When We Were Young (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 (Der Vogelhändler)

“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)

“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, April 2007

“As the Evangelist, James McLennan showed more than potential. Dispassionate when required, expressive when the music called for it.”

- Le Devoir de Montréal, March 2002

“Sober dramatization and perfect style.”

- La Presse de Montréal, March 2002

Candide (Bernstein)

“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, March 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, January 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, January 2007

Der Ziegeunerprimas (Kàlmàn)

“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)

“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, July 2004

La Fille du Régiment (Donizetti)

“The two leads, Tracy Smith Bessette and James McLennan, performed amazing vocal feats.”

- La Tribune Sherbrooke, May 2001

Cosí fan tutte (Mozart)

“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, November 2001