James Westman



James Westman


Canadian Citizenship

“Internationally acclaimed Canadian baritone James Westman, acts as impressively as he sings, stealing the show.” – London, England Financial Times

Whether performing song, concert or opera throughout the world, baritone James Westman’s passion and musicianship bring an extra dimension to his performances. Current and future projects include Rigoletto for San Antonio Opera and l’Opéra de Montréal, Germont in La traviata for Edmonton Opera and Pacific Opera Victoria, Britten’s War Requiem for the Colorado Symphony and the National Arts Centre Orchestra, Elijah for the Calgary Philharmonic, Carmina Burana for Chicago’s Grant Park Festival, the title role in Nabucco for Opéra de Québec,  Beethoven’s Symphony No. 9 for the Vancouver Symphony and Tippett’s Child of our Time for Chorus Niagara. Mr. Westman’s 2017-2018 season was notable for Carmina Burana for the St. Louis and Vancouver symphonies, Brahms’s Requiem with Orchestre symphonique de Québec, L’assedio di Calais with Odyssey Opera in Boston, and as Germont in La traviata with Manitoba Opera. Of special note was his appearance for the Wall Foundation of Vancouver in a concert benefitting the Music Department of the University of British Columbia.

His 2016-2017 season was a rewarding mix of repertoire ranging from the modern era back to the heights of bel canto’s golden age. He starred as the Doctor in Barber’s Vanessa for the Wexford Festival, as Enrico in Lucia di Lammermoor for Utah Opera, and triumphed in the iconic role of Sir John A MacDonald in Somers’s Louis Riel in Toronto, Ottawa, and Quebec, a production that celebrated Canada’s Sesquicentennial Year. In concert he was heard in Verdi’s Requiem for the Brott Festival, Elijah for Choeur St. Laurent in Montreal, the Ontario Premiere of Kuzmenko’s Golden Harvest for the Orpheus Choir of Toronto, Martin’s In terra pax for the Grant Park Music Festival and gala opera evenings at LA’s Disney Hall with the Los Angeles Symphony and for Brott Music in Hamilton.

Recent seasons have included Germont in the Canadian Opera Company production of La traviata, Brahms’s Requiem for Ottawa’s National Arts Centre Orchestra and the Vancouver Symphony, Beethoven’s Symphony No. 9 in Calgary, Messiah for the McGill Chamber Orchestra and Germont in La traviata with Jacques Lacombe and l’Orchestre symphonique de Trois-Rivières.   

Additional credits include Sharpless in Madama Butterfly for the Utah Opera, Lt. Gordon in Puts’s Silent Night for Calgary Opera, Enrico in Lucia di Lammermoor for Pacific Opera Victoria, the Count in Le nozze di Figaro for Opera Lyra Ottawa, Baron Scarpia in Tosca for Opéra de Québec and on the concert stage he was heard in Messiah for the New York Philharmonic and in Rimsky-Korsakov’s Mozart and Salieri for the Vancouver Symphony. Festival appearances have included the Seattle Chamber Society series with James Ehnes, and Verdi’s Requiem for the New Hampshire Music Festival.

Nominated for two Grammy awards and three Canadian Juno awards, Westman has recorded for Decca, Opera Rara, CBC and BBC. Though widely regarded as an ideal exponent of the Verdi baritone roles, he has also been hailed for leading roles in the works of Puccini, Massenet, Donizetti, Janaček, Bizet, Britten and Mozart for many of the principal opera houses in North America and Europe including the Houston Grand Opera, Santa Fe Opera, Opéra de Montréal, Lyric Opera of Chicago, Vancouver Opera, English National Opera, Los Angeles Opera, San Francisco Opera, Florida Grand Opera, Boston Lyric Opera, New York City Opera, Michigan Opera Theatre, the Dallas Opera, Canadian Opera Company, Wexford Festival (Ireland), the opera houses of Graz, Cologne and many more.

Mr. Westman further thrives at art song repertoire in many different styles and genres. He has preformed recitals for the Marilyn Horne Foundation, the George London Foundation, the Aldeburgh Connection, the Canadian Arts and Letters Club, the Canadian Broadcasting Corporation (CBC), the British Broadcasting Corporation (BBC), Stratford Summer Music Festival, the Schawbacher Debut Recital Series, the Michigan Chamber Music Society, the Lanaudière Festival, Jeunes Ambassadeurs Lyrique and the Wexford Festival, Ireland.

His success on the concert stage continues to flourish and he has performed with many of the world’s leading orchestras; MESSIAH alone has taken him to the New York Philharmonic, Toronto Symphony Orchestra, San Francisco Symphony, National Arts Centre Orchestra (Ottawa), Vancouver Symphony, Baltimore Symphony and the Detroit Symphony.

Baritone in Residence with the prestigious San Francisco Opera Adler Fellowship program, his critically acclaimed performances at the San Francisco Opera include Guglielmo (Così tan tutte); Marcello (La bohème); Sylvio (Pagliacci); Germont (La traviata); Renato (Un ballo in maschera) and Sid (Albert Herring). Mr. Westman placed first in all the international competitions in which he has participated, including the George London Competition, the D’angelo Competition, the Jeunes Ambassadeurs Lyrique, and the Licia Albanese-Puccini Foundation and Marilyn Horne Foundation Award. He was a finalist and the audience favorite at the Cardiff Singer of the World Competition.

Further credits include Sharpless in Madama Butterfly for Dallas Opera and Santa Fe Opera; Talbot in Donizetti’s Maria Stuarda for Opéra de Montréal; Sandy Keith in Tovey’s The Inventor remounted for Calgary Opera, Beethoven’s Symphony No. 9 with the Indianapolis Symphony; plus recording and performing Britten’s War Requiem in Japan under Seiji Ozawa for Decca Records.

Formerly a successful boy treble, Mr. Westman toured with the American Boys Choir, the Paris Boys Choir and the Vienna Boys Choir. Known as Jamie Westman, he was the first boy ever to perform the fourth movement of Mahler’s Symphony No. 4 (Childs View of Heaven), and toured this work with the Boston Philharmonic Orchestra in Austria, Poland, Czechoslovakia, East and West Germany and Russia, performing in the Musikverein, Roy Thomson Hall and Carnegie Hall at the age of twelve.

James Westman’s professional development has been influenced by such renowned artists as Dame Joan Sutherland, Richard Bonynge, Renato Capecchi, Paul Esswood, John F.M. Wood, Carl Duggan, Lois Marshall, Patricia Kern, Régine Crespin, Warren Jones, Martin Katz, Virginia Zeani, Marlena Malas, Theodore Uppman, Diane Forlano, and Marilyn Horne.

September 2019






Bellini Sir Riccardo Fourth I PURITANI
Bizet Escamillo CARMEN
Britten Billy Budd/Reburn BILLY BUDD
  Mountjoy GLORIANA
Charpentier Philosopher LOUISE
Corigliano Beaumarchais GHOSTS OF VERSAILLES
Delibes Frédéric LAKMÉ
Donizetti Dr. Malatesta DON PASQUALE
  Duke of Nottingham ROBERTO DEVEREUX
Gounod Valentine FAUST
Leoncavallo Tonio/Silvio PAGLIACCI
Massenet Athanaël THAÏS
Moore Horace Tabor BALLAD OF BABY DOE
Mozart Guglielmo COSÌ FAN TUTTE
Puccini Marcello/Schaunard LA BOHÈME
Strauss, J. Frank DIE FLEDERMAUS
Strauss, R. Olivier CAPRICCIO
  Robert Storch INTERMEZZO
  Macbeth MACBETH
  Boccanegra/Paolo SIMON BOCCANEGRA
  Count di Luna IL TROVATORE
Wagner Wolfram TANNHAUSER
Brahms REQUIEM  
Duruflé REQUIEM  
Mahler SYMPHONY NO. 8  
Mendelssohn ELIJAH  
Mozart REQUIEM  
Stravinsky OEDIPUS REX  

“Baritone James Westman, despite being a bit young for the role, is very strong as Alfredo’s father and sang a lovely version of Di Provenza il mar, il suol, one of Verdi’s more beautiful baritone arias.”La Traviata, Manitoba Opera
CBC, Lara Rae

“Another standout proved to be Canadian baritone James Westman as Alfredo’s father Germont, with his booming voice immediately establishing his imperious character during the second act’s Di Provenza il mar, il soul, as well as showcasing his resonant, expressive vocals as he sets out to destroy his son’s relationship with Violetta. He then proceeded to peel back the many layers of his character, showing us he is not a villain, but a hapless victim of societal expectations, until finally wracked by remorse at the end when he realizes Violetta’s inner goodness.”La Traviata, Manitoba Opera
Winnipeg Free Press, Holly Harris

“Westman’s occasionally age weathered but still handsomely sturdy tones were aptly suited to Eustachio, the town’s heroic mayor and loving paterfamilias; he had all the Donizettian vocal gestures down pat” L’assedio di Calais, Odyssey Opera
Patrick Dillon, Opera News Magazine

“James Westman had the commanding voice – a powerful, hardwood baritone – and presence for the noble and defiant Eustachio” L’Assedio di Calais, Odyssey Opera
Kevin Wells, Bachtrack

“Outstanding was baritone James Westman. His commanding voice and  fine acting made him a truly sympathetic hero.” L’Assedio di Calais, Odyssey Opera
Ed Tapper, BostonEdgeNetwork

“A rare bel canto treat – Baritone, James Westman made a noble, earthy Mayor of Calais…” 
L’Assedio di Calais, Odyssey Opera
Zoë Madonna, The Globe and Mail

“The strong cast was led by baritone James Westman in the demanding lead role of Eustachio de Sainte-Pierre, the besieged Mayor of Calais.” L’Assedio di Calais, Odyssey Opera

John Ehrlich, BMInteligenzer

“The singing by Cesaroni, Gartner and Westman was superlative!” L’Assedio di Calais, Odyssey Opera
Jack Craib, South Shore Critic

“Brilliant new production…magnificently soaring…James Westman delivers a warmly focused Old Doctor.”
Vanessa, Wexford Festival 
John Allison, Telegraph

“Utterly gripping performance…Much credit goes to James Westman for making his part such a scene-stealer as the Doctor. His inebriated behavior of Act II elicited much laughter from the audience as did his dance instruction to Anatol in Act I.”
Vanessa, Wexford Festival
Andrew Larkin, Bachtrack.com

“James Westman incarne un Scarpia non seulement tyrannique, mais également violent et troublant de concupiscence.” Translation: “James Westman’s Scarpia embodies not only tyrannical but also violent and disturbing lust.” – Tosca, Opéra de Québec
Yves Boisvert, Le Soleil

“James Westman has the tools, the stature, the intensity and flippancy necessary to play the Machiavellian and unscrupulous Scarpia.” (Trans. from French) – Tosca, Opéra de Québec
Yves Leclerc, Le Journal

“Remarkable performance by James Westman in the role of Scarpia.” (Trans. From French) – Tosca, Opéra de Québec
Jacques Leclerc, Info-Culture.biz

“Baritone James Westman’s sonority opened up for the rest of the evening. He nailed his vibrant “The Trumpet Shall Sound” with a ringing, dead-of-center high A that I suspect he enjoyed as much as my smiling audience neighbors.”
Messiah, New York Philharmonic
Jed Distler, Classical Review

“Of the three soloists, baritone James Westman had the most to sing. He dispatched his music with aplomb, from rock solid lows to powerful highs, not to mention a surprisingly mellifluous falsetto in Dies, nox et omnia.” Carmina Burana, Toronto Symphony
Joseph So, La Scena Musicale

“But perhaps most impressive of all is baritone James Westman as Giorgio Germont, Alfredo’s father. He’s a veteran of this role, and the psychological depth he brings to it elevates the production. The emotional journey he takes in the course of a single aria is remarkable to witness.” La Traviata, Utah Opera
Catherine Reese Newton, The Salt Lake Tribune

“Baritone James Westman’s passionate performance as Germont, showed wide dramatic range and superb vocal control. His keen sense of theatric expression kept the audience riveted to his every utterance.” La Traviata, Utah Opera
Opera News, Robert Coleman

“Interestingly, the star of the evening was neither of the leads, although both were superbly cast in their roles. The loudest applause at curtain call, and what seemed to me to be the strongest performance overall – at least the one that overcame the scenery — was delivered by baritone James Westman, singing the role of Alfredo’s father, Giorgio Germont. Westman simply took control of the stage and made it his own when he was on it, taking hold of the role and never letting go. He gave one of those performances that becomes inextricably linked to how the character should be sung by future Germonts. Westman had strong stage presence and was able to exploit through his voice every emotion a father could feel in the depths of his soul for his son. Well done!” – La Traviata, Vancouver Opera
Paul Joseph Walkowski, OperaOnline.us

“But my highest praise goes to James Westman who presented a masterful and superlative performance, oh where to begin. A singer who clearly understands every word he sings… acting that does not seem like acting… Mr. Westman’s breath and phrasing is also superior, and the textures and colours of his baritone… wow!” – La Traviata, Vancouver Opera
Monseiurcoco. com

“It was baritone James Westman, as Germont, who really impressed with his deep voice and richly sympathetic acting. His two arias, first with Violetta followed closely by his “Di Provenza il mar” with Alfredo, were standouts, both being genuinely moving and beautifully sung.”
La Traviata, Vancouver Opera
Lloyd Dykk, Straight.com

“The same sense of finely observed detail extends to the central roles. As Alfredo’s father, baritone James Westman comes across as a seasoned singing actor; his big second act encounter with Violetta has honesty and depth.” – La Traviata, Vancouver Opera
David Gordon Duke, Vancouver Sun

“James Westman gave us a distressed father to perfection.” – La Traviata, Vancouver Opera
Jack Caldwell

“James Westman incarne un Nottingham manifestement assailli par le doute et presque continuellement agité. Même s’il paraît parfois sombrer dans une forme véhémente de nostalgie, cet impulsif sait à tout moment contenir sa rage autant par le geste que par l’expression vocale. Son magnifique baryton et un jeu très crédible expriment précisément l’anxiété dans l’air Forse in quel cor
Maria Stuarda, Opéra de Montréal
Réal Boucher, Opera forum

“Le baryton canadien James Westman joue et chante avec force le duc de Nottingham, mari de Sara, ami puis ennemi de Devereux.” Maria Stuarda, Opéra de Montréal
Claude Gingras, La Presse

“Canadian baritone James Westman was rich, steady and believable as the Duke of Nottingham.”
– Roberto Deveraux
, Opéra de Montréal
Arthur Kaptainis, The Gazette

“Above all, there’s a wonderfully balanced and solid cast …He’s a star on the rise.Canadian Baritone James Westman’s Nottingham rounded out the leads well. While all of the cast are also fine actors….”
– Roberto Deveraux, Opéra de Montréal
Alan Conter, Globe & Mail

“Baritone James Westman delivered a vocally and dramatically nuanced performance in the role of Sharpless.” Madama Butterfly, Dallas Opera
Wayne Lee Gay,
 Frontrow, Dallas Arts

“James Westman and the mezzo-soprano Norine Burgess bring considerable energy and charm to the more thinly drawn roles of the Count and the actress Clairon.” Cappricio, Pacific Opera Victoria
Victoria Times Colonist

“Dashing baritone James Westman, sang the part of the “un-musical”; Count with fluid charm.”
Cappricio, Pacific Opera Victoria
Elizabeth Paterson, Review Vancouver

“James Westman’s Count and Norine Burgess’ Clairon sang well and worked up a suitable level of chemistry.” Cappricio, Pacific Opera Victoria
Bernard Jacobson, Seen and Heard

“James Westman portrays the Count as an overgrown boy (perhaps one of Bertie Wooster’s friends) – and he sings well, too.” Cappricio, Pacific Opera Victoria
Michael Johnson, Concertbet.com

“Baritone James Westman’s Sharpless is sympathetic right-mindedness itself.”
Madama Butterfly, Santa Fe Opera
Robert Punt, LA Opus

“When warned by Sharpless (the hearty baritone James Westman), the American consul at Nagasaki, that the adolescent Butterfly is taking this marriage seriously.” –Madama Butterfly, Santa Fe Opera
Anthony Tommasini, The New York Times

“Equally excellent cast: baritone James Westman as a sympathetic Sharpless.”
Madama Butterfly, Santa Fe Opera
David Gregson, Opera West

“James Westman as the self-satisfied Figaro was a comic and vocal delight. In the infamous Largo al factotum, his robust voice and animated face had the audience in the palm of his hand. Wheeling his trolley complete with barber pole, wigs and bottles of lotions, he illustrated the aria’s lyrics with playful body language. We never wanted him to leave the stage.”
The Barber of Seville, Manitoba Opera
Gwenda Nemerofsky, Winnipeg Free Press

“James Westman found the right mixture of gravitas and concern as Sharpless”
Madama Butterfly, Canadian Opera Company
John Terauds, Toronto Star

“David Pomeroy and James Westman make a vocally rich Pinkerton and Sharpless.”
Madama Butterfly, Canadian Opera Company
Glenn Sumi, Now Toronto

“…Westman a deeply compassionate Sharpless.” –Madama Butterfly, Canadian Opera Company
Christopher Hoile, Eye Weekly

“…James Westman makes a vocally rich Sharpless” –Madama Butterfly, Canadian Opera Company
Glenn Sumi, Now Magazine

“The Beaumarchais of James Westman could hardly have been better.”
– The Ghosts of Versailles (Beaumarchais), Opera Theatre St. Louis
Lawrence J. Dennis, Opera Canada

“Baritone James Westman (Beaumarchais) was appealing and energetic.”
– The Ghosts of Versailles (Beaumarchais), Opera Theatre St. Louis
Heidi Waleson, Wall Street Journal

“James Westman’s Beaumarchais held the stage as by right, and sang robustly.”
– The Ghosts of Versailles (Beaumarchais), Opera Theatre St. Louis
Sarah Bryan Miller, St Louis Post Dispatch

“Baritone James Westman commanded his role in its many aspects, both musical and dramatic.”
– The Ghosts of Versailles (Beaumarchais), Opera Theatre St. Louis
virtualfarmboy, A weekend at Opera Theatre of St. Louis

“James Westman was a warmly attractive Beaumarchais, and he provided a comfortable emotional focus for the audience.” – The Ghosts of Versailles (Beaumarchais), Opera Theatre St. Louis
Judith Malafronte, Opera News

“Thank goodness, the title-role of Corrado is given the royal treatment with James Westman (heard previously in “Imelda de’ Lambertazzi”).  Let us hope that Opera Rara, which sometimes casts operas fancifully, will keep this baritone in its good graces.  With exceedingly beautiful singing – and this is so important for such an arduous role, which demands the aristocratic schooling that was later associated with the great Donizetti and Verdi baritones, in the lineage of Luna – Westman is especially emotionally involved while displaying great vocal panache.” – Corrado on the Opera Rara Recording of Ricci’s Corrado d’Altamura
Philippe Ponthir, Forum Opéra

“James Westman’s singing of the title role is excellent – both urgent and refined.”
– Corrado on the Opera Rara Recording of Ricci’s Corrado d’Altamura
Dominic McHugh, Musical Criticism

“James Westman forcefully conveys the fanaticism behind Corrado’s principled nobility.”
Corrado on the Opera Rara Recording of Ricci’s Corrado d’Altamura
Tim Ashley, The Guardian

“James Westman Figaro had all the requisite fun loving flamboyance”
Il Barbiere di Siviglia, Minnesota Opera
Ron Hubbard, Pioneer Press

“Westman’s first attempt at the demanding role proved as adept at comedy as at singing. As Figaro James Westman offered a big resonant bass-baritone  that never faltered, His charm and charisma were apparent at all times”
Il Barbiere di Siviglia, Minnesota Opera
Michael Anthony, Star Tribune

“James Westman’s Figaro had all of the requisite fun-loving flamboyance”
Il Barbiere di Siviglia, Minnesota Opera
Rob Hubbard, Pioneer Press

“As Figaro, James Westman offered a big, resonant baritone that never faltered. Westman’s charm and charisma were apparent at all times” – Il Barbiere di Siviglia, Minnesota Opera
Michael Anthony, Star Tribune

“In his Lyric debut James Westman delivered a sympathetic Sharpless” – Madama Butterfly, Chicago Lyric Opera
Chicago Tribune, John Von Rhein

“The Canadian Baritone was a wonderful U.S. Consul Sharpless”– Madama Butterfly, Chicago Lyric Opera
Daily Herald, Bill Gowan

“The baritone James Westman was a sympathetic consul. Mr. Westman interacted emphatically with Lopardo and Racette and was particularly moving in his third act trio, his clear sound and articulation enhanced his performance greatly”
Madama Butterfly, Chicago Lyric Opera
James L. Zychowycz, Seen and Heard

“Baritone James Westman was a fine Sharpless, he sang with plenty of warmth and fine legato”
Madama Butterfly, Chicago Lyric Opera
Concerto.net, Paul Wooley

“James Westman made a successful Lyric debut with his warmly vocalized Sharpless, though his giddily ebullient approach to the character rather suggested Dr. Malatesta; by Act III the baritone had settled in with more gravitas, joining Lopardo and fellow debutante Katharine Goeldner’s plangent Suzuki for an excellent account of the trio.” – Madama Butterfly, Chicago Lyric Opera
Mark Thomas Ketterson, Opera News

“The baritone James Westman was a sympathetic Sharpless, whose acting suggested a knowledgeable consul, wary of the dangers of treating Cio-Cio-San as merely ‘a Japanese wife’, the designation that sets the tragedy into motion. Mr Westman interacted empathically with both Lopardo and Racette, and was particularly moving in the third-act trio ‘Io so che alle sue pene’ with Pinkerton and Suzuki, his clear sound and articulation enhancing his performance.” – Madama Butterfly, Chicago Lyric Opera
James L. Zychowycz, Seen and Heard

 “Baritone James Westman sang with plenty of warmth and fine legato.”– Madama Butterfly, Chicago Lyric Opera
Paul Wooley, ConcertoNet

 “James Westman’s barely suppressed fury in the final scene was moving.”– Madama Butterfly, Chicago Lyric Opera
Wynne Delacoma, Chicago Sun-Times

“Canadian baritone James Westman a wonderful U.S. consul Sharpless.”– Madama Butterfly, Chicago Lyric Opera
Bill Gowen, Chicago Daily Herald

“James Westman, who was extremely dramatic, was perfectly credible in the role of the Count.  Whatever lack of seduction he put in his timbre was used to great effect in moments of anger, especially in a ‘Vedrò mentr’io sospiro’ filled with rage.”
Le Nozze di Figaro, Opera Lyra
Réal Boucher, Forum Opera

“This opera is written primarily for the male voice, the title role being the only part for the female voice (excluding Chorus) and the first act has a lot of swagger and challenge from the warring factions, my favorite being the baritone hero Bonifacio, James Westman. At the time of writing Imelda the most famous singer avilable at the San Carlo was the superb Antonio Tamburini so Donizetti wrote the most florid parts for Bonifacio (most unusual) and Westman is more than capable of stepping into the great man’s shoes. He handles the coloratura beautifully with a very dramatically sound and sumptuous instrument and is well matched with Nicole Cabell as Imelda.
Opera Rara Recording – Imelda de’ Lambertazzi
Lorenzo Moog

“Canadian baritone (and former boy treble) James Westman brings a hefty, warmly attractive sound, along with impeccable musicianship and richly detailed character, to the role of Bonifacio Gieremei.”
Opera Rara Recording – Imelda de’ Lambertazzi
Judith Malafronte, Opera News

“In Act 2, James Westman is alternately plangent and bellicose during his lament for lost love.”
Opera Rara Recording – Imelda de’ Lambertazzi
Warren Keith Wright, Opera Magazine

“Canadian baritone James Westman’s Sharpless was sympathetic, and he sang with the deep dark reassuring sound that makes this character so attractive.” – Madama Butterfly, Opéra de Montréal
Jim Lowe, Times Argus

“A fine artistic contribution to the production is James Westman whose rich baritone voice is well suited to his role as Sharpless”     – Madama Butterfly, Opéra de Montréal
Southwest Star

“Canadian baritone James Westman’s Sharpless was sympathetic, and he sang with the deep dark reassuring sound that makes this character so attractive.” – Madama Butterfly, Opéra de Montréal
Jim Lowe, Times Argus  

“le baryton canadien James Westman, figure compatissante et paternelle en Sharpless”– Madama Butterfly, Opéra de Montréal
La scene

“Canadian baritone James Westman proved an able actor” – Madama Butterfly, Opéra de Montréal
Arthur Kaptainis, Gazette

‘Canadian baritone James Westman’s Sharpless was sympathetic, and he sang with the deep dark reassuring sound that makes this character so attractive’ – Madama Butterfly, Opéra de Montréal
Jim Lowe, Times Argus Staff                                                                                

“Baritone James Westman offers a credible and vocally assured portrait as Edward Gaines, the nouveau-riche slave owner torn between his manifest right and the moral corrections of his daughter.”‘
Margaret Garner, Michigan Opera Theatre
Larry Johnson, The Detroit News

‘James Westman was a melodramatically villainous bass as Gaines’
Margaret Garner, Michigan Opera Theatre
Scott C. Morgan, Windy City Times

‘Canadian baritone James Westman managed to swagger without turning slave owner Edward Gaines into a caricature’ Margaret Garner, Michigan Opera Theatre
Wynne Delacoma, Chicago Sun Times

“James Westman inhabited his character (belcore) with dramatic flair and good comic instincts”
L’elisir D’amore, Boston Lyric Opera
Boston Globe, Jeremy Eichler

“James Westman starts out as an introvert (but his aria “Alla vita che t’arride” gives him very little to work with), then opens up once he discovers the extent of his woes.  His singing goes from rage to despair in the Act II finale and finds its logical conclusion in “Eri tu”, which – as it tells more about him as a lover than as a husband – shows the true suffering of the man behind the bite and the metal in the voice.” – Un Ballo in Maschera, Bordeaux Opera
Christophe Rizoud, Forum Opéra


James sings with Chorus Niagara for Tippett’s A Child of Our Time on November 2, 2019. chorusniagara.org

In Edmonton, James sings the title role of Verdi’s Rigoletto from October 19 through 25, 2019. edmontonopera.com

James Westman sings Germont in Pacific Opera Victoria’s production of La traviata from February 14 through 24, 2019. pov.bc.ca


“Bugles Sang” from War Requiem by Britten

“Be slowly lifted up” from War Requiem by Britten

“Call him louder” from Elijah by Mendelssohn (Choeur St-Laurent 2017)

“Lord God of Abraham” from Elijah by Mendelssohn (Choeur St-Laurent 2017)


Short clip as Germont in La traviata with San Diego Opera

“Lucia Sextet” from Act II of Donizetti’s Lucia di Lammermoor with Utah Opera (2017)