30 March, 2019Haydn ‘The Creation’ - MusicOMH

“[James Oldfield] brought a solid command to the roles of Raphael and Adam, deploying rich tones and a nice top edge to Rolling in foaming billows, and a warmth to his later duets with Eve; his neighing and bleating in Strait opening complemented the orchestra’s own animal impressions with well-judged wit."

17 November, 2017Handel 'Joshua' - MusicOMH

"The Whitehall Choir clearly showed how well prepared it was, while the soloists were well chosen. Greg Tassell’s strong and assertive tenor as Joshua contrasted well with James Oldfield’s robust yet warm bass-baritone in the role of Caleb. Joseph Bolger revealed a highly aesthetically pleasing countertenor as Othniel while, as Achsah, Miriam Allan displayed an extremely sweet, lithe and beautiful soprano."

13 November, 2016Rossini 'Petite Messe Solennelle' - Nottingham Post

"The soloists were at one with Richard Laing's vision of the work. Soprano April Fredrick, contralto Rhonda Browne, tenor Charne Rochford and baritone James Oldfield all had strong, stylish approaches to Rossini's highly operatic solo arias whilst blending beautifully in ensemble. Here was a solo quartet who reached out to the audience with their eyes as well as their voices."

26 January, 2016Handel 'Samson' - Golden Plec

"The other sympathetic figure – Samson’s father (Manoah) – is sung with sensitive poise by baritone James Oldfield."

25 January, 2016Handel 'Samson' - Bachtrack

"James Oldfield’s characterisation of Manoah was not as dramatic as Samson’s, his son, but his deep voice did convey a sincere pathos in “But who’d be now a father in my stead?" Oldfield’s velvety tone in the lower register contrasted with the tauter sound of Jonathan Best’s Harapha."

29 April, 2015Mozart 'Coronation Mass' - Derby Telegraph

"What a pleasure it was to hear the four soloists – Sarah Dacey, Catherine Backhouse, Greg Tassell and James Oldfield – working together as a cohesive ensemble and not just four individuals."

22 June, 2014Mendelssohn 'Elijah' - Bournemouth Echo

"The prime role of Elijah was given with commanding humanity by bass-baritone James Oldfield, movingly accompanied in two pieces on cello (Will Routledge) and oboe (Nick Williams)."

23 April, 2014Handel 'Israel in Egypt' - Planet Hugill

"Edward Grint and James Oldfield were nicely vibrant in The Lord is a man of war."

03 December, 2012Mendelssohn 'Elijah' - Bexhill Observer

"The elegant, bearded, James Oldfield (Elijah) was outstanding and all the other soloists excelled in their roles."

01 September, 2011Tchaikovsky 'Eugene Onegin' - Opera

"The New Zealand tenor Shaun Dixon was in his element as Lensky, and James Oldfield was never under-resourced as Gremin."

08 June, 2011Puccini 'Manon Lescaut' - Music & Vision

"James Oldfield was nicely convincing in his dual roles of the innkeeper and a sergeant."

01 March, 2011Taylor 'Ludd and Isis' - Opera Now

"James Oldfield excelled as the human voice of the puppet Ludd - not an easy thing to pull off."

24 December, 2010Handel 'Messiah' - Huddersfield Examiner

"The 2010 account of Handel’s oratorio was one of the most dramatic and musically interesting one could hope for.

Illness forced Henry Waddington to pull out and he was replaced by the young bass singer James Oldfield, currently rehearsing Carmen with Opera North. He performed with verve and his slightly veiled quality of voice was especially suited to the recitative "For behold, darkness shall cover the earth".

There were cheers and a standing ovation at the conclusion of the performance."

16 July, 2010Mozart 'Le nozze di Figaro' - Opera

"James Oldfield's congenial Figaro"

13 June, 2010Mozart 'Le nozze di Figaro' - The Mail on Sunday

"It was a treat to hear James Oldfield, who only left the Royal College of Music last year, getting his chance as Figaro."

06 June, 2010Mozart 'Le nozze di Figaro' - The Observer on Sunday

"James Oldfield's quizzical and unshowy Figaro has promise."

04 June, 2010Mozart 'Le nozze di Figaro' - The Times

"This young professional grew more mobile with each act, and you can’t deny the promise of that robust bass-baritone voice."

03 June, 2010Mozart 'Le nozze di Figaro' - The Stage

"James Oldfield is a confident Figaro and Grant Doyle is a rich-toned Count, while Jean Rigby and Conal Coad bring a whiff of (classy) pantomime to the roles of Marcellina and Dr Bartolo."

03 June, 2010Mozart 'Le nozze di Figaro' - Oxford Daily Info

"James Oldfield was a magisterial Figaro, gleefully pitting his wits against Grant Doyle’s handsome and unmistakably virile Count Almaviva."

21 April, 2010Purcell 'The Fairy Queen' - Opera Britannia

"Perhaps most impressive of all was bass James Oldfield, who seemed utterly relaxed and comfortable in his various roles from the outset and throughout. The mischievous glint in his eye in the Act III kissing duet was perfectly gauged, as was his merry, drunken opening aria. But his emotive expression was not confined only to humour, for he was also capable of commanding silence to tremendous effect in the final number from Act II - one of my favourite moments in the whole work: “Hush, no more, be silent all". Similarly, when assuming the role of Winter in the conclusion of Act IV (an aria whose opening evokes the ground bass of Dido’s lament), the intensity of his subdued, deep bass really caused me to feel “benumbed with hard frosts", despite the Wigmore Hall’s perfectly temperate auditorium. Oldfield possessed a good variety of vocal colours, and although he didn’t attempt the bottom E in his final phrase as the Poet singing “I’m drunk, as I live, boys, drunk" in Act I, the voice showed no sign of strain at either end of the expansive range Purcell wrote for the bass here (he was writing for the supposedly remarkable John Gostling, after all)."

15 April, 2010Purcell 'The Fairy Queen' - www.muscomh.com

"Among the male vocalists, James Oldfield stood out for his thrillingly resonant bass-baritone."

01 December, 2009Purcell 'The Fairy Queen' - Haaretz Newspaper (Israel)

"This is one of the most important and enjoyable baroque concerts of the season... particularly exhilirating was the outstanding voice of the guest bass, James Oldfield – a rare dark colour which really should be heard here again."

(translation from Hebrew by Noa Stav)

04 June, 2009Haydn 'Nelson Mass' - Sheffield Telegraph

"The four young soloists, soprano Clare Ormshaw, mezzo-soprano Carolina Krogius, tenor Robert Anthony Gardiner, bass James Oldfield, were extremely impressive, the latter – a true bass, and soprano, in particular, revealing enormous potential."

30 May, 2009Rutter 'Mass of the Children' - Lymington Times

"James Oldfield sang the solo introduction [to the Dona Nobis Pacem] with immaculate pitch and meaning, the tone rich yet not overpowering."

07 April, 2009Handel 'Alessandro' - www.operatoday.com

"At the bottom of the vocal scale was the warm, dark, yet agile bass baritone of James Oldfield, who brought both a calm dignity and emotional depth to his role as the loyal but morally-troubled captain, Clito."

04 April, 2009Handel 'Alessandro' - www.musicweb-international.com

"The singers in the supporting roles: Ben Williamson, James Oldfield, John McMunn and Rosie Aldridge shine in the one or two arias each is allotted."

"Bass is in short supply in this opera, but James Oldfield redresses the balance admirably as Clito, the army captain whose brief rebellion forms basis of the opera's curiously inconsequential subplot."

01 April, 2009Handel 'Alessandro' - The Times

"the characterful bass James Oldfield".

01 April, 2009Handel 'Alessandro' - www.musicomh.com

"the engagingly bluff Clito of James Oldfield".

05 March, 2009Britten 'War Requiem' - www.musicweb-international.com

"Tonight we heard two fabulous young singers – tenor John McMunn and baritone James Oldfield – who breathed new life into this difficult and sometimes harrowing music."

"Oldfield was... impressive, he has more argumentative music, and he stamped his own personality on every note he sang. When they came together at the end in the passionate lullaby Let us sleep now, it was almost too much to bear as we realised the full horror of their situation."

23 February, 2009Haydn 'Nelson Mass' - Henley Standard

"A bass-baritone aria resounded authoritatively with James Oldfield’s rich timbre".

"Then followed some outstanding bass/tenor duets and solo quartets in the Gloria, while the Qui Tollis heralded another convincing bass-baritone moment".

20 December, 2008Christmas Carols concert - Leicester Mercury

"James Oldfield’s warm bass-baritone was shown off as soloist in the well-known Three Kings."

14 November, 2008Purcell concert - www.musicomh.com

"Bass-baritone James Oldfield added authoritative support."

10 November, 2008Puccini/Rossini concert - Portsmouth Herald

"The choir were joined by tenor Alistair Digges and bass James Oldfield. Both sang their solos with style... James Oldfield was commanding in all he did here, and a particular highlight was his 'Eja mater'."

01 November, 2008The Cunning Little Vixen - Opera Now

"James Oldfield, a terrific baritone full of depth and humanity."

01 September, 2008The Cunning Little Vixen - Opera

"James Oldfield sang the role [of Forester] in a ripe, rounded baritone, as richly shaded as the forest in autumn, and brought a wealth of feeling to his final soliloquy."

09 July, 2008The Cunning Little Vixen - The Spectator

"The humans were all sharply drawn studies, too, with the Forester of James Oldfield so wise, testy, relaxed and vigilant that one forgot that this was theatre."

06 July, 2008The Cunning Little Vixen - The Independent

"Outstanding performances from Sadhbh Dennedy (a slender, jodphured, vivacious Sharp-Ears) and James Oldfield (Forester) were complemented by a lively ensemble of animals and insects."

02 July, 2008The Cunning Little Vixen - The Times

"James Oldfield... projected both words and character vividly".

02 July, 2008The Cunning Little Vixen - www.musicweb-international.com

"James Oldfield already... has a flourishing concert career, and his assurance and stage presence are exceptional, reminding one of Thomas Allen. The voice is not far behind, being a rich, warm baritone used with taste and finesse – this was a remarkable Forester, commanding the stage with the kind of ease and fluency you expect to see in a much larger house".

01 January, 2008Monteverdi 'Vespers' CD - www.musicweb-international.com

"The soloists are... accomplished and highly musical in their phrasing."

01 December, 2007Monteverdi 'Vespers' CD - The Times

"The solo voices have a youthful plaintiveness."

29 November, 2007The Rake's Progress - The Times

"[an] adept bass"

26 November, 2007The Rake’s Progress – www.classicalsource.com

"James Oldfield is a tall and overbearing personality but with the cheeky sparkle in his eye – wonderful stuff."

25 June, 2007Le nozze di Figaro – www.classicalsource.com

"As Figaro, Oldfield could easily be mistaken for Bryn Terfel. In ‘Se vuol ballare’ and ‘Non più andrai’ Oldfield had a commanding tone."

02 March, 2006Le nozze di Figaro - www.musicomh.com

"James Oldfield, as Bartolo, produced what was perhaps the highlight of the evening with a mesmerising performance of La Vendetta in Act 1 that brought the house down."