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Little Bat MacLean, Susannah, Manitoba Opera
“Winnipeg tenor James McLennan plays Little Bat McLean and creates a compellingly awkward sidekick and confidant to Susannah, coerced to lie to the elders that she asked him to "love her up." His forceful delivery, including pure vocals and crisp diction during his syllabic duet sung with Susannah, Little Bat, what you doin’ here?, trembled with fear.” - Winnipeg Free Press, Holly Harris, 2019 “James McLennan’s portrayal of Little Bat McLean, Susannah’s loyal friend who ultimately betrays her kindness towards him, was full of nervous energy and sung impeccably.” - Schmopera, Neil Weisensel, 2019 The Warden, Kiss of the Spider Woman, Dry Cold Productions “coldy sadistic” - Joff Schmidt, CBC.ca, 2019 Gastone, La Traviata, Edmonton Opera “McLennan made the most of (his) stage time… showing off (his) showmanship and acting abilities.” - Schmopera, Oliver Munar, 2017 Luther Billis, South Pacific, Calgary Opera “Jamie McLennan completed the singing cast with a humour-filled portrayal as an endlessly conniving Luther Billis, the show’s dramatic catalyst.” - Calgary Herald, Kenneth Delong, 2017 Bardolfo, Falstaff, Manitoba Opera “Tous les seconds rôles sont joués et chantés avec brio. Le ténor canadien James McLennan (Bardolfo)…les serviteurs bouffons de Falstaff, sont hilarants…ils chantent bien et sont de très bons acteurs.” - La Liberté, Pierre Meunier, 2016 Caïus, Falstaff, Hamilton Opera "Providing all the slapstick and hilarity needed are Jean-Paul Decosse as Pistola, Jeremy Blossey’s Bardolfo and James McLennan’s Dr. Caius." - musicaltoronto.org, 2013 "Tenor James McLennan was a keen and clearly heard Dottore Cajus." - Hamilton Spectator, 2013 Creation (Haydn), Winnipeg Symphony "Winnipeg native McLennan summoned up dramatic intensity when needed and with his terrific diction and lyrical delivery was another star of the night." - Winnipeg Free Press, 2009 When We Were Young (Recital), Talisker Players "There were several fantastic instrumental performances as well as carefully nuanced and freely expressive singing by young Torontonians Wang and McLennan, who made the often difficult music as light as a breeze at Pooh Corner." - Toronto Star, 2009 The Birdseller (Zeller), Toronto Operetta Theatre “Tenor James McLennan is Adam. As with his Candide last year, he excels at playing the innocent. He shows that Adam’s stubbornness springs not from any sort of malice but because he feels all at sea when confronted with the aristocracy. Zeller gives him two of the score’s biggest hits—the lovely signature tune “Schenkt man sich Rosen im Tirol” and “Wie mein Ahndl zwanzig Jahr’”, with its nostalgic refrain “Noh amol, noh amol, noh amol”, dialect for “Once again” in the TOT’s English version. McLennan’s full, clear voice brings out the meaning and sentiment in both songs with great finesse." - Stage Door, 2008 St. John Passion (Bach), Calgary Festival Chorus “Tenor James McLennan was a youthful Evangelist, a part suitable only for tenors of a special type. McLennan is clearly such a tenor…he managed the challenges of the role admirably and was also able to sing the tenor arias as well…he will undoubtedly be in considerable demand as a Bach singer.” - Calgary Herald, 2007 “As the Evangelist, James McLennan showed more than potential. Dispassionate when required, expressive when the music called for it.” - Le Devoir de Montréal, 2002 “Sober dramatization and perfect style.” - La Presse de Montréal, 2002 Candide (Bernstein), Toronto Operetta Theatre “Tenor James McLennan's boyish good looks and fresh-faced innocence made him an ideal Candide. The richness of his voice and the emotional intensity he gave "It Must Be So" and "Nothing More Than This" lent the character and the opera the depth they require so crucially.” - Opera News, 2007 “At the top of the positive side of the ledger are two smashing performances from James McLennan as Candide and Jean Stilwell as The Old Lady…McLennan offers us an 18th-century Charlie Brown, with a sweetly smiling face no matter how grim the world gets. He also radiates considerable charm and sings with a strong yet pure tenor that does full justice to Bernstein's arias.” - Toronto Star, 2007 “Tenor James McLennan in the title role displays a pleasing voice and is definitely someone to keep an eye on as his career develops.” - Classical 96.3, 2007 Der Ziegeunerprimas (Kàlmàn), Toronto Operetta Theatre “The standout in terms of diction, voice, pitch and character intensity was tenor McLennan, who becomes more impressive with each outing. He possesses a sweet lyric voice of great promise, and he finds the edge when the drama is needed." - Opera Canada, March/April 2007 “James McLennan, recently the TOT's excellent Candide, has another success as Laczi..his rounded tone and passionate delivery create a vivid portrait of young man who tries to realize his worth despite his father's censure.” - Stage Door, February 2007 Il Barbiere di Siviglia (Rossini), Saskatoon Opera “Mclennan was solid as Almaviva…he was hilarious as the drunken soldier and as the “music teacher.” Almaviva is really an amalgam of many roles, and McLennan pulled off the changing personalities beautifully.” - Saskatoon Star Phoenix, 2004 La Fille du Régiment (Donizetti), Montreal Opera Atelier Lyrique “The two leads, Tracy Smith Bessette and James McLennan, performed amazing vocal feats.” - La Tribune Sherbrooke, 2001 Cosí fan tutte (Mozart), Montreal Opera Atelier Lyrique “The vocal timbre of James McLennan… proved to be very moving when he sang with admirable sensitivity what is probably the best known aria of this opera : ‘Un aura amorosa’.” - L’Acadie Nouvelle, 2001 |