Stravinksy: The Rake’s Progress / Barbara Hannigan

With a natural command of the stage, James Way, a tenor with a delicate voice, was a consistent scene stealer. As the auctioneer Sellem in “The Rake’s Progress,” his mania was skillfully vaudevillian; similarly eccentric were his Noël Coward-esque segments of “Façade.” When he returned, in the final concert, in Stravinsky’s “Pulcinella,” his voice was lush and nimble, balancing the sound worlds of 18th-century Pergolesi and 20th-century neoclassicism.
— Joshua Barone, The New York Times, June 2019
Of the cast we heard I would say she has picked three knockout performers... James Way as Sellem gave the auction scene more snap, crackle and pop than anyone else achieved.
— Richard Morrison, The Times, June 2019
...the humour and wit of the tenor James Way in Stravinsky’s delicious Cubist-Italian-Baroque ballet Pulcinella was especially winning.
— Ivan Hewett, The Telegraph, June 2019

Haydn: The Creation - King's Place / Orchestra of the Age of Enlightenment

It was the tenor James Way who took the breath away, however, with his immaculate tonal control and the astonishing maturity of his musicianship.
— Barry Millington, Evening Standard, January 2018
Tenor James Way sang with a remarkably strong virile tone, but used a nice flexibility too. His opening recitative was vivid and this continued into ‘Now vanish before the holy beams’, and on the Fourth Day Way’s ‘Let there be lights’ recitative was similarly word based, the colour and details of his performance reflected in the atmospheric orchestral contributions. His final aria, ‘In native worth’ was full of virile phrasing and relish for the words
— Planet Hugill, January 2018


Handel: Semele (Jupiter) - Royal Festival Hall / Orchestra of the Age of Enlightenment

James Way sang most musically as Jupiter...already his tenor has a darkness of colour in the lower register that suggests a Samson or a Jeptha might eventually be in his future. His ‘Where’er you walk’, sung in long legato lines and with immaculate diction, was a genuine highlight...hardcore Handelians couldn’t really complain given the vocal riches showered on us by Alder and Way
— Hugh Canning, Opera Magazine, December 2017
James Way, still an OAE Rising Star, is young as Jupiters go, but rattling off virtuoso semiquavers, he displayed an astonishingly assured technique. He is also blessed with a full-bodied, attractive tone, deployed to superbly expressive effect in Where’er You Walk. His distress at losing Semele was no less affecting
— Barry Millington, Evening Standard, 19 October 2017
James Way’s Jupiter exuded melodious warmth
— Michael Church, The Independent, 19 October 2017
James Way a vocally chiselled Jupiter
— Neil Fisher, The Times, 20 October 2017
James Way, an OAE Rising Star, was also excellent as Jupiter, revealing an exceptionally smooth and well-shaped tenor that sounded light and yet also projected well.
— Sam Smith, Music OMH, 22 October 2017

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)