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![James Ley](/https/www.harrisonparrott.com/sites/default/files/styles/portrait_small/public/images/2019-07/Ley%20-%20Headshot%202.jpg?h=ea20e542&itok=PI510BSK)
James Ley
Shirley Thomson
Zoe Band
Peppie Johnson
“His voice was projected with ease that allowed it to blossom into an array of beautiful overtones.”
(operawire.com)
American-born James Ley is a graduate of the Opera Studies programme at New York’s prestigious Juilliard School, and a finalist of the 2022 Operalia Competition. He has been praised for his “pure tone and innocent expressiveness” (OperaWire) as well as for his “lovely legato line and silvery tenor” (Seen and Heard International).
A former member of the Opernstudio of Bayerische Staatsoper, the 2024/25 season sees James Ley return to the Munich stage as Váňa Kudrjaš in Krzysztof Warlikowski’s new production of Káťa Kabanová conducted by Mirga Gražinytė-Tyla while also joining the ensemble at Semperoper Dresden where his commitments include Tamino in Die Zauberflöte under Giulio Cilona, Baron Lummer in Axel Ranisch’s new production of Intermezzo led by Patrick Hahn, Arturo in Lucia di Lammermoor under Roberto Rizzi Brignoli, and Jonathan in Claus Guth’s production of Saul under Leo Hussain. In concert, James Ley sing Ferrando in Così fan tutte under Marc Minkowski and Les Musiciens du Louvre at Théâtre des Champs-Elysées in Paris and joins Toronto Symphony Orchestra under Jean-Sébastien Vallée in Handel’s Messiah.
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James Ley’s opera highlights include debuts as Váňa Kudrjaš at Bergen National Opera conducted by Jiří Rožeň and as Vaudémont in David Bösch’s new production of Iolanta at Oper Bern led by Nicholas Carter. He appeared as Ferrando in Cosí fan tutte under Marc Minkowski at both Opéra National de Bordeaux and Gran Teatre del Liceu, and sang the Messenger in Aida under Zubin Mehta as part of Münchener Opernfestspiele.
An esteemed concert artist, James Ley recently performed Scriabin’s Symphony No.1 with Danish National Symphony Orchestra under Fabio Luisi and with Orquesta y Coro de la Communidad de Madrid under Marzena Diakun, Bruckner’s Te Deum with Atlanta Symphony under Nathalie Stutzmann, Britten’s Nocturne with Aarhus Symphony Orchestra under Christoph Koncz, Beethoven’s Symphony No.9 with Opéra de Limoges and Robert Tuohy, and Mendelssohn’s Elias with Symphonieorchester des Bayerischen Rundfunks under Howard Arman. Ley has sung Handel’s Messiah many times, most recently with Jacksonville Symphony Orchestra under Music Director Courtney Lewis, and he joined Bergen Philharmonic Orchestra and conductor Edward Gardner at Edinburgh International Festival as Second Nazarene in Salome, recorded by Chandos Records.
James Ley was the recipient of an Opera Foundation scholarship during his time at Bayerische Staatsoper Opernstudio, has appeared in Masterclass with Yannick Nézet-Séguin as well as in Carnegie Hall’s SongStudio, with guest teachers including Renée Fleming. He participated in the Festival d’Aix-en-Provence Académie, the Salzburg Young Artist Project and the Internationale Meistersinger Akademie in Neumarkt, run by Edith Wiens.
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“James Ley as Vaudémont provides goosebump moments.”
“The up-and-coming tenor James Ley as Vaudémont sings with brilliant melodic line.”
“The American tenor James Ley sings the difficult passages from Mozart’s La Clemenza di Tito with such strikingly impressive colours, so agile and above all so pleasant that the last prominent mention is reserved for him.”
“Ley was the perfect match for this role as he sang Ferrando with playfulness and a young heart. His voice drew in listeners based on its pure tone and innocent expressiveness.”
“Don Ottavio, James Ley, was more convincing as an ardent lover than an earnest suitor. Although he can spin out lovely legato lines with his silvery tenor, the voice was truly exciting when it bristled with energy and passion.”
“Ley was most memorable as he sang ‘Dalla sua pace.’ His voice was projected with ease that allowed it to blossom into an array of beautiful overtones.”