J.S Bach St John Passion (Evangelist) - Temple Church

What really lifted the performance was the contribution of the two young soloists as Evangelist and Christus. Tenor James Way is still studying at the Guildhall School of Music and Drama, but his performance as Evangelist gave no sense of still being in the process of study. It was a confident and finely dramatic account, full of subtlety and rich drama. Way has a bright toned lyric tenor with an interesting depth to the tone, and he showed a lovely freedom in the high-lying line. The Evangelist is a big sing, and Way’s pacing was impressive so the end had all the virtues of the beginning. His projection of the words was strong, and he brought out the nuances of individual moments. Clearly Way will develop as an artist, but his Evangelist is already very impressive and finely moving.
— Robert Hugill, Planet Hugill (April, 2017)

 

Music on the Brink of Destruction - Wigmore Hall

James Way’s poised, intense performance of Um Mitternacht (from Ullmann’s Geistliche Lieder), a song that points to the grave beauty of the final quartet of Der Kaiser von Atlantis.
— Anna Piccard, The Times (January, 2017)
...a lied by Viktor Ullman (1898-1943) persuasively presented by clarion tenor, James Way...
— Max Stern, The Jerusalem Post (January, 2017)

Britten Canticle I - Barbican Hall

James Way and Adam Sullivan are young tenors to watch: the former brought an artless vocal beauty to the mystic text of Francis Quarles in Canticle I
— Mark Valencia, Classical Source (Britten Canticle I - 2016)
Canticle I is for tenor and piano, and sets Francis Quarles’ My Beloved Mine. James Way was a strong tenor, capable of superb melismas, a trait so crucial to fine Britten singing
— Colin Clarke, Seen and Heard International (Britten Canticle I - 2016)

Holy Fool in Mussorgsky Boris Godunov Royal Festival Hall /

Philharmonia Orchestra

James Way’s Holy Fool wept and keened with the violas and oboes over the cries of the starving people
— Hilary Finch, The Times (Boris Godunov, Royal Festival Hall - 2015)
Effortlessly clear in diction and bright in tone was the other tenor James Way whose beautiful singing as the Holy Fool perfectly underlined the innocence that both Shuysky and Boris lacked
— David Truslove, Classical Source (Boris Godunov, Royal Festival Hall - 2015)

Fiume Vistola/Pastore in F. Caccini La Liberazione di Ruggiero 

 Brighton Early Music Festival

tenor James Way showed promise and style as a bewitched sailor
— Anna Picard, Opera Magazine (La liberazione di Ruggiero, Brighton Early Music festival - 2015)

Ballad Singer in Britten Owen Wingrave

 Aldeburgh Festival and Edinburgh International Festival

Tenor James Way’s delivery of the folk ballad was ravishing
— Michael Church, The Independent (Owen Wingrave, Aldeburgh Festival - 2014)
...the on-stage ballad, sensitively sung by former King’s College [London] choral scholar, James Way
— Nathan Waring, Bachtrack (Owen Wingrave, Aldeburgh Festival - 2014)
...and he [James Way] sang the ghost story both beautifully and compellingly
— Simon Thompson, Seen and Heard International (Owen Wingrave, Aldeburgh Festival - 2014)
The excellent James Way insinuates this story into Owen’s ear like Quint seducing Miles
— Mark Valencia, What's on Stage (Owen Wingrave, Aldeburgh Festival - 2014)
Tenor James Way had the latter [Lyrical Power] in plenty; ... his beautifully shaped melody complemented by the crystalline strains of off-stage choristers.
— Claire Seymour, Seen and Heard International (Owen Wingrave, Aldeburgh Festival - 2014)
...the solo sung so perfectly by James Way
— Vera Liber, British Theatre Guide (Owen Wingrave, Aldeburgh Festival - 2014)