Press Reviews
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2009
The
Ghosts of Versailles (Beaumarchais), Opera Theatre
St. Louis
"James Westman was a warmly attractive
Beaumarchais, and he provided a comfortable
emotional focus for the audience."
-Judith
Malafronte,
Opera News,
2009
The Barber of Seville, Manitoba Opera
"James Westman as the self-satisfied
Figaro was a comic and vocal delight. In the infamous Largo al factotum, his robust voice and animated face had the
audience in the palm of his hand. Wheeling his trolley complete with barber pole, wigs and bottles of lotions, he
illustrated the aria's lyrics with playful body language. We never wanted him to leave the stage."
-Gwenda Nemerofsky, Winnipeg Free Press, November 2009
Sharpless in Madama
Butterfly with the Canadian Opera Company
“James Westman found the right mixture of
gravitas and concern as Sharpless”
-John Terauds, Toronto
Star, 2009
"…Westman a deeply
compassionate Sharpless.”
-Christopher Hoile, Eye Weekly, 2009
"…James Westman
makes a vocally rich Sharpless”
-Glenn Sumi, Now Magazine, 2009
Opera Theatre of
St.Louis
, The Ghosts of Versailles (Beaumarchais)
“
The Beaumarchais
of James Westman could hardly have been better.”
-Lawrence J. Dennis,
Opera Canada, Fall 2009
“Baritone
James Westman (Beaumarchais) was appealing and
energetic.”
-Heidi Waleson, Wall Street Journal, June
27, 2009
“James Westman's
Beaumarchais held the stage as by right, and sang
robustly.”
-Sarah Bryan Miller, St Louis Post Dispatch,
June 18, 2009
Corrado on the
Opera Rara Recording of Ricci’s Corrado d’Altamura
“Thank goodness,
the title-role of Corrado is given the royal
treatment with James Westman (heard previously in
“Imelda de’ Lambertazzi”). Let us hope that
Opera Rara, which sometimes casts operas
fancifully, will keep this baritone in its good
graces. With exceedingly beautiful singing -
and this is so important for such an arduous role,
which demands the aristocratic schooling that was
later associated with the great Donizetti and
Verdi baritones, in the lineage of Luna - Westman
is especially emotionally involved while
displaying great vocal panache.”
-Philippe Ponthir, Forum Opéra, June 30,
2009
“James Westman’s
singing of the title role is excellent - both
urgent and refined.”
-Dominic McHugh, Musical Criticism, June 29,
2009
“James
Westman forcefully conveys the fanaticism behind
Corrado's principled nobility.”
-Tim Ashley, The Guardian, June 12, 2009
Figaro in Il Barbiere di Siviglia with the Minnesota Opera
"James Westman
Figaro had all the requisite fun loving
flamboyance"
-Ron Hubbard, Pioneer Press, April 14, 2009
"Westman"s first
attempt at the demanding role proved as adept at
comedy as at singing. As Figaro James Westman
offered a big resonant bass-baritone that
never faltered, His charm and charisma were
apparent at all times"
-Michael Anthony, Star Tribune, April 13 2009
“James Westman's Figaro had all of the
requisite fun-loving flamboyance”
-Rob Hubbard, Pioneer Press, April 12, 2009
“
As
Figaro, James Westman offered a big, resonant
baritone that never faltered. Westman's charm and
charisma were apparent at all times”
-Michael Anthony, Star Tribune, April 12,
2009
2008
Madama
Butterfly, Chicago Lryic Opera
"In his Lyric debut
James Westman delivered a sympathetic Sharpless"
-Chicago Tribune,
John Von Rhein December 15 2008
"The Canadian
Baritone was a wonderful U.S. Consul Sharpless"
-Daily Herald, Bill Gowan, December, 14 2008
"The baritone James
Westman was a sympathetic consul. Mr. Westman
interacted emphatically with Lopardo and Racette
and was particularly moving in his third act trio,
his clear sound and articulation enhanced his
performance greatly"
-Seen and Heard
International, Zychowicz. December 20 2008
"Baritone James Westman was a fine Sharpless, he sang with plenty
of warmth and fine legato"
-Concerto.net, Paul
Wooley, December 13 2008
“James Westman
made a successful Lyric debut with his
warmly vocalized Sharpless, though his giddily
ebullient approach to the character rather
suggested Dr. Malatesta; by Act III the baritone
had settled in with more gravitas, joining Lopardo
and fellow debutante Katharine Goeldner's plangent Suzuki for an excellent account of the trio.”
-Mark Thomas Ketterson, Opera
News
“The baritone James Westman was a sympathetic
Sharpless, whose acting suggested a knowledgeable
consul, wary of the dangers of treating
Cio-Cio-San as merely ‘a Japanese wife’, the
designation that sets the tragedy into motion. Mr
Westman interacted empathically with both Lopardo
and Racette, and was particularly moving in the
third-act trio ‘Io so che alle sue pene’ with
Pinkerton and Suzuki, his clear sound and
articulation enhancing his performance.”
-James L. Zychowycz, Seen and Heard,
December 31, 2008
“Baritone James Westman sang with plenty of warmth
and fine legato.”
-Paul Wooley, ConcertoNet, December 17, 2008
“In
his Lyric debut, James Westman delivered a
sympathetic Sharpless.”
-John von Rhein, Chicago Tribune, December
15, 2008
“James Westman's barely suppressed fury in the
final scene was moving.”
-Wynne Delacoma, Chicago Sun-Times, December
15, 2008
“Canadian baritone James Westman a wonderful U.S.
consul Sharpless.”
-Bill Gowen, Chicago Daily Herald, December
14, 2008
The
Count in Le Nozze di Figaro with Opera Lyra
“James Westman, who was extremely dramatic, was
perfectly credible in the role of the Count.
Whatever lack of seduction he put in his timbre
was used to great effect in moments of anger,
especially in a ‘Vedrò mentr’io sospiro’ filled
with rage.”
-Réal Boucher, Forum Opera, September 29,
2008
Sharpless in Madama Butterfly with the Opéra de Montréal
“Canadian baritone
James Westman's Sharpless was sympathetic, and he
sang with the deep dark reassuring sound that
makes this character so attractive.”
-Jim Lowe, Times Argus, May 26, 2008
Bonifacio in the Opera Rara Recording of Imelda
de’ Lambertazzi
“Canadian baritone (and former boy treble) James
Westman brings a hefty, warmly attractive sound,
along with impeccable musicianship and richly
detailed character, to the role of Bonifacio
Gieremei.”
-Judith Malafronte, Opera News, October 2008
“In
Act 2, James Westman is alternately plangent and
bellicose during his lament for lost love.”
-Warren Keith Wright, Opera Magazine, July
2008
Madama Butterfly, Opera De
Montreal
“Canadian baritone James Westman's Sharpless was sympathetic,
and he sang with the deep dark reassuring sound that makes this character so attractive.”
-Jim Lowe, Times Argus, May 26, 2008
"A
fine artistic contribution to the production is James Westman whose rich baritone voice is well suited to his role as
Sharpless"
-Southwest Star, May 28, 2008
Detroit, Margaret
Garner
"Baritone James Westman offers a credible and
vocally assured portrait as Edward Gaines, the
nouveau-riche slave owner torn between his
manifest right and the moral corrections of his
daughter."'
-Larry Johnson, The Detroit News, October 25, 2008
Chicago, Margaret
Garner
'James Westman was a melodramatically villainous
bass as Gaines'
-Scott C. Morgan, Windy City Times, Novemeber 3,
2008
'Canadian baritone James Westman managed to
swagger without turning slave owner Edward Gaines
into a caricature'
-Wynne Delacoma, Chicago Sun Times, November 3,
2008
Montreal Opera,
Madama Butterfly
"le baryton canadien James Westman, figure
compatissante et paternelle en Sharpless"
-La
scene'
"Canadian baritone James Westman proved an able actor"
-Arthur Kaptianis, Gazette, May 27, 2008
'Canadian baritone James Westman's Sharpless was sympathetic, and he sang with the deep dark reassuring sound that makes
this character so attractive
-Jim
Lowe, Times Argus Staff, May 26, 2008'
L'elisir D'amore
Boston Lyric Opera
"James Westman
inhabited his character (belcore) with dramatic
flair and good comic instincts"
-Boston Globe,Jeremy Eichler, March
18 2008
Renato in Un Ballo in Maschera with the Bordeaux Opera
“James Westman starts out as an introvert (but his
aria “Alla vita che t’arride” gives him very
little to work with), then opens up once he
discovers the extent of his woes. His
singing goes from rage to despair in the Act II
finale and finds its logical conclusion in “Eri tu”,
which - as it tells more about him as a lover than
as a husband – shows the true suffering of the man
behind the bite and the metal in the voice.”
-Christophe Rizoud, Forum Opéra, January 23,
2008
2007
Marcello in La Bohème with Opera Pacific
“A
tall and handsome James Westman, in an Opera
Pacific debut, sung in a rich baritone, delivering
a solid and manly Marcello. His canny comic timing
was refreshing and he was full of jealous love for
his fiery Musetta.”
-Dawn Southwick, Classical Voice, November
1, 2007
“James Westman supplied a burnished and eloquent
Marcello.”
-Timothy Mangan, Orange County Register,
October 25, 2007
"James Westman was
a resonant Marcello.”
-Richard Ginell, Los Angeles Times, October
26, 2007
Marcello in La Bohème with the Santa Fe Opera
“James Westman sang Marcello with energy and
élan.”
-Simon Williams, Opera News, November 2007
“The vocalism was fine, […] with James Westman as
Marcello…”
-Scott Cantrell, Dallas Morning News,
August 3, 2007
La Boheme, Opera
Pacific
"Stand-out James Westman was a resonant Marcello"
-Rickard Ginell, Los Angeles times, October 26,
2007
Queen Elizabeth
Hall, Imelda de' Lambertazzi,
‘James
Westman's firm and elegant voice gave an admirable
account of the baritone's big number.'
-Rupert Christiansen, Telegraph, London England
Opera Pacifac, La Boheme
‘James
Westman supplied a burnished and eloquent
Marcello'
-Timothy Mangan, The Orange County Register,
October 25, 2007
Santa Fe Opera, La Boheme
‘James
Westman cut a dashing figure as Marcello and sang
with well-projected dark resonance’
-Maria Nockin,
MVDaily, Sept 2007
‘The vocalism was fine, […] with James Westman as
Marcello’
-Scott
Cantrell, Dallas Morning
News, August 3, 2007
‘James Westman made for a happy-go-lucky
Marcello, full of youthful energy and painterly
pride. His baritone was strong and forthright,
its vigor and rolling power fully appropriate for
the role’
-
Craig
Smith, Santa Fe Pasa Reviews, July 30 2007
‘James
Westman was a heartfelt, agile Marcello’
-Opera
Chic, July 22 2007
St. Louis Opera, La Traviata
‘James
Westman, in a highly detailed psychological
portrayal of Germont, was visibly moved by "Dite
alla giovine" and brought genuine motivation to
every line of "Di Provenza").’
-Judith
Malafronte, Opera News, June 22 2007
‘Westman is also the best actor in the show,
particularly in the scene in which he shows up at
the young lovers' country home and convinces
Violetta to abandon his son to save the family's
reputation.’
-Lew Prince,
River Front Times, May 30 2007
‘As his father, Giorgio Germont, James Westman
offered a fine baritone with musicality’
-Sarah
Bryan Miller,
St. Louis Post Dispatch,
May 28th 2007
‘As
his father, Giorgio Germont, James Westman offered
a fine baritone and musical’
-Sarah
Bryan-Miller,
St Louis Post-Dispatch,
May 28, 2007
Calgary, Carmen
“James Westman was vocally a satisfying Escamillo
and projected a rather more human figure than the
jock-like character usually encountered"
-Kenneth
DeLong,
Calgary Herald,
April 22, 2007
Germont in La Traviata with Opera Theater of St Louis
“James Westman, in a highly detailed psychological
portrayal of Germont, was visibly moved by ‘Dite
alla giovine’ and brought genuine motivation to
every line of ‘Di Provenza’). All three
principals conveyed thrilling emotional power
through the music.”
-Judith Malafronte, Opera News, September
2007
“As
his father, Giorgio Germont, James Westman offered
a fine baritone and musicality.”
-Sarah Bryan-Miller, St Louis Post-Dispatch,
May 28, 2007
Escamillo in Carmen with the Calgary Opera
“James Westman was vocally a satisfying Escamillo
and projected a rather more human figure than the
jock-like character usually encountered.”
-Kenneth DeLong, Calgary Herald, April 22,
2007
Bonifacio in Imelda de’ Lambertazzi with Opera
Rara
“James Westman's handsomely sung Bonifacio…”
-Tim Ashley, The Guardian, March 14, 2007
Frédéric in Lakmé with the Opera de Montreal:
“James Westman, as Gérald’s brother in arms, is a
worthy baritone who acts with authority.”
-Claude Gingras, La Presse, February 5, 2007
“…
The bubbly baritone James Westman”
-Jacques Hétu, Res Musica, February 10, 2007
Opera Rara,
Donizetti's
Imelda de’
Lambertazzi
‘James Westman's
handsomely sung
Bonifacio…’
-Tim
Ashley, The
Guardian,
March 14, 2007
Montreal, Delibes' Lakme
"Sparkling
James Westman who plays the a down to earth
Frederic’
-Jacques Hetu, ResMusica, February 10, 2007
"James Westman, en compagnon
d’armes de Gerald, est un valeureux baryton jouant
avec autorite’
“James Westman, in the role of Gerald’s Comrade in
Arms is a brave baritone played with authority”
-Claude Gingras,
La Presse Montreal, February 5, 2007
‘James
Westman, tres attachant dans son role de frederic
lami fidele de Gerald,est a peu pres le seul qui
parvient a chanter avec naturel.’
“James Westman very engaging/lovable in his role
of Frederic, gerald’s loyal friend, is more or
less the only one who manages to look natural
while singing.”
-Richard
Boisvert, Le Soleil, February, 8 2007
‘Baritone
James Westman played Frederic with exuberant
realism’
-Arthur
Kaptainis, The Montreal Gazette, Febraury
2007
‘James Westman. Sous employe en Frederic, est
neanmoins suberbe de tenue et de style’
“James Westman, underemployed in Frederic, is
nonetheless superb in appearance and style.”
-Renaud
Loranger, Altmusica.com, February 3 2007
Dallas Opera, Maria Stuarda
‘Westman,
as Talbot sang handsomely’
-Willard
Spiegelman, Opera News, February 2007
‘James
Westman a sturdy, sonorous Talbot’
-Scott Cantrell,
Dallas Morning News,
January 8,
2007
‘The
male members of the cast excelled Friday evening,
including baritone James Westman as
Talbot.’
-Matthew Erikson,
Star Telegram,
January 7, 2007
2006
Germont in La Traviata
with the English National Opera:
“James
Westman, in his ENO debut, offered an accurate and
suavely sung Giorgio Germont.”
-Roger Parker, Opera, December 2006
“Still, James Westman was excellent as a noble,
anguished Germont.”
-Richard Morrison, The Times, September 29,
2006
“
James
Westman’s Germont impressed.”
-Andrew
Clark, Financial Times, September 28, 2006
“James Westman
made a compelling Germont père, with his
magnificent stage presence and forceful
voice.”
-Dave Paxton, MusicOMH, September 29, 2006
“More
solid vocally […] is James Westman as the elder
Germont.”
-George Hall, The Stage, September 28, 2006
“James
Westman sang firmly […] as Germont.”
-Rupert Christiansen, The Telegraph,
September 29, 2006
‘Best
of the three principals was Canadian baritone
James Westman, who sang boldly all night as the
elder Germont.’
-George Hall, Opera News, December 2006
‘James
Westman was excellent as a noble anguished Germont’
-Richard Morrison, The London Times,
September 29, 2006
‘James Westman Impressed’
-Andrew Clark, The Financial Times,
September 28 2006
‘James Westman made a compelling Germont pere with
his magnificent stage presence and forceful
voice’
-Dave Paxton, September 2. 2006, MusicOMH
“James Westman,
in his ENO debut, offered an accurate and suavely
sung Giorgio Germont.”
-Roger Parker,
Opera,
December 2006
Bass Solo in Dvorak’s Stabat Mater with
the Grant Park Music Festival
‘James Westman nailed the bass and choral section,
‘Fac ut ardeat,’ with a firm yet pliant
sound’
-John von Rhein,
Chicago Tribune,
August 18, 2006
‘James
Westman did a commendable job in the role;
he gave a
musically solid and dramatically involved
interpretation of this tormented character.'
- Ed
Tapper, The Edgem,
May 6, 2006
‘...baritone James Westman was excellent as the
monk overtaken by the lusts he denounces because
he fears them so much. He has a strong voice, a
burly presence, and an actor's imagination.'
- Richard Dyer, The
Boston Globe,
May 3, 2006
‘Baritone James Westman gave a world-class
performance in the long and grueling role of
Athanaël. A hard-working and talented actor,
Westman made credible his devotion to God as well
as his passion for Thaïs and poured out virile,
walnut-hued tone.'
-
Peter M. Knapp, Patriot Ledger,
May 1, 2006
‘On
Friday evening April 28th Boston Lyric Opera
brought this magnificent opera to the stage in a
production marked by vivid splashes of color,
superb sets (one set used quite creatively
throughout), magnificent orchestration under the
smooth direction of Maestro Stewart Bedford, and
compelling performances from a cast headed by
baritone James Westman who sang the role of
Athanaël, and soprano Kelly Kaduce, singing the
role of Thais, that grabbed the audiences’
attention right from the start and held on to the
last emotional-laden moment with its tragic and
inspiring ending.
Massenet’s score here, especially in the second
act where the violin Interlude or “meditation” is
a recurring theme, simply captivated the audience.
This is some of the most beautiful music ever
written, and when supplemented vocally in duet by
the lovely, expressive voice of Ms. Kaduce and the
gentle, even baritone of Mr. Westman, leading up
to and including the final scene, it simply takes
one’s breath away and leaves the audience in a
state of sensory and romantic bliss – and I use
the term purposefully.'
-
Paul Joseph Walkowski,
http://www.operaonline.us,
April 28, 2006
‘Westman
aptly channeled the conflicts that tore at
Athanaël. He began the opera certain in his holy
mission, but as Thais' charms took hold of him,
his resolve wavered. Westman's voice was
particularly strong towards the end when he
confesses his love for Thais to Palemon and
finally to her.'
-
Anna Brook, The Harvard Record,
April 27, 2006
‘James
Westman’s magnificent baritone effectively
conveyed the contradictory impulses and actions of
Alfredo’s father Gorgio Germont.”
-
Mark Kroll, WBUR (Boston), Apr. 5, 2006
‘Baritone James Westman was stern patriarch bound
by the conventions of respectability.
Ostentatiously, he consulted his watch as he
confronted Violetta—how long would it take him to
reel her in? Westman’s portrayal of Germont’s slow
thaw was moving, and he sang the music with
sensitivity and imagination.”
-
Richard Dyer, The Boston Globe,
Apr. 4, 2006
‘Canadian Baritone James Westman made an
impressive BLO debut, defining Gorgio Germont with
solid dignity and a big, rich-grained baritone,
softening his voice from hard and chilly as
Alfredo’s father began to sympathize with
Violietta.”
-
Peter M. Knapp, The Patriot Ledger
(Boston), Apr. 03, 2006
2005
‘James Westman offered a well-wrought gamekeeper,
his monologue in the final scene almost unbearably
moving as he contemplated the relentless cycle of
nature and pondered the meaning of life’
-J.H.
Stape, Vancouver Sun, Jan 2005
‘Westman
was dark and dramatic in the places that counted.
The Bass aria `The trumpet shall sound’ was
clearly the highlight of the evening.”
-
Richard Todd, Ottawa Citizen, Dec.
16, 2005
‘James
Westman’s Enrico acts as impressively as he sings,
stealing the show.”
-
Andrew Clark, London Financial Times,
Nov. 1, 2005
‘Westman displayed great variety in style, from
the comic Largo al Factotum, complete with
dropping his pants to display a Canadian flag, to
the angry Lord of Lammermoor Castle, and joined
in harmony with a Mozart trio and Zitti, Zitti
from the Barber.
Westman’s intense Per me Giunto from Don Carlo
again demonstrated his wide variety of style.”
-
Harry Currie, The Record
(Kitchener), Nov., 2005
‘Westman (Enrico) sang so lustily and excitingly
Maria di Rohan.'
-
Hugh Canning, The Sunday Times
(London, England), Oct. 30, 2005
‘She
has a powerful, penetrating voice that soared and
dived. The voice of Canadian Baritone James
Westman is even bigger. This served him well in
the fiery role of the jealous, unloved husband.”
-
Micheal Dungan, Irish Examiner, Oct.
28, 2005
‘...above all, [it was] the wonderful Canadian
baritone James Westman as the long-suffering Enrico who triumphed in this vocally terrific
first night.”
-
Roderic Dunnett, The Independent (London
, England), Oct. 25, 2005
‘Enrico, Duke of Chevreuse is sung with incisive
command and presence by Canadian baritone James
Westman.”
-
The Irish Times, Oct. 22, 2005
‘The
crossed fortunes of Enrico and Riccardo are
superbly sung by powerful Canadian baritone James
Westman and the ardent Armenian tenor Yeghishe
Manucharyan.”
-
Pat O’Kelly, Irish Independent, Oct.
22, 2005
‘Canadian baritone James Westman held his own,
making a solid HGO debut as put-upon Master Ford.
Westman’s voice was warm and mellow, he acted with
apt dignity, and crawling around the floor in a
choking rage at the climax of Ford’s famous
monologue really drove home the cuckoldry-fearing
character’s pain.”
-
William Albright, Opera Canada,
Oct., 2005
‘Terfel
was in splendid company… Baritone James Westman
brought honeyed power to the role of Ford.”
-
Mike Greenberg, Houston Express News,
May 10, 2005
‘High
points ranged from the richly sung Ford of
Baritone James Westman.”
-
Charles Ward, Houston Chronicle,
Apr. 30, 2005
‘Canadian
baritone James Westman, who debuts here in the
lead role, has a powerful and deeply touching
voice, combined with an equally moving dramatic
talent. With great economy and skill, he captures
both the old man’s melancholy and his final
acceptance of death.”
-
Grania Litwin, Victory Times Colonist,
Feb. 12, 2005
‘James
Westman’s offered a well-wrought Gamekeeper, his
monologue in the final scene almost unbearably
moving as he contemplated the relentless cycles of
nature and pondered the meaning of life.”
-
J.H. Stape, Review Vancouver,
Feb. 12, 2005
2004
‘...James
Westman, on the other hand, was both touching
and complex as Sharpless, the American consul.'
- Octovio Roca,
Miami New Times, Nov. 18,
2004
‘Sharpless,
the moral centre of the opera, sung and acted
with meloncholic gravity by James Westman,
anchors the opera.'
- Enrique Fernandez, The
Miami Herald,
Nov. 17, 2004
‘...Sharpless,
played by James Westman with a defined and
beautiful baritone voice that is easily
identifiable.'
- Ariel Remos,
Dario Las Americas, Nov. 16,
2004
‘Lo mismo
puede decrise de Sharpless, que interpreta James
Westman con definido y'bello timbre baritonal
facilmente identificasble.'
- Dario Las Americas, Nov. 16, 2004
‘Baritone
James Westman's performance was if anything most
impressive both vocally and dramatically.'
- Mark Kanny,
Pittsburgh Tribune-Review, Oct. 11, 2004
‘James
Westman holds the most experience of the leads
for this opera, and his resolute baritone voice
did Germont's father justice. His aria ending
the first scene of Act II displayed a concinnity
of notes, text and meaning. Holier-than-thou, it
is the sins of the father, not the courtesan, that
set this tragedy on its downward path, and Westman
embodied that.'
- Andrew Druckenbrod,
Pittsburgh Post-Gazette, Oct. 11, 2004
‘...other major
assets of this production are James Westman, a
polished and natural baritone who makes the hero's
father into a particularly sensitive and heartfelt
well meaner...'
-
Welton Jones,
Arts Critic,
http://sandiego.com, May 19, 2004
‘...the evenings
loudest ovations went to Canadian baritone James
Westman, making his San Diego debut as Germont.
Here is a strapping youth, so good as Papa Germont
he convices one it hurts to walk and to kneel.
The vocal quality, the secure, ringing high voice
and his even, sturdy range and solid technique
are his great assets.'
-
La Jolla Stage Page,
May 13, 2004
‘...James
Westman excelled as Alfredo's romance-busting
father, Germont. His emotionally-charged scene
with Violetta was a high point of the production.'
-
Opera Review,
May 10, 2004
‘...Canadian
baritone James Westman makes an impressive company
debut as Garmont, the disapproving father who
tries to break up the relationship between his
lovesick son , Alfredo, and Violetta. Westman
is 31, but he sings with maturity and power, and
his second-act duet with Harteros is one of the
highlights of the show.'
- Pam Kragen,
http://nctimes.com
2003
‘…A well-deserved
mention must go to James Westman, in the role
of the U.S. Consul Sharpless, who not only brings
to life every note that escapes him, but adds
freshness with his commanding stage presence.”
- David Eliakis,
http://torontostage.com, Mar.
31, 2003
‘...Operatic instruction has come of age in Canada,
and the world is hearing the results... an ever
increasing roster of made-in-Canada stars. In
the new pack with (Isabel) Bayrakdarian are baritones
Brett Polegato and James Westman of Toronto and
Stratford and tenor Michael Colvin of Toronto.'
- Carl Morey,
TIME Magazine
2002
'A well-deserved mention must go
to James Westman, in the role of the U.S.
Consul Sharpless, who not only brings to life
every note that escapes him, but adds freshness
with his commanding stage presence.'
-David Eliakis,
Madama Butterfly, Canadian Opera Company, Toronto
Stage
‘Another
emerging Canadian star, bartone James Westman,
makes an appearance in the thrilling duet from
Don Carlo' [on a CBC Records CD with tenor Richard
Margison.'
- Larry Beckwith,
Wholenote, Apr. 1- May
7, 2002
‘The burnished
voices of James Westman (Enrico) and Rolando Villazon
(Edgardo) had the audience believing we were in
an Italian opera house of old. Westman held a
noble timbre through his portrayal of the cruel
and egotistical brother who forces his sister
Lucia to marry against her will.'
- Andrew
Druckenbrod, Post-Gazette, Apr. 22, 2002
‘Of
the other Bohemians, James Westman as Marcello
was easily the strongest, his voice rich and
full, his dramatic portrayal effective and
convincing.'
- Kenneth
DeLong, Calgary Herald, Mar. 11, 2002
‘…the concert
featured some excellent singing, led by Krisztina
Szabó and James Westman, two young artists at
the beginning of major international careers…
Never one to be outdone, baritone James Westman,
the other 'star' of the evening, countered with
a vivid 'Hai giá vinta la causa' from Le Nozze di
Figaro and a brilliant 'Or dove fuggo io mai…
Ah, per sempre… Bel sogno beato' from I Puritani.
With little sleep and all the excitement from
having rushed directly to the concert hall from
the delivery room in Stratford, Ontario where
his wife Dini had just given birth three hours
earlier, Westman met the challenges splendidly,
offering up his warm, ingratiating baritone with
its generous supply of terrific high notes. In
addition to a reprise of the Septet, Szabó and
Westman offered as encore the Rosina-Barber duet
from Il Barbiere di Siviglia. Both singers were
in jovial form, playing off each other splendidly,
but with Westman's irrepressible stage presence
and hilarious sense of comedy, it gives every
prima donna who dares to sing duets with him a
run for her money.'
- Joseph
So, La Scena Musicale, January 30, 2002
‘Frontrunners
on stage this time were mezzo Krisztina Szabó
and baritone James Westman, both in glorious voice
and getting a major assist from an energized COC
Orchestra under Richard Bradshaw… Westman, whom
Bradshaw said had become a new father just three
hours before his appearance, duly glowed, illuminating
the substance of Almaviva's boastful aria 'Vedro
mentr'io sospiro' from Mozart's Le Nozze di Figaro,
with rich tones precisely placed and great panache.
Both singers tackled melodious creations by Bellini,
Westman bringing a luminous, heroic cast to Riccardo's
lovelorn laments from Act One of I Puritani…
Westman solidified his striking achievement with
'Cruda,
fenesta smania' from the same opera.'
- Geoff
Chapman, The Toronto Star, January 23, 2002
‘Even in
the crowded field of excellent young baritones,
James Westman stands out as someone special. First
of all, his voice has the makings of that rarest
of rare breeds - a Verdi baritone. The sound is
rich and smooth, the timbre warm and ingratiating.
Tall and imposing, he moves well on stage and
has all the right dramatic instincts. And to top
it off, the voice is sufficiently large to be
heard in the oversized opera houses of today.
At thirty - a relatively young age for a baritone,
the voice is sure to mature further and gain even
more volume, bite and power…[he] sang with his
customary generous tone and warm stage presence.
To these ears, the highlight of the first half
was the Wolf songs. Now in full flight, Fusreise
was imbued with a delightful sense of mischief,
and Auf ein altes Bild showed off his lovely,
focused tone. Both Verborgenheit and Er ist's
benefited from Westman's heartfelt sincerity and
vivid communicativeness. On a previous Glenn Gould
recital, Westman offered the more familiar Butterworth
cycle, A Shropshire Lad, to great acclaim. This
time around, Westman showed that the Bredon Hill
set is every bit as touching in the right hands.
As a song, Bredon Hill is quite a tour de force,
and Westman's voice rang out thrillingly, capped
with a strong, brilliant high note at the phrase,
'I hear you' at the end. Also memorable was the
quieter moments in Oh fair enough are sky and
plain, with the opening lines sung in an exquisite
half voice. But the genuine surprise of the evening
was the Three Zarzuelas. These are really not
songs but operatic arias, requiring robust tone
and a full spectrum of emotion and drama, which
Westman served up generously...a Venezuelan friend
who was in the audience told me afterwards that Westman's Spanish was well nigh perfect! The audience
responded to the end of the formal program with
sustained and vociferous applause. His 'signature
piece', Di Provenza il mar from Verdi's La Traviata
came next, with Westman pulling out all the
stops, offering plenty of drama and resplendent
high notes. His diminuendo and crescendo that
ended the aria was amazing.'
- Joseph
So, La Scena Musicale, Nov. 15, 2001
‘Westman's
rich voice is manly and sensitive at the same
time. He is also very musical, and fits text to
notes with great understanding. His distinctive
vibrato gives warmth to his upper register, and
the resonance of his lower register is
thrilling. Together, the sound is ravishing, and
he can hold a note to beyond the breaking point.
Westman also takes chances in emotional
delivery, and can create character with aplomb.
He is at his best when his golden, powerful
tones are allowed to pour forth freely, although
he can also reign in on the quiet refrains with
astonishing beauty…Westman has the potential to
become one of the great baritones of his
generation.'
- Paula
Citron, CLASSICAL 96.3 FM, Nov. 13, 2001
‘Canadian
baritone James Westman was a step up in terms
of professionalism. His Falstaff aria 'E sogno,
o realtà' was vocally robust, intelligently
interpreted, and brilliantly acted. Westman
could have walked onto the Metropolitan Opera
stage and done justice to the part.'
- Philip
Anson, La Scena Musicale, Nov. 7, 2001
‘Newly
slimmed down and looking terrific, James Westman
made a dashing Belcore… He also showed… a flair
for comedy, gamely riding a bicycle onstage -
twice!'
- Joseph
So, La Scena Musicale, Nov., 2001
‘For all
his comparative youth, James Westman exhibited
a more idiomatic sense of how to sing and act
his role, that of the blustering Sergeant Belcore…with
his voice still developing, he continues to rank
among Canada's most promising baritones.'
- William
Littler, The Toronto Star, Oct. 16, 2001
‘The Canadian
Opera Company saved its best for last, in the
final installment of a series of concerts at the
George Weston Recital Hall on Friday. It was virtually
sold-out, and for good reason. It featured two
of the genuine 'new stars' on the operatic scene:
the dazzling soprano Isabel Bayrakdarian and the
equally talented baritone James Westman… The minute
they walked out onstage, it was clear that we
were in for a special evening. Westman followed
with Ya vas lyublyu from Queen of Spades. Toronto
audiences don't get to hear Westman much these
days, so it was great to have him back. Despite
feeling a bit under the weather, the voice was
in wonderful shape, with a particularly impressive
top. Newly slimmed down - 'I just changed my diet
and exercised a bit' - Westman never looked better
on stage. The first half ended with Ford's aria
from Falstaff, sung with great drama and finesse
by Westman. Not to be outdone, Westman countered
with Pieta, respetto, amore from Macbeth, sung
with supreme legato and once again, terrific high
notes. The formal conclusion to the concert ended
with a duet, Dunque io son, from Il barbiere di
Siviglia. Here both soloists camped it up to the
delight of the audience, who was not about to
let them go without an encore. The evening drew
to a glorious close with the Susana-Figaro duet
from Le Nozze di Figaro. If there ever was a more
enchanting pair of young lovers, I have not seen
it. Let's hope that as these two 'new stars'
continue to reach for greater heights, they will
not forget their Toronto - and Canadian -
roots.'
- Joseph
So, La Scena Musicale, Apr. 29, 2001
‘Westman
performs outstandingly in FALSTAFF... The other
outstanding performance was by James Westman as
Ford. The Canadian's virtues complemented
Falstaff's - Westman has a big personality to
match his voice, and he left an individual
imprint on the role.'
- Richard
Dyer, The Boston Globe, Aug. 2, 2000
‘Most
impressive of all was James Westman, whose
development into an important Verdi baritone
seems to be moving by leaps and bounds; the
young singer's voice is beautifully shaped and
keenly expressive. With such rich talent as a
cornerstone, it's no wonder Richard Bradshaw so
wants to build the rest of the house around it.'
- Urjo
Kareda, The Globe and Mail, Mar. 20, 2000
'This is
the ninth Cardiff Singer of the World since that
first memorable event in 1983, won by Karita Mattila.
She, Bryn Terfel and Dmitri Hvorostovsky have
been its most famous winners so far, and this
year there were two who might make it to similar
super-stardom: the winner, the German-Greek soprano
Anja Harteros and the Canadian baritone James
Westman, who qualified in his 'heat' but lost in
the final round on Saturday. James Westman is
virtually guaranteed an outstanding career: a
beautiful voice, assured technique and great
musical intelligence. His rendering of Billy's
monologue from Billy Budd was not only
impeccable, but very moving.'
- Paula
Couling, Opera Now, Sep./Oct., 1999
‘But the
event equally belonged to James Westman, who gave
convincing support to my prediction last spring
that at 27, he may well be 'the' Verdi baritone
of the future... Westman gave wings to the aria ["Eritu'']
in Sharon Meadow, exhibiting a solid, wonderfully
projected voice, phrasing with sincerity and
passion.'
- Janos
Gereben, The Marin Independent, Sep. 13,
1999
‘(Westman)
... had the perfect balance of chiaroscuro;
enough low fundamental tone to create warmth and
enough brightness to project text...'
- David
Lasker, The Globe and Mail, Apr., 1999
‘...
demonstrating much vocal appeal, perfect pitch
and sophisticated articulation...'
- Geoff
Chapman, The Toronto Star,
Apr., 1999
‘Completing
the principal trio was baritone James Westman,
commanding and forthright as Alfredo's father,
Giorgio Germont. Westman's weighty, burnished
tone and fluent phrasing were striking throughout,
never more so than in the Act 2 showdown with
Violetta and the subsequent 'Di Provenza il mar,
il suol'.'
- Joshua
Kosman, San Francisco Chronicle, Sep., 1998
‘Yet it
was young Westman who came off best. Singing in
a controlled, fruity baritone, he demonstrated
an emotional range that helped make credible the
difficult role of a father who believes his child
is possessed by demons. Westman's pleasing
articulation bodes well for the future.'
- Geoff
Chapman, The Toronto Star, Mar. 23, 1998
‘Westman
is one of Canada's most promising Opera singers,
with a lush, soaring, flexible voice that equips
him to be a Verdi and Puccini baritone and
therefore heir to some of the most coveted roles
in Opera.'
- Paula
Citron, The Globe and Mail, 1998
‘The
audience loved everything Westman did and let it
show with a standing ovation.'
- Christopher
Hume, The Toronto Star, Dec. 10, 1997
‘But
when Westman sank his soul into four songs by
Rachmaninoff, the difference was overwhelming.
With the emotional masochism and cherished
bleakness of this Russian material, the singer
set the audience on fire with the intensity of
his line, the passion of his expression. This
was thrilling 10 minutes, shared with pianist
Stephen Ralls...'
- Urjo
Kareda, The Globe and Mail, Oct., 1997
‘This
young baritone displayed a warm legato and
excellent diction. This recent winner of the
prestigious George London Award clearly stands
at the beginning of a fine career.'
- Paul
Baker, Opera Now, 1997
