James Oxley is represented by Rayfield Allied worldwide.

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James Oxley

Tenor

  • The control with which tenor James Oxley sung the unaccompanied bars of the opening recitative presaged the beauty of his later solos
    Carla Whalen, The Scotsman
  • Opera-goers weaned on Wagner and Verdi traditionally detect a hint of the vegetarian in early music performances, but there was nothing bloodless about James Oxley’s warmly phrased Actéon…
    Rodney Milnes, The Times
  • James Oxley is an impeccable musician
    Le Monde
  • James Oxley has appeared at all the major concert halls in London, at Symphony Hall Birmingham and Philharmonic Hall Liverpool, and notable UK concert credits include Missa Solemnis with Heinrich Schiff and the Orchestra of the Age of Enlightenment, Stravinsky Renard with Psappha at the BBC Proms, Haydn Creation and Mozart Great Mass with the Scottish Chamber Orchestra and Handel Alexander’s Feast with Northern Sinfonia and Nicholas McGegan. His engagements have taken him throughout Europe, especially to France where he has worked with Philippe Herreweghe, Hervé Niquet and Christophe Rousset.

    Equally at home on the operatic stage he has sung the roles of Lensky and Belmonte at the Opera de Rennes, Lucano in Monteverdi’s L’incoronazione di Poppea at English National Opera, Ferrando Cosi fan tutte and the title role in Candide at the Opera de Rouen, Acis Acis and Galatea at the Reinsberg Festival conducted by Martin Haselböck, and the title role in the high-tenor version of Gluck’s Orphée at Theater Dortmund.

    Recent and future highlights include Bach’s St Matthew Passion with the Royal Northern Sinfoni and the RTÉ National Symphony Orchestra, Bach’s St John Passion with the Bournemouth Symphony Orchestra, a tour of Bach cantatas with the Israel Camerata, Britten’s War Requiem as part of the Three Choirs Festival, Tavener’s Requiem with the Bach Choir at the Royal Festival Hall in London, Bach’s Christmas Oratorio with the Stavanger Symphony Orchestra, Handel’s Messiah with the CBSO and with the choir of York Minster, and a tour of Europe of Purcell’s Acis and Galatea and King Arthur with The King’s Consort. 

    • Britten War Requiem, Three Choirs Festival
      Britten War Requiem, Three Choirs Festival

      I admired [James Oxley’s] delivery of the Owen poem in the Agnus Dei movement, not least the beautifully fashioned final rising phrase, and also his expertly controlled, desolate singing at the start of ‘Strange meeting’.
      John Quinn, Seen and Heard International
      Soloist James Oxley filled the role with wonderful presence and the power of storytelling that brought a unique sense to each and every word.
      Holly Harrison, bachtrack.com
    • Bach St Matthew Passion, Royal Northern Sinfonia / Zehetmair
      The Sage Gateshead (April 2014)

      The two principal actors in the story, the Evangelist and Christ, were brought vividly to life as real people. James Oxley’s clear-voiced Evangelist was never a detached story-teller; this was a fiercely characterful narrator, who made his opinions clear, particularly his disdain for those such as Judas and Pilate who stumble in the face of moral challenges.
      Jane Shuttleworth, bachtrack.com
      The choir was in characteristic top form and was joined by strong cast of soloists, not least being tenor James Oxley, who as Evangelist drove the narrative forward with an engaging dynamism.
      Gavin Engelbrecht, The Northern Echo
    • Bach Christmas Music, The King’s Consort
      Wigmore Hall (December 2013)

      James Oxley’s sequence of arias and recitatives in a Kuhnau chorale-setting was delivered with consummate artistry.
      Michael Church, The Independent
      Wie Schön Leuchtet Der Morgenstern – Kuhnau’s rich setting of Philipp Nicolai’s 1597 Christmas hymn – showcased the group’s attention to textual nuance, most notably in the case of the solo tenor James Oxley.
      Hannah Nepil, Financial Times
    • Handel Solomon (Zadok), Wiener Akademie
      Theater an der Wien (March 2013)

      In the male roles tenor James Oxley… had a beautiful voice.
      Renate Wagner, Der neue Merker
      James Oxley had exemplary diction.
      Marion Eigl, Kurier
    • Bach B Minor Mass, Auckland Philharmonia Orchestra
      Auckland Town Hall (October 2012)

      English tenor James Oxley gave us a clear, strong Benedictus, singing from memory, floating over the lovely sounds of flautist Catherine Bowie and Eliah Sakakushev von Bismarck's cello.
      The New Zealand Herald
      Best of all the soloists was tenor James Oxley. Despite the punishingly high tessitura, he delivered a Benedictus both attractively plangent and effortlessly accurate. He joined Macliver for a most beautiful rendition of the Domine Deus duet, pure voices blending exquisitely.
      bachtrack.com
    • Evangelist (St John Passion), Northern Sinfonia, The Sage Gateshead
      (April 2011)

      James Oxley was a delightful Evangelist, engaging the audience with a real sense of story-telling and clearly relishing the ornamental passages of the recitative.
      Jane Shuttleworth, Bachtrack
    • Evangelist (St John Passion), Dunedin Consort, St Mary’s Metropolitan Cathedral, Edinburgh
      (April 2011)

      ...James Oxley [was] an urgent and vocally compelling Evangelist.
      Kate Molleson, The Guardian
    • Bath Philharmonia: An English Christmas
      (December 2010)

      It was quite beautifully sung by tenor James Oxley, who found all the reflective intensity which gives the piece its emotional power. This was a memorable musical experience which provided a quite different insight into the Christmas story that was profoundly moving.
      Peter Lloyd Williams, The Bath Chronicle
    • Acis (Acis und Galatea), Reinsberg Festival / Martin Haselböck
      (July 2010)

      James Oxley as Acis (…) is musically flawless, confident in style, and displays some stunning acting.
      Oliver A. Láng, Kultur
    • Orpheus (Orpheus Projekt), Theater Dortmund
      (June 2010)

      James Oxley mastered the tenor part outstandingly, word perfect and highly expressive with his charmingly beautiful and flexible voice. (...) Oxley performs impressively throughout, with a never-tiring voice and the demanding physical stamina which the role requires.
      Westfälische Rundschau
      Oxley has a beautiful, lyrical and high tenor voice (...)
      Julia Gaß, Ruhr Nachrichten
    • RSNO Messiah, Glasgow Royal Concert Hall
      (Jan 2010)

      the lean and intense tenor James Oxley
      Michael Tumelty, Herald Scotland
    • The Lighthouse, (Maxwell Davies), Buxton Festival
      (July 2009)

      The youthful anguish of James Oxley’s high tenor is a good match for Sandy, spinner of erotic romance (…)
      Geoff Brown, The Times
  • James Oxley Opera Repertoire

    BERNSTEIN
    • Candide (title role)
    BRITTEN
    • The Prodigal Son
    • The Rape of Lucretia (Male Chorus)
    CHARPENTIER
    • Actéon (title role)
    DELIBES
    • Lakme (Gérald)
    FAURÉ
    • Pénélope (Antinoüs)
    GLUCK
    • Orphée et Euridyce (Orphée)
    HANDEL
    • Acis and Galatea (Acis)
    • Ariodante (Lurcanio)
    MAXWELL-DAVIES
    • The Lighthouse (Sandy)
    MONTEVERDI
    • L’incoronazione di Poppea (Lucano)
    MOZART
    • Cosi fan tutte (Ferrando)
    • Die Entführung aus dem Serail (Belmonte)
    • Idomeneo (Arbace)
    • Il Re Pastore (Alessandro)
    PURCELL
    • King Arthur
    SCHUMANN
    • Der Rose Pilgerfahrt
    STRAUSS
    • Die Liebe der Danae (Merkur)
    • Intermezzo (Stroh)
    TCHAIKOVSKY
    • Eugene Onegin (Lensky)
    WAGNER
    • The Flying Dutchman (Steersman)

    James Oxley Concert Repertoire

    BEETHOVEN
    • Missa Solemnis
    BRITTEN
    • Serenade for Tenor, Horn and Strings
    • St Nicholas
    HANDEL
    • Acis and Galatea
    • Alexander's Feast
    • Israel in Egypt
    • Messiah
    HAYDN
    • Creation
    LULLY
    • Alceste
    MOZART
    • Great Mass
    PURCELL
    • Fairy Queen
    RAMEAU
    • Les Indes Galantes
    SCHUMANN
    • Dichterliebe
  • Photos