soloist) March - July 2013
"Over these James Hall's singing of the the Latin Mass and Michelangelo's own words rings with bell-like clarity. Definitely a counter-tenor to look out for."
(Peter Scott-Presland, broadwaybaby.com)
"...the clear tone of James Hall's countertenor solos have a haunting quality."
(Rian Evans, The Guardian)
"...theorbo, bass recorder and bass viol together with countertenor (the superbly honey-toned James Hall)."
(Peter Reynolds, walesartsreview.org)
"Credit is due... to the young countertenor, James Hall, whose rousing voice stood out..."
(Danny Champken, buzzmag.co.uk)
"Their excellent playing is topped off with James Hall's extraordinary clear countertenor voice."
(Peter Jacobs, thepublicreviews.com)
A Night at the Chinese Opera (Military Governor) September 2012
"Hall's eerie countertenor sounds infinitely baleful..."
(Tim Ashley, The Guardian)
"James Hall was the Mongol military governor... he projected a strong stage presence and has a high countertenor voice which was admirably free in the upper registers."
(Robert Hugill, hugill.blogspot.co.uk)
Riccardo Primo (Oronte) March 2012
“James Hall's Oronte sang with a clear, bright tone...”
(The Independent, April 2012)
“James Hall and Timothy Nelson sang elegantly in the... supporting roles of Oronte and Berardo.”
(The Guardian, April 2012)
“...countertenor James Hall’s Oronte has nobility of sound... all four principals know how to float a line, and how to present a long da capo aria, in its variegated moods. As a result, Handel casts his usual spell.”
(The Independent, March 2012)
Lotti's Magnificat (December 2010)
"Counter-tenor James Hall and oboist Catherine Wild were quite superb in their rendering of Tecum Principium."
(Bishop's Stortford Observer, December 2010)