bach's St john passion - harry bicket and the rns march 2018

"Countertenor James Hall had a light, clean tone with particularly good high notes... For “Es ist Vollbracht”, he stepped into the eternal with his poised stillness..."
Jane Shuttleworth, bachtrack.com

handel's rinaldo - harry bicket and english concert march 2018

"Countertenor number three was James Hall, who, score in hand, sang the roles of the Herald, a woman and a Christian Magician. He’s someone to watch."
Robert Levine, bachtrack.com

Brett dean's Hamlet (Guildenstern) - glyndebourne on tour a/w 2017

"The inefficacy and bewilderment of Rosencrantz and Guildenstern is expertly communicated by countertenors Rupert Enticknap and James Hall, whose voices blend as one as they synchronise their self-conscious hand-wringing and tentative smiles of appeasement."
Claire Seymour, operatoday.com

"...most effectively the semitone-duetting Rosencrantz and Guildenstern, delightful John Inman-channeling cameos from countertenors Rupert Enticknap and James Hall"
Graham Rogers, thestage.com

"For light relief, James Hall and Rupert Enticknap, as Guildenstern and Rosencrantz respectively, are reminiscent of Tweedle Dum and Tweedle Dee in Alice In Wonderland, but what marvellous comic timing and expression of face and movement. They add much-needed humour to the play and both actors do so with real panache and style."
Maggie Constable, thereviewshub.com

"Rupert Enticknap and James Hall made an amazing double act as Rosencrantz and Guildenstern."
Robert Hugill, planethugill.com

"In matching outfits that owe a great debt to Gilbert and George, Rupert Enticknap and James Hall as Rosencrantz and Guildenstern are a much-needed comic foil. Here, they are not the hapless victims of political machinations. They are more polished, their smooth counter-tenor voices nervously fluttering away, as they struggle to stay ahead of the game."
Helen Tope, thereviewshub.com

...with Rupert Enticknap and James Hall meticulous and obsequious as Rosencrantz and Guildenstern completed the marvellous lineup."
Fiona Maddocks, The Observer

Handel's ottone (adelberto) - il pomo d'or june 2017

"Pour camper un très manipulé Adalberto, James Hall joue la carte de la simplicité. Avec une émission dont l’apparent naturel rappelle celle de James Bowman, il convainc rapidement dans les airs lents... comme tous ses collègues du jour, son style est impeccable."

["To portray a highly manipulated Adalberto, James Hall plays the card of simplicity. With an voice whose apparent nature recalls that of James Bowman, he quickly convinces in the slow air ... like all his colleagues of the day, his style is impeccable."]
Guillaume Saintagne, forumopera.com

"un talent à suivre...James Hall, révélation d’un impeccable nouveau haute-contre anglais, dans la lignée de Tim Mead."

["a talent to follow ... James Hall, a revelation of an impeccable new English countertenor, in the line of Tim Mead"]
Jean-Luc Clairet, resmusica.com

Handel's Jephtha (hamor) - Holst singers and the aam may 2017

"The counter-tenor James Hall was a fine, strong Hamor"
Colin Clarke, seenandheard-international.com

"The young counter-tenor James Hall sang throughout with great beauty of tone and a commitment to word and line which bodes well for his career, and I look forward to hearing him in many other roles."
Robert Hugill, planethugill.com

David Bruce's nothing (Johan) - glyndebourne february 2016

"Director Bijan Sheibani makes every action and interaction count and manages to make a success of a largely static Pierre, radiantly sung by Stuart Jackson. Marta Fontanals-Simmon’s Ursula and counter-tenor James Hall’s Johan are also striking performances."
Edward Bhesania, thestage.co.uk ★★★★★

"guitarist and Beatles fan Johan (the countertenor James Hall, flawless like his colleagues)"
David Nice, theartsdesk.com ★★★★★

La Beauté de Baroque at Musique cordiale festival - August 2015

"James Hall, a voice of velvet power that had projection but with easy, almost laid-back charm and purity of tone..."
Michael White, Catholic Herald

js bach's st matthew passion (alto soloist) - st john's smith square march 2015

"Hall (so strong in Hampstead Garden Opera’s recent Calisto) was a stand-out – his bladed purity needing little pressure to fill the space, finding some lovely vocal colours in his arias."
Alexandra Coghlan, theartsdesk.com ★★★★

blow's venus & Adonis - opera lyrica february 2015

"James Hall sang finely as Cupid with great beauty of tone and a lovely sense of line."
Robert Hugill, hugill.blogspot.co.uk

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."
David Karlin, bachtrack.com

"The strongest performances came...from countertenor James Hall, who as the ill-fortuned Endymion sings perhaps the opera's loveliest aria..."."
Adrian Horsewood, Early Music Today

"Strong support comes from James Hall's Endymion - surely this is a young countertenor we're going to hear a lot more from..."
Alexandra Coghlan, theartsdesk.com

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."
(Charlotte Valori, backtrack.com)

"...Tom Verney as Didone, and James Hall as Osmida, were both excellent, [with] beautifully silky voices..."
(Lynton Boshoff, bsecs.org.uk)

Dido & Aeneas (Witch and Spirit) - OperaUpClose Feb-Mar 2014

"Special mention for countertenor James Hall - a pure voice allied to a ready wit."
(Stephen Pritchard, The Observer)

"the singing is exceptional - from Ian Beadle's strapping Aeneas, to James Hall's strong countertenor voice..."
(The Gizzle Review)

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..."
(Prasanthi Matharu, bsecs.org.uk)

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)