
Praised by The Arts Desk for his ‘flawless’, ‘stand-out’ performances on Opera, Concert and Theatre stages around the world, countertenor James Hall enjoys great success in baroque and contemporary repertoire, and appears with the world’s leading ensembles and opera companies. Current and future engagements include DARDANO in Handel’s Amadigi di Gaula Buxton Festival, JOACIM Susanna Opera North, IVAN VANE in the world premier of Elena Langer’s To Die For Nederlandse Reisopera, and roles in The Opera Circus with music by Handel Opera2day.
Recent projects have included HERCULES The Choice of Hercules London Handel Festival, CAKE/BERGHAHN Itch Opera Holland Park, Bach B Minor Mass (with Vladimir Jurowski) Bayerische Staatsoper München, JAN MATTHIJSZ/BISSCHOP The Apocalypse based on works by JS Bach Opera2day, LICHAS Hercules Händel-Festspiele Karlsruhe, STRUMPET GINGER in Purcell’s Masque of Might Opera North, and Ottone (title role) and ANDRONICO Tamerlano ETO. In concerts, James sang with The English Concert at Wigmore Hall and Carnegie Hall, Singapore Symphony Orchestra, Royal Northern Sinfonia, Dunedin Consort, Monteverdi Choir, Collegium Vocale Ghent, Scottish Chamber Orchestra, and RTÉ National Symphony Orchestra
Past engagemets include HAMOR Jeptha Bregenz, roles in Monteverdi’s Ulisse Maggio Musicale Fiorentino, OBERON A Midsummer Night’s Dream Deutsche Oper Berlin and Opéra National de Montpellier, THE BOY Written on Skin Venice Biennale, and a concert with Sir George Benjamin for the composer’s 60th birthday at the Royal Festival Hall. Other past engagements include GOFFREDO and MAGO CRISTIANO Rinaldo Glyndebourne Festival and Glyndebourne on Tour, GUILDENSTERN Hamlet Glyndebourne on Tour, a tour with countertenor Iestyn Davies Wigmore Hall and Palace of Versailles, NARCISO Agrippina Grange Festival, and FARINELLI alongside Oscar-winning actor Mark Rylance in Farinelli and the King Belasco Theater, Broadway. He created the roles of LEON in Osborn’s The Mother Mahogany Opera Group, NATHANIEL in Na’ama Zisser’s Black Sand Tete-a-Tete and Grimeborn Festivals, and JOHAN in the world premiere of David Bruce’s Nothing Glyndebourne. He sang ADALBERTO Ottone Festival de Beaune, ZEPHYRUS Apollo et Hyacinthus Classical Opera, and Giulio Cesare Early Opera Company.
James studied at the Royal College of Music.
Christopher Broom
Phone: +44 208 768 6604
Mobile: +44 7778794397
Email: chris@atholestill.co.uk
Representation: Worldwide
Amadigi di Gaula, Buxton International Festival, 2026
"But it’s James
Hall’s Dardano who really steals this show – his initial beer-swilling matey-ness with Amadigi slowly stripped away to uncover weapons-grade masculine toxicity served up in an irresistibly smooth tenor."
Northern Arts Review
"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."
Bachtrack
"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."
The Artsdesk
"James Hall's Osmida had smooth, well-regulated, graceful utterance."
Opera Magazine
"Hall displayed a clean, fresh tone in a song from Dioclesian, ‘Since from my dear Astrea’s sight’, rising confidently and easily to the melodic peaks."
Opera Today
"The countertenor James Hall navigated the ecstatic melismas and fractured syllables of Benjamin's Dream of the Song with a plush, sweet, ripe tone and precise diction."
The Times
"James Hall, one of our foremost falsetto exponents, assumed the title role with immense distinction. Thanks to a mellifluous voice and commanding stagecraft he was an Emperor to his fingertips"
Bachtrack
"James Hall made a fine, upstanding Ottone; it helped that he looked the part, and the 'pathetic' element came out as stoicism rather than him being simply a drip. Hall sang his faster passages with great verve which brought a more active feeling to the character and was highly sympathetic in the more melancholy elements"
Planethugill
"...Hall's performance, particularly in the long aria that closed Act One, drew us in. This was superb serious, dramatic singing."
Planethugill
"James Hall gave the rather hapless ruler credible integrity and stature…his agility in the fast passagework and the lovely tone and vocal shading in the plangent numbers filling out the character’s motivations"
Operatoday
"The alto voice of James Hall is
heavenly as he proclaims more conciliatory messages: 'Thou shalt bring them in.'"
Salzburger Nachrichten
"The laurels went to the supple, burgundy-toned Hall, whose generous alto nailed the show’s big hit, Yet Can I Hear That Dulcet Lay."
The Guardian