In Five Years’ Time (Feb 2026):
The Stage: The central character of the poet Federico (solidly characterised by James Schouten)
Reddit User Initial-Moose8891 (maybe not useful but fun!):
‘My ears are still ringing from the full high notes he sang right at me Had I known there would be more robust tenor voices on stage I would have maybe chosen a seat nearer to the edge of the hall LOL.
But in all seriousness it was a beautiful voice with oodles and oodles of squillo. Crisp diction with no need for surtitles and charismatic acting too. I would have loved to hear a voice like his in some of the fuller lyric roles in larger theatres…’
Oedipus Rex – New Palace Opera (October 2025)
Get The Chance
James Schouten was cast very well as the titular character who’s downfall is his own doing through pride, ignorance and a general stupidity. Vocally, as a piercing tenor he melded well into the role, it was a pleasure to hear him live.
Das Rheingold (March 2025)
The Guardian
‘James Schouten’s sinuous and articulate Loge’
Seen and Heard International
‘A fine Loge will always steal the show; James Schouten accomplished that and more in as complete a performance as I can recall on any stage, from Bayreuth to Bethnal Green. His palpable commitment was truly infectious—and surely a first-class invitation to consider words, music, and their meaning in a production that was text-driven in the fullest sense. (So many fall into the trap of thinking ‘text’ refers only to words—and in Wagner of all composers.)’
Bachtrack
https://bachtrack.com/review-rheingold-woodward-staunton-regents-opera-york-hall-february-2025
‘James Schouten didn’t so much boss the show as put a rocket under what was already a strong performance and propel it into orbit. The role is normally sung by a relatively light, character tenor, which Schouten is definitely not, being a former baritone (a convert from the dark side, as singers say). His Loge was the linchpin of the opera, sung at full dramatic throttle and with an almost music-hall swagger – a real thrill to behold.’
The Stage
‘James Schouten triumphs as the half-god Loge. Sporting sunglasses and punk-style clothing and make-up, Schouten’s Loge is all sharp attitude, obedient to his god-masters and yet contemptuous and pitying of them at the same time.’
Music OMH
‘With his bright tenor, James Schouten is a splendid Loge. Whether he is dancing in a trancelike state, or observing affairs from afar while feeling nothing but disdain, he is the ultimate trickster.’
Opera Today
‘I found Loge’s ballet-like gyrations and twerking unsettling, but as sung by James Schouten this was a commanding performance. His insinuations to Wotan (“Was ein Dieb stahl, das stiehlst du dem Dieb“) were full of vibrancy and conviction, with a metallic edge to his gleaming upper register that supported all his vocal fire-power.’
Reviews Gate
James Schouten’s Loge is a stand-out commedia-dell’arte turn that provides an extra flourish to the proceedings.
Classical Source
The other dominant force was James Schouten’s complex portrayal of demi-god Loge, sung with charm, wit and dramatic insouciance; his attractive tenor sounding more heroic than is often the case when character-tenors take the role on. This was an outstanding assumption on any terms; he’s a singer with a career to watch for sure.
Carole Rees Awards 2024 – Mastersingers Wagner Vocal Competition – Sir John Tomlinson:
‘For us there was one performance which stood out above all the rest and this was James [Schouten] as Loge… James combined wonderful delivery of the text, great German, clarity of text, thought behind the text… character excellent. The thing about Wagnerian singing is combining everything isn’t it? Character, voice, text, acting and drama; and James came by far the nearest to that ideal.’
Hancock Artists 