INTERVIEWS
The Nation (Sri Lanka), November 2013
Haslmere Herald feature - March 2014
PERFORMANCE REVIEWS
BRITTEN, DELIUS, ELGAR, VAUGHAN WILLIAMS
'This was a night of exceptional music making under the inspiring baton of Dr James Ross, meeting the challenge ofvery different pieces with enthusiasm and musical skill. There was something for everyone from four giants of British music. The first half started exuberantly with Soirées musicales, Benjamin Britten’s rearrangement of Rossini. The orchestra played the five contrasting pieces spiritedly, with a lightness of touch, while being honest to the precise musical writing. A quite different work in mood and colour followed: Frederick Delius’ The Walk to 'The Paradise Garden'. The orchestra met the very different demands of sustained lyricism and generally slower tempi, yet sustaining the expressive musical form. It is always a challenge to bring new insights to well-known pieces, but this is what accomplished soprano Janice Watson did to Elgar’s Sea Pictures, demonstrating the wide range of her vocal skill and understanding.
The second half consisted of a splendid performance of Vaughan Williams’ Dona Nobis Pacem. Both choir and orchestra acquitted themselves excellently in this complex and emotionally demanding work. This is Vaughan Williams response to his first-hand experience of the horrors the First World War and the looming Second. The work might be relatively short, but packs a mighty punch. ... Throughout, the two soloists, soprano, Janice Watson and baritone, Jon Stainsby, brought depth of understanding and emotional power to their performance. From the opening Agnus Dei to the last Dona nobis pacem, controlled yet with an intensity fading to nothing, Janice’s singing matched the words perfectly. Jon Stainsby also showed his full range of musical skills, from the dramatic to the intense anguish of his words in Reconciliation: “for my enemy is dead, a man divine as myself is dead.”
Robert Mitchell, The Haslemere Herald, March 2020
'This was a night of exceptional music making under the inspiring baton of Dr James Ross, meeting the challenge ofvery different pieces with enthusiasm and musical skill. There was something for everyone from four giants of British music. The first half started exuberantly with Soirées musicales, Benjamin Britten’s rearrangement of Rossini. The orchestra played the five contrasting pieces spiritedly, with a lightness of touch, while being honest to the precise musical writing. A quite different work in mood and colour followed: Frederick Delius’ The Walk to 'The Paradise Garden'. The orchestra met the very different demands of sustained lyricism and generally slower tempi, yet sustaining the expressive musical form. It is always a challenge to bring new insights to well-known pieces, but this is what accomplished soprano Janice Watson did to Elgar’s Sea Pictures, demonstrating the wide range of her vocal skill and understanding.
The second half consisted of a splendid performance of Vaughan Williams’ Dona Nobis Pacem. Both choir and orchestra acquitted themselves excellently in this complex and emotionally demanding work. This is Vaughan Williams response to his first-hand experience of the horrors the First World War and the looming Second. The work might be relatively short, but packs a mighty punch. ... Throughout, the two soloists, soprano, Janice Watson and baritone, Jon Stainsby, brought depth of understanding and emotional power to their performance. From the opening Agnus Dei to the last Dona nobis pacem, controlled yet with an intensity fading to nothing, Janice’s singing matched the words perfectly. Jon Stainsby also showed his full range of musical skills, from the dramatic to the intense anguish of his words in Reconciliation: “for my enemy is dead, a man divine as myself is dead.”
Robert Mitchell, The Haslemere Herald, March 2020
WAGNER, FAURÉ, SAINT-SAËNS, MENDELSSOHN:
Haslemere Symphony Orchestra - Haslemere Herald, 26 Oct 2017
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COPLAND, APPALACHIAN SPRING: Cheltenham Chamber Orchestra: February 2016:
'The Chamber Orchestra did well to make such a tricky start in St. Andrew's, where every note is heard. It coped admirably with the abrupt changes of pace and mood, and with conductor James Ross's aptly chosen rubatos [Kodaly, Dances of Galanta]. Ensemble was impressively tight, as it was throughout the concert. ... Aaron Coplands's ballet Appalachian Spring (played in its entirety) is lengthy, complex and demanding. James Ross unfolded its spacious vernacular to perfection, its hill-billy, homespun routines and its moments of tenderness. The orchestra worked hard for him, playing with power and intensity, yet also with enthralling finesse.' Read more: http://www.gloucestershireecho.co.uk/Review-Cheltenham-Chamber-Orchestra/story-28692564-detail/story.html BEETHOVEN, SYMPHONY No.9: Haslemere Symphony Orchestra and Chorus, March 2017: 'Conductor James Ross shaped the imposing first movement (Beethoven, Symphony No.9) with a magic touch; the Scherzo bounced along beautifully and the sublime slow movement contained some inspired woodwind playing. ... As James Ross drove the music, forever faster, to its thrilling conclusion, one felt that all the hard work had been worth it.' Haslemere Herald, 20 March 2017 ELGAR, SERENADE FOR STRINGS:
Haslemere Symphony Orchestra: October 2016: 'The middle movement [Elgar, Serenade for Strings] took us to a different emotional plane: passionate, aching phrases and ravishing violin playing leading up to the very moving climax'. Haslemere Herald, 27 Oct 2016. 
Haydn, The Creation:
Haslemere Symphony Orchestra and Chorus - The Haslemere Herald, 7 March 2019
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Dvořák, Symphony No.6 and Bruckner, Mass in D Minor
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Beethoven, Symphony No.3 and Vivaldi, Gloria
 'Under the experienced baton of James Ross, the
orchestra shone in Beethoven's Third Symphony.'
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Save The Children Secret Gala at London Guildhall with English National Ballet:
http://www.savethechildren.org.uk/get-involved/events/secret-winter-gala
and
http://www.europastar.com/news/1004086836-over-half-a-million-pounds-raised-for-save-the.html
http://www.savethechildren.org.uk/get-involved/events/secret-winter-gala
and
http://www.europastar.com/news/1004086836-over-half-a-million-pounds-raised-for-save-the.html
Commonwealth Festival Orchestra, Nelum Pokuna Theatre, Colombo, November 2013:
http://www.dailynews.lk/entertainment/fantastic-performance
and http://lankanworldview.blogspot.co.uk/2016/02/connecting-at-deeper-level-with-danno.html
[Original link: http://www.nation.lk/edition/fine/item/23374-connecting-at-a-deeper-level-with-%E2%80%98danno-budunge%E2%80%99.html]
The Nation (Sri Lanka), November 2013
Sofia Philharmonic Orchestra and Bulgarian National Chorus:
http://www.artnovini.com/art-mix/muzika/591-james-ross-ste-dirijira-novogodishnia-concert-na-philharmonyata.html
http://scenata.com/event/novogodishen_koncert_17fj8ub
Schumann, Symphony No.3; Mozart, Requiem
'[Mozart, Requiem] was beautifully shaped by conductor James Ross... A vivid performance of Schumann’s ‘Rhenish’ Symphony,... the splendid slow processional movement depicting a ceremony in Cologne Cathedral, and the jubilant brassy conclusion to the Finale, sounded magnificent indeed.' The Haslemere Herald, Dec 2011
Beethoven, Coriolan; Saint-Saens, 'Cello Concerto No.1; Haydn, Symphony No.104
'James Ross not only conducted with his usual precision and enthusiasm, but also provided a brief and entertaining introduction to each of the pieces played'. The Haslemere Herald, 4 Nov 2011.
Brahms, Ein Deutsches Requiem
'A rousing performance of Shostakovich's Festive Overture, marked by sharp rhythms ... The performance (of Brahms' Requiem) was beautifully shaped by conductor James Ross, with plenty of light and shade.’ The Haslemere Herald, March 2011
'A rousing performance of Shostakovich's Festive Overture, marked by sharp rhythms ... The performance (of Brahms' Requiem) was beautifully shaped by conductor James Ross, with plenty of light and shade.’ The Haslemere Herald, March 2011
Mahler, Symphony No.2
‘A triumph for the Orchestra which has made tremendous progress in the nine years Dr Ross has been in charge. ... The interpretation [of Mahler, Symphony No.2] was fine and well balanced, and throughout the epic work the musicians totally gripped the attention of the audience. ... One of the finest evenings of ever staged by the St Albans Symphony Orchestra.' John Manning, The Herts Advertiser, 17 June 2010
'Conductor James Ross must be congratulated for his efforts to ensure the performance [Dvorák, 'Cello Concerto] was a union of soloist and orchestra. He took immense care to ensure that Michael Wigram had the opportunity to express himself while also enabling the orchestra to play its full part.' John Manning, The Herts Advertiser, 18 March 2010
‘A triumph for the Orchestra which has made tremendous progress in the nine years Dr Ross has been in charge. ... The interpretation [of Mahler, Symphony No.2] was fine and well balanced, and throughout the epic work the musicians totally gripped the attention of the audience. ... One of the finest evenings of ever staged by the St Albans Symphony Orchestra.' John Manning, The Herts Advertiser, 17 June 2010
'Conductor James Ross must be congratulated for his efforts to ensure the performance [Dvorák, 'Cello Concerto] was a union of soloist and orchestra. He took immense care to ensure that Michael Wigram had the opportunity to express himself while also enabling the orchestra to play its full part.' John Manning, The Herts Advertiser, 18 March 2010
Beethoven, Ah perfido!, Shostakovich, Chamber Symphony op.110a
'Something fundamental has gone right... From the off [in Beethoven, Ah perfido!], under the determined direction of guest conductor James Ross, the 'cellos were gutsier, the woodwind sweeter, the brass more stern. [In Shostakovich's Chamber Symphony]: 'Growling, ominous double-basses, eerie 'cello melodies, agitated violins - and the despairing anti-climax was spot on.' Adam Smyth, The Sunday Times {Colombo), Feb 2010.
Stanford, The Revenge
‘James Ross shaped the phrasing [Stanford, The Revenge] with admirable conviction, conveying the dramatic scoring with great effect.’ Shelagh Godwin, The Haslemere Herald, May 2009
Christopher Crawley, Aspects of Eden (first performance); Shostakovich, Symphony No.5
'There seems to be no limit to the innovative programme planning if this orchestra under the direction of James Ross.' Anthony Harris, Herts Advertiser, 23 October 2008
Alexander Flood, Récits for Orchestra; Mahler, Symphony No.6
‘It is a tribute to conductor James Ross, who has been the [St. Albans Symphony] Orchestra's music director since 2001, that it can now take on and achieve successfully a performance of such a work [Mahler, Symphony No.6] ... A thoroughly memorable performance of one of the greatest musical works of the 20th century.’ John Manning, The Herts Advertiser, 19 June 2008
‘The [St Albans Symphony] Orchestra, blessed with an excellent conductor, James Ross’. John Westcombe, Watford Observer, 25 June 2008
‘An exciting evening of music by Sibelius [Karelia Suite and The Captive Queen] and Tchaikovsky [scenes from Eugene Onegin]... The result was a rapturous reception.’ Nigel Flower, The Haslemere Herald, 16 May 2008
Mozart, Paris Symphony; Violin Concerto No.5; The Marriage of Figaro Act II
‘From the moment the excellent Christ Church Festival Orchestra started playing Mozart’s Paris Symphony, they seemed to be playing with heartfelt warmth. Conductor James Ross urged the players on to ever great heights, ensuring a vigorous and sparkling performance.’
Nicola Lisle, The Oxford Times, 9 May 2008
Nicola Lisle, The Oxford Times, 9 May 2008
Berlioz, The Damnation of Faust
‘Berlioz's dramatic cantata The Damnation of Faust received an outstanding performance at the Haslemere Musical Society's spring concert under Dr James Ross. Soloists, chorus and orchestra excelled in this extraordinary work.’ Nicholas Tyrrell-Evans, The Haslemere Herald, 14 March 2008
New Music Day, September 2007
St. Albans Symphony Orchestra / City of London Sinfonia
'Outstanding performance of Stravinsky's The Rite of Spring'
‘The Orchestra’s achievement in presenting an outstanding performance of Stravinsky’s The Rite of Spring is worthy of even more praise. The work is tough for the performers because of its constantly-changing meters which demand total concentration throughout. It is packed with raw energy and emotion which conductor James Ross transmitted through the Orchestra to produce a thrilling performance.’ John Manning, The Herts Advertiser, 14 June 2007
The confidence with which St. Albans Symphony Orchestra tackled Stravinsky’s Rite of Spring must have heartened all those who have contributed to its development. Quite often, performances of The Rite are a near-triumph. This was more than that - the Orchestra had worked out how to put all its accumulated experience at conductor James Ross’ disposal, and there was much to admire, from the nerve-racking exposed opening bassoon solo, through all the ritual dances, via subtlety, sheer power and the dominance of rhythm, to the final sacrifice... In both of the Tchaikovsky overtures [Romeo and Juliet and 1812] the Orchestra revelled in the ideas of opposing forces and produced finely-balanced chording. The love-music had affection and ardour.’ John Westcombe, St. Albans Review, 13 June 2007
The confidence with which St. Albans Symphony Orchestra tackled Stravinsky’s Rite of Spring must have heartened all those who have contributed to its development. Quite often, performances of The Rite are a near-triumph. This was more than that - the Orchestra had worked out how to put all its accumulated experience at conductor James Ross’ disposal, and there was much to admire, from the nerve-racking exposed opening bassoon solo, through all the ritual dances, via subtlety, sheer power and the dominance of rhythm, to the final sacrifice... In both of the Tchaikovsky overtures [Romeo and Juliet and 1812] the Orchestra revelled in the ideas of opposing forces and produced finely-balanced chording. The love-music had affection and ardour.’ John Westcombe, St. Albans Review, 13 June 2007
'SSO's impressive new conductor'
‘SSO's impressive new conductor James Ross had chosen fairly brisk tempi [Brahms, Symphony No.2, finale]. With the orchestra in top form, the music accelerated to a spine-tingling climax.’ The Bexley Chronicle, June 2007
Symphony Orchestra of Sri Lanka
‘Thanks to Ross’s bravura style of conducting and his gift for richness and clarity of sound from the Orchestra, the four movements were skilfully performed with a delicate balance maintained throughout between tension and release. The Orchestra did well to slip into top great in the finale... Ross was simply awesome in the way he exercised direction and control while giving his musicians the freedom to express their inner musicality.’ Seneka Abeyratne, Montage, June 2007
‘As on previous occasions the [Symphony] Orchestra [of Sri Lanka] under his direction treated us to an exceptional performance... Ross was able to inspire the orchestra to greater heights.’ Lalith Perera, The Sunday Times (Colombo), 20 May 2007
'Superb debut for SSO conductor'
‘A capacity audience was treated to an orchestra and conductor in top form. The rapport between them was evident from the sparkling performance of the [Elgar] Cockaigne Overture. Ross is an imposing figure on the rostrum and his clear, incisive beat must be a great asset. Such was the case in the [Elgar] First Symphony. Ross coaxed wonderful playing from the string section, particularly in that marvellous slow movement.’
The Kentish Times, 29 March 2007
The Kentish Times, 29 March 2007
Walton, Partita; Britten, Russian Funeral; Vaughan Williams, Tallis Fantasia; Elgar, Enigma Variations
‘Enigma Variations was given a performance with consummate skill and intense musicianship. Conductor James Ross achieved the rare distinction of presenting Nimrod as though we were hearing it for the first time. All the variations were interpreted sensitively, for example the delicacy of Dorabella, the panache of Troyte and the dynamic contrasts of the Finale.’
Anthony Harris, The Herts Advertiser, 15 June 2006
Anthony Harris, The Herts Advertiser, 15 June 2006
Oxford University Sinfonietta, 3 June 2006
Alicia Grant, Figure of 8 and White Light
Stravinsky, L'Histoire du soldat
Gluck, Overture: Iphigénie en Aulide
Boccherini, Night Music of Madrid
Mozart, Symphony No.36: Linz.
‘Gluck's overture [Iphigénie en Aulide] was an exciting performance, Ross conducting with due energy and style. ... [Mozart, Symphony No.36]: The Orchestra readily conveyed the energy and urgency that would have gone into its making, twisting and turning their way through a piece of sudden changes and contrasts. A wonderful end to a concert full of inexhaustible energy. ’ Isla Jeffrey, Cherwell, 9 June 2006
Stravinsky, L'Histoire du soldat
Gluck, Overture: Iphigénie en Aulide
Boccherini, Night Music of Madrid
Mozart, Symphony No.36: Linz.
‘Gluck's overture [Iphigénie en Aulide] was an exciting performance, Ross conducting with due energy and style. ... [Mozart, Symphony No.36]: The Orchestra readily conveyed the energy and urgency that would have gone into its making, twisting and turning their way through a piece of sudden changes and contrasts. A wonderful end to a concert full of inexhaustible energy. ’ Isla Jeffrey, Cherwell, 9 June 2006
Christ Church Festival Orchestra, 18 February 2006
Wagner, Overture: The Flying Dutchman
Ravel, Piano Concerto in G (Tom Wood)
Brahms, Symphony No.4
‘Throughout [Ravel, Piano Concerto in G], there was a complete meeting of minds between soloist Tom Wood and the Christ Church Festival Orchestra. ... The concert ended with Brahms' Fourth Symphony. "You're going to enjoy this", a horn player remarked before it started. And indeed there was plenty to enjoy, with conductor James Ross securing excellent ensemble and colour from his forces. Especially memorable was the sense of the first violins whispering through trees at the start, but exploding into a blazing finale.’
Giles Woodforde, The Oxford Times, 24 February 2006
Ravel, Piano Concerto in G (Tom Wood)
Brahms, Symphony No.4
‘Throughout [Ravel, Piano Concerto in G], there was a complete meeting of minds between soloist Tom Wood and the Christ Church Festival Orchestra. ... The concert ended with Brahms' Fourth Symphony. "You're going to enjoy this", a horn player remarked before it started. And indeed there was plenty to enjoy, with conductor James Ross securing excellent ensemble and colour from his forces. Especially memorable was the sense of the first violins whispering through trees at the start, but exploding into a blazing finale.’
Giles Woodforde, The Oxford Times, 24 February 2006
Mozart, Prague Symphony: Oxford University Sinfonietta
‘I am amazed at the precocious talent of these young musicians. The Orchestra's [Oxford University Sinfonietta] concert, under the impressive guidance of James Ross, culminated in a great performance of Mozart's Prague Symphony.’ Samir Mody, Daily Information, 30 November 2005
‘I am amazed at the precocious talent of these young musicians. The Orchestra's [Oxford University Sinfonietta] concert, under the impressive guidance of James Ross, culminated in a great performance of Mozart's Prague Symphony.’ Samir Mody, Daily Information, 30 November 2005
Wagner, Prelude: Die Meistersinger von Nürnberg; Tchaikovsky, Rococo Variations (Guy Johnston); Dvorák’s Symphony No.7
‘Throughout [Tchaikovsky, Rococo Variations / Guy Johnston], the Orchestra responded well and produced one of its best performances. ... Once more conductor James Ross worked hard to get the best from the Orchestra and the fact that it is now achieving such a high standard is a reflection of the efforts he has put in since he was appointed in 2001.’ John Manning, The Herts Advertiser, 3 November 2005
‘The Orchestra gave impressive performances of Wagner’s Prelude to Die Meistersinger von Nürnberg and Dvorák’s Symphony No.7. The Prelude provided a grand opening with its pompous march rhythms and thundering brass. The Dvorák was another impressive and ambitious piece. The dynamics were well engineered by conductor James Ross, with the string section rendering a particularly gutsy performance.’ Ruth Holmes, St. Albans Observer, 3 November 2005
‘The Orchestra gave impressive performances of Wagner’s Prelude to Die Meistersinger von Nürnberg and Dvorák’s Symphony No.7. The Prelude provided a grand opening with its pompous march rhythms and thundering brass. The Dvorák was another impressive and ambitious piece. The dynamics were well engineered by conductor James Ross, with the string section rendering a particularly gutsy performance.’ Ruth Holmes, St. Albans Observer, 3 November 2005
Debussy, Nocturnes; Ravel, Sheherazade; Holst, The Planets
‘The programme devised by the [St. Albans Symphony] Orchestra’s conductor, Dr James Ross, proved, once again, to be very creative as well as intelligent. Mars [Holst, The Planets] was beautifully controlled ... Mercury, with complex rhythms and juxtaposing keys, was brilliantly performed. ... Requiring perfect pitch and stamina, Neptune was magnificent and provided a fitting closure to a great concert.’ Anthony Harris, The Herts Advertiser, 16 June 2005
‘It is important to record how vital James Ross’ clarity of beat was in ensuring solid rhythm as well as high expressive encouragement [Holst, The Planets]. The choir’s contribution [Mid-Herts Chamber Choir and Oxford Girls Choir] was first-rate with initial chording which I've not heard bettered.’ John Westcombe, St. Albans Observer, 16 June 2005
‘It is important to record how vital James Ross’ clarity of beat was in ensuring solid rhythm as well as high expressive encouragement [Holst, The Planets]. The choir’s contribution [Mid-Herts Chamber Choir and Oxford Girls Choir] was first-rate with initial chording which I've not heard bettered.’ John Westcombe, St. Albans Observer, 16 June 2005
Mussorgsky; Holst; Haydn; Tchaikovsky, Symphony No.5
‘James Ross and the St. Albans Symphony Orchestra are making the district the place to be for performances of more obscure music. Dr Ross came up with two stunning works, Holst’s Invocation for 'Cello and Orchestra and Haydn’s Concerto for Two Horns. ... The concert opened with a thoroughly rousing performance of Mussorgsky’s Night on a Bare Mountain and concluded with Tchaikovsky's Fifth Symphony. This was SASO playing at its very best. The Orchestra is brimming with confidence and on Saturday it presented a fine evening of top-quality music.’ John Manning, The Herts Advertiser, 28 April 2005
‘James Ross and the St. Albans Symphony Orchestra are making the district the place to be for performances of more obscure music. Dr Ross came up with two stunning works, Holst’s Invocation for 'Cello and Orchestra and Haydn’s Concerto for Two Horns. ... The concert opened with a thoroughly rousing performance of Mussorgsky’s Night on a Bare Mountain and concluded with Tchaikovsky's Fifth Symphony. This was SASO playing at its very best. The Orchestra is brimming with confidence and on Saturday it presented a fine evening of top-quality music.’ John Manning, The Herts Advertiser, 28 April 2005
Christ Church Festival Orchestra, 19 February 2005
‘Conductor James Ross once again inspired his Christ Church Festival Orchestra to that delightful, wholly expert level ... There was beautiful playing [Rachmaninov, Variation on a Theme of Paganini], especially in the glorious 18th Variation, in which Ross's slowed up tempo reminded me of the tremendous pas de deux Ashton wrote for his ballet Rhapsody. Finally, Tchaikovsky's Fifth Symphony recalled this orchestra's Schubert Ninth Symphony last year. There were superb solos from woodwind and (particularly) first horn, and in the second and final movements Ross developed a rhythm reminiscent of the Statue come to dinner with Don Giovanni. A first-class performance.’ Hugh Vickers, The Oxford Times, 25 February 2005
‘Tchaikovsky's Symphony No.5 was performed with professional aplomb, well marshalled by conductor Dr James Ross. It was a sheer pleasure to listen to the crescendos within the four movements reverberating around the Cathedral, providing an effect perhaps akin to the process of reviving the heart via a series of electric shocks. ... The entire performance was very impressive and the evening was a thoroughly enjoyable one.’ Samir Mody, Daily Information, 24/25 February 2005
‘From [Tchaikovsky, Symphony No.5's] angst-ridden opening, the orchestra was entirely convincing in fulfilling the very different challenges of this work and in rendering its directly emotional nature. The strings provided a lovely warm sound throughout. They were particularly impressive performing the 'love' theme of the second movement. The brass provided a shattering entry in the return of the 'fate' theme. ... This exciting evening of music-making by conductor James Ross and the Christ Church Festival Orchestra.’
Alexandra Coghlan, Cherwell, 25 February 2005
‘Tchaikovsky's Symphony No.5 was performed with professional aplomb, well marshalled by conductor Dr James Ross. It was a sheer pleasure to listen to the crescendos within the four movements reverberating around the Cathedral, providing an effect perhaps akin to the process of reviving the heart via a series of electric shocks. ... The entire performance was very impressive and the evening was a thoroughly enjoyable one.’ Samir Mody, Daily Information, 24/25 February 2005
‘From [Tchaikovsky, Symphony No.5's] angst-ridden opening, the orchestra was entirely convincing in fulfilling the very different challenges of this work and in rendering its directly emotional nature. The strings provided a lovely warm sound throughout. They were particularly impressive performing the 'love' theme of the second movement. The brass provided a shattering entry in the return of the 'fate' theme. ... This exciting evening of music-making by conductor James Ross and the Christ Church Festival Orchestra.’
Alexandra Coghlan, Cherwell, 25 February 2005
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Guy Dagul, Grand Fantasia for Piano Duet - first performance
Strong rhythms and dynamics [Guy Dagul, Grand Fantasia for Piano Duet - first performance] were wonderfully handled ... conductor James Ross took infinite care to ensure the balance between orchestra and piano [Isabel Beyer; Harvey Dagul] was maintained.’ John Manning, The Herts Advertiser, 3 February 2005
Janácek, Sinfonietta
‘The effect of the Janácek [Sinfonietta] was amazing: the performance was a complete success. ... A thoroughly exciting and entertaining evening.’ John Manning, The Herts Advertiser, 6 January 2005
‘The effect of the Janácek [Sinfonietta] was amazing: the performance was a complete success. ... A thoroughly exciting and entertaining evening.’ John Manning, The Herts Advertiser, 6 January 2005
Elgar, The Dream of Gerontius
‘A committed and very stylish performance of The Dream of Gerontius ... Conductor James Ross brought out the contrasts and felicities of Elgar’s orchestration, looked after all his charges and made sense of the work’s architecture.’ John Westcombe, St. Albans Observer, 21 October 2004
‘Taking three large choirs and an orchestra and blending them into one cohesive unit is not easy. And for such a huge work as Elgar’s Dream of Gerontius, the task is massive. But this is just what St. Albans Symphony Orchestra’s conductor, James Ross, achieved at St. Albans Abbey. The result was one of the best performances at the biennial St. Albans’ St. Cecilia Society in many years.’ John Manning, The Herts Advertiser, 21 October 2004
‘Taking three large choirs and an orchestra and blending them into one cohesive unit is not easy. And for such a huge work as Elgar’s Dream of Gerontius, the task is massive. But this is just what St. Albans Symphony Orchestra’s conductor, James Ross, achieved at St. Albans Abbey. The result was one of the best performances at the biennial St. Albans’ St. Cecilia Society in many years.’ John Manning, The Herts Advertiser, 21 October 2004
Children's Concert: Witches and Wizards: Mussorgsky; John Williams; Berlioz, Symphonie fantastique
‘A great communicator as well as a first class musician.’
Jill Barlow, St. Albans Observer, 15 July 2004
Jill Barlow, St. Albans Observer, 15 July 2004
Richard Strauss, Horn Concerto No.1; Mahler Symphony No.1
'Probably the greatest performance ever given by St Albans Symphony Orchestra - certainly the most significant in the past 40 years. ... Meticolous preparation by conductor James Ross. ... The expressiveness of the music in its changing moods flowed through every player and were infectious. ... The final was breathtaking.'
Schubert, Symphony No.9
‘From the first, pianissimo horn call, Ross created a structure to match what Schumann called its [Schubert, Symphony No.9's] "heavenly length". And no-one was merely being "careful" - the sizzling string playing in the Scherzo, with its popular Viennese melodies tossed off as in a Weinstube, the bumptious Trio, and the final Allegro taken at a cracking pace - Dr Ross and the [Christ Church Festival] Orchestra deserve warm congratulations.’ Hugh Vickers, The Oxford Times, 27 February 2004
Elgar, 'Cello Concerto
‘The orchestra established a magnificent Elgar sound and accompanied the soloist [Guy Johnston, ’cello] with great sensitivity, guided expertly by conductor James Ross.’ Anthony Harris, The Herts Advertiser, 23 October 2003
‘From the first, pianissimo horn call, Ross created a structure to match what Schumann called its [Schubert, Symphony No.9's] "heavenly length". And no-one was merely being "careful" - the sizzling string playing in the Scherzo, with its popular Viennese melodies tossed off as in a Weinstube, the bumptious Trio, and the final Allegro taken at a cracking pace - Dr Ross and the [Christ Church Festival] Orchestra deserve warm congratulations.’ Hugh Vickers, The Oxford Times, 27 February 2004
Elgar, 'Cello Concerto
‘The orchestra established a magnificent Elgar sound and accompanied the soloist [Guy Johnston, ’cello] with great sensitivity, guided expertly by conductor James Ross.’ Anthony Harris, The Herts Advertiser, 23 October 2003
Johann Strauss II, Der Zigeunerbaron Ovt; Ravel, La Valse; Rossini, Guillaume Tell: Enescu, Romanian Rhapsody No.1
‘Anyone who needed a swift hangover cure on New Year's Day could hardly have done better than join the audience for the traditional concert at St Albans Abbey. For 21 years St Albans Symphony Orchestra has been prescribing the right medicine to lift any lingering lethargy on the evening of January 1. Conductor James Ross mixed the popular - and sometimes loud - with less-well-known pieces to provide a thoroughly-enjoyable evening ... . Enescu's Romanian Rhapsody No.1 - once popular but now all-too-rarely heard - was a real delight. A truly explosive work, the rhapsody saw dynamic performances by all sections of the orchestra.' John Manning, The Herts Advertiser, 8 January 2004
‘The highlight came with Enescu’s Romanian Rhapsody No.1. The whole orchestra combined to give a rousing performance of this masterpiece, full of seductive themes and intoxicating rhythms, driven ever onwards by the lively baton of Dr Ross.’ Jill Barlow, St. Albans Observer, 8 January 2004
‘The highlight came with Enescu’s Romanian Rhapsody No.1. The whole orchestra combined to give a rousing performance of this masterpiece, full of seductive themes and intoxicating rhythms, driven ever onwards by the lively baton of Dr Ross.’ Jill Barlow, St. Albans Observer, 8 January 2004
Jonathan Clarke, Organ Concerto: first performance (David Goode); Shostakovich, Symphony No.10
'Conductor James Ross produced an energetic yet thoughtful performance with the orchestra responding well to give one of its best overall performances in the past few years'.
John Manning, The Herts Advertiser, 10 July 2003
John Manning, The Herts Advertiser, 10 July 2003
Bernstein, Symphonic Dances, West Side Story and Candide Overture; Copland, Appalachian Spring and Quiet City
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‘The Orchestra went to town in Bernstein’s Symphonic Dances from West Side Story, giving us a Mambo beat like there was no tomorrow... Great stuff!.’ Jill Barlow, St. Albans Observer, 29 May 2003
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‘The overture to Bernstein’s Candide started proceedings with a lively interpretation, followed by a thoughtful rendering of Copland's Appalachian Spring... Bernstein’s Symphonic Dances from West Side Story summed up all the brilliance and virtuosity of the previous performances. The Orchestra surpassed themselves creating real excitement and tension and overcoming technical feats with great panache.’ Anthony Harris, The Herts Advertiser, 29 May 2003
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Saint-Saens, ’Cello Concerto No.1
‘A highly disciplined, communicative Midland Youth Orchestra was wonderfully responsive to this soloist’s [Nathaniel Boyd] fire in an electrifying performance.’ Claire Mackney, The Birmingham Post, 10 March 2003
Symphony Orchestra of Sri Lanka
‘The Symphony Orchestra ... coaxed to perfection by Dr James Ross.’ Roy Nicholas, The Island, 7 March 2003
‘All music lovers will hope fervently that Dr Ross will return to Sri Lanka, and no doubt the SOSL players will adore playing under his baton over and over again.’ Tennyson Rodrigo, The Daily News, 3 March 2003
‘Elegance and passion under one baton.’ Lalith Perera, The Island, 2 March 2003
‘A highly disciplined, communicative Midland Youth Orchestra was wonderfully responsive to this soloist’s [Nathaniel Boyd] fire in an electrifying performance.’ Claire Mackney, The Birmingham Post, 10 March 2003
Symphony Orchestra of Sri Lanka
‘The Symphony Orchestra ... coaxed to perfection by Dr James Ross.’ Roy Nicholas, The Island, 7 March 2003
‘All music lovers will hope fervently that Dr Ross will return to Sri Lanka, and no doubt the SOSL players will adore playing under his baton over and over again.’ Tennyson Rodrigo, The Daily News, 3 March 2003
‘Elegance and passion under one baton.’ Lalith Perera, The Island, 2 March 2003
Richard Strauss, Der Rosenkavalier Suite and Salome's Dance; arias by Handel, Donizetti, Verdi and Bizet - Marwan Shamiyeh, tenor
‘In Richard Strauss’ Der Rosenkavalier Suite, we had finesse, pizzazz, panache and flair. ...In the Dance of the Seven Veils, the searing strings and blazoning wind and brass painted a vivid picture of the gruesome biblical story. The orchestra’s playing was sheer delight.’ Jill Barlow, St. Albans Observer, 9 January 2003
‘The [St. Albans Symphony] Orchestra was on top form, responding well to James Ross’ excellent direction.’ John Manning, The Herts Advertiser, 9 January 2003
‘The [St. Albans Symphony] Orchestra was on top form, responding well to James Ross’ excellent direction.’ John Manning, The Herts Advertiser, 9 January 2003
Mendelssohn, Hebrides Overture; Mozart, Flute and Harp Concerto; Beethoven, Symphony No.7
‘The Nis International Music Festival began with the concert of the Nis Symphony Orchestra. The beginning was so good that we can hardly imagine better. Musicians were highly motivated and great energy came from the young but experienced conductor, Dr James Ross. With the orchestra excellently prepared, Ross succeeded to present all the dynamic energy, rhythm and character [Beethoven, Symphony No.7] which resulted in an extremely unique and powerful sound.’ Branislav Dejanovic, Narodne Novine, Serbia, 12 October 2002
Sibelius, Symphony No.2
‘A positively electric performance of Sibelius’ Symphony No.2, brimful with nationalistic fervour, under the interpretation of the orchestra’s new conductor, James Ross. ... In the rhapsodic finale I’ve never before heard such surges of energy built up from climax to climax in this heroic work.’ Jill Barlow, St. Albans Observer, 14 March 2002
‘A positively electric performance of Sibelius’ Symphony No.2, brimful with nationalistic fervour, under the interpretation of the orchestra’s new conductor, James Ross. ... In the rhapsodic finale I’ve never before heard such surges of energy built up from climax to climax in this heroic work.’ Jill Barlow, St. Albans Observer, 14 March 2002
Children's Concert: Poulenc, L'Histoire de Babar; Timothy Blink, The Elements
'St Albans Symphony Orchestra brought Poulenc's score to life most magically ... James Ross must be congratulated for a most successful and educational afternoon.'
Jill Barlow, St. Albans Observer, 11 July 2002
Jill Barlow, St. Albans Observer, 11 July 2002
Humperdinck, Hansel und Gretel Prelude; Bruch, Violin Concerto No.1
‘A capacity audience gave a warm welcome to James Ross in his first New Year's Day concert in St. Albans. The orchestra produced a magical opening with the overture from Humperdinck’s Hansel and Gretel. ... It was a pleasure to watch the new conductor's showmanship and joy in the music.’John Partington, The Herts Advertiser, 10 January 2002
Koussevitsky, Double Bass Concerto
‘James Ross conducts with enormous energy and firm control. I was pleased to note with what sensitivity he followed the soloist. [Leon Bosch: Koussevitsky, Double Bass Concerto] The Orchestra gave the right balance and allowed the soloist to shine forth to maximum effect.’ Jill Barlow, St. Albans Observer, 25 October 2001
Mendelssohn, Symphony No.3
‘New conductor James Ross looks set to take the St. Albans Symphony Orchestra to new heights. ... Mendelssohn’s Scottish Symphony demands intense concentration from the Orchestra and its conductor; the performance showed that Dr Ross has a tremendous flair which is he clearly passing on to the Orchestra.’ John Manning, The Herts Advertiser, 25 October 2001
Brahms, Concerto for Violin and 'Cello
‘James Ross’s expert conducting allowed soloists Daniel Bhattacharya (violin) and Andrew Taylor (’cello) to rise above the orchestral texture of the Brahms [Double] Concerto.’ Olivia Rowland, Oxford Daily Information, 14 June 2001
‘James Ross conducts with enormous energy and firm control. I was pleased to note with what sensitivity he followed the soloist. [Leon Bosch: Koussevitsky, Double Bass Concerto] The Orchestra gave the right balance and allowed the soloist to shine forth to maximum effect.’ Jill Barlow, St. Albans Observer, 25 October 2001
Mendelssohn, Symphony No.3
‘New conductor James Ross looks set to take the St. Albans Symphony Orchestra to new heights. ... Mendelssohn’s Scottish Symphony demands intense concentration from the Orchestra and its conductor; the performance showed that Dr Ross has a tremendous flair which is he clearly passing on to the Orchestra.’ John Manning, The Herts Advertiser, 25 October 2001
Brahms, Concerto for Violin and 'Cello
‘James Ross’s expert conducting allowed soloists Daniel Bhattacharya (violin) and Andrew Taylor (’cello) to rise above the orchestral texture of the Brahms [Double] Concerto.’ Olivia Rowland, Oxford Daily Information, 14 June 2001
Telemann, Viola Concerto; Poulenc, Organ Concerto; Shostakovich, Chamber Symphony op.110a; Elgar, Introduction and Allegro
‘A touch of swank was allowable to James Ross’s orchestra as it closed its account in Oxford Cathedral on Saturday with Elgar’s Introduction and Allegro. This fine-spun work, so full of dangerous harmonies and unremitting demands on string virtuosity, presented every member with a tightrope test. Nobody failed - but this was an outcome long promised. Earlier, the clearly-defined sonorities of Shostakovich’s Chamber Symphony had worked sublime effect, as had the cut-glass splendours of the opening moments when the strings, launching Telemann’s Viola Concerto, at once earned our trust. The telling balance they struck between Elgar’s glacial radiance and the reticent warmth every English heart responds to, perhaps rested on instinct and insight. The Shostakovich, however, one would have thought demanded maturity, and preferably an imaginative grasp of war’s grief and terror. That these young artists struck deep is tribute to a shared intuition: even more perhaps, to an understanding of the score. It seemed a case of "ars docet". Shostakovich teaches, that is to say, as well as entertains.’
Derek Jole, The Oxford Times, 9 March 2001
Derek Jole, The Oxford Times, 9 March 2001
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Mozart, Overture: Le nozze di Figaro
Beethoven, Symphony No.1 Sibelius, Finlandia Elgar, Pomp and Circumstance Marches ‘The standing ovation given to both the conductor and the [Symphony] Orchestra [of Sri Lanka] has had no precedent.’ Lalith Perera, Colombo Sunday Times, 11 February 2001 ‘Beethoven’s Symphony No.1 was skilfully conducted by Dr Ross, drawing the full energy of the Orchestra. … The dashing Pomp and Circumstance Marches played at the end erupted audience into an extended standing ovation.’ Tennyson Rodrigo, The Island, 10 February 2001 |
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Vaughan Williams, The Wasps
‘Flourish and swagger, lyricism and anger combined in Vaughan Williams’ Wasps Overture. James Ross leapt into his characteristically expressive style and urged both playfulness and drama from an increasingly excited orchestra.’ Aruna Wittmann, Oxford Daily Information, 28 November 2000
Verdi, Overture: La forza del destino; Schubert, Symphony No.8: Symphony Hall, Birmingham
‘In Verdi’s Force of Destiny Overture, the Midland Youth Orchestra strings were flexible and urgent under James Ross. Ross also directed a supple, loving Schubert Unfinished Symphony.’
Christopher Morley, The Birmingham Post, 27 March 2000
Christopher Morley, The Birmingham Post, 27 March 2000
‘With sound timing and sensitivity of phrase, James Ross and the Christ Church Festival Orchestra added real emotional resonance to Sir Thomas Allen’s moving account of Mahler’s Songs of a Wayfarer.’ The Oxford Times, 1 November 1999
