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  13 Feb 19 WAGNER Die Walkure
  Bavarian Radio Symphony Orchestra (Simon Rattle)

  “James Rutherfords Wotan erklang feiner, versierter und differenzierter als je zuvor. Er sang diese Rolle des Göttervaters bereits an einigen großen deutschen Häusern und scheint sie nun vollkommen verinnerlicht und zur Perfektion geführt zu haben. Bewundernswert, wie er an der Rollengestaltung arbeitete und jede Gefühlslage Wotans innerer Zerrissenheit überzeugend darzustellen vermochte. Als wütender, rasender Kriegsgott und gleich darauf als liebender Vater wusste er mimisch und stimmlich jedes Wort in passender Klangfarbe umzusetzen. Rutherford fand mit dem Wotan die Rolle seines Lebens.”
  “James Rutherford’s Wotan sounded finer, more accomplished and more nuanced than ever. He has already sang this role at some large German houses and now seems to have completely embodied and perfected it. He has admirably worked on the role interpretation and was able to convincingly portray every last ounce of Wotan’s inner turmoil. As an angry, furious god of war and immediately afterwards as a loving father, he knew how to utter every word in the most suitable vocal timbre. Rutherford has found the role of a lifetime with Wotan.”

  Opernmagazin, 13 February 2019

  “James Rutherford… seine Prägnanz, die fokussierte Tongebung und Textklarheit, dazu das kernige, attraktive Timbre heben ihn ab von vielen Fachkollegen. ”
  “James Rutherford’s conciseness, focused tone and clarity of text, as well as his robust, attractive timbre set him apart from many other colleagues.”

  Markus Thiel, Merkur, 10 February 2019

  “Gut schlug sich Bariton James Rutherford, der kurzfristig für den erkrankten Michael Volle einsprang und in die Rolle des Göttervaters Wotan schlüpfte. Düster und verzweifelt gestaltete er seinen ausgiebigen Monolog in der zweiten Szene des zweiten Aufzugs, doch auch das machtvolle Intervenieren in der Schlacht zwischen Siegmund und Hunding gelang Rutherford überzeugend.”
  “Baritone James Rutherford, who jumped in for the ill Michael Volle took on the role of godfather Wotan, sang well. Gloomy and desperate he wonderfully expressed both his extensive monologue in the second scene of the second act and the powerful intervention in the battle between Siegmund and Hunding succeeded Rutherford convincing.”

  David Renke, Bachtrack, 12 February 2019

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  02 Jul 18 WAGNER Gala Concert
  Ravello Festival

  “…l’elegante James Rutherford, di suono scuro, ideale, quasi incanta cantando con timbro e parola splendidi.”

  “…the elegant James Rutherford, of dark, robust sound, enchants with his singing of splendid timbre and expression.”

  Salvatore Morra, Giornalle della Musica, 2 July 2018

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  14 Dec 17 VERDI Rigoletto
  Royal Opera House

  “Monterone’s entry doesn’t require much subtlety, since he’s essentially required to come in, stand and deliver thunder: James Rutherford did exactly what was required, the vocal image of revenge.”
  David Karlin, Bachtrack, 15 December 2017

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  16 Oct 17 BRITTEN Peter Grimes (Captain Balstrode)
  Oper Frankfurt

  “Lange wärmt auch der ausdrucksfeine Bariton von James Rutherford als gutmütiger Captain Balstrode die grausame Szene – bis auch er dem Freund ganz am Schluss die Loyalität versagt.”

  “The expressive baritone of James Rutherford as a good-natured Captain Balstrode also warms the cruel scene for a long time, until he also denies loyalty to his friend at the very end.”
  Bettina Boyens, Frankfurter Neuer Presse, 10 October 2017

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  09 Aug 17 WALTON Belshazzar's Feast
  BBC Proms

  “Driving hard through the bends of recitative and chorus, with a few well-coordinated emergency brakes for effect, his approach was at odds with the modulated polish of the baritone James Rutherford. As befits a Hans Sachs of Bayreuth standard, he is too classy a singer to grandstand or hector; he brought vulnerability to the opening lament as much as finger-snapping flourish to the writing on the wall that spells Belshazzar’s downfall.”

  Peter Quantrill, The Arts Desk

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  09 Feb 17 WAGNER The Flying Dutchman
  Stuttgart Opera

  “James Rutherford gelingt es als Hollander bei seinem stuttgart-Debut die Abgrunde der Partie mit klangfarbenreichem Bariton zu beschworen.”

  Stuttgarter Zeitung / Alexander Walther, May 2017

  “James Rutherford singt einen uberaus wohlklingenden Hollander, mit herausragender Diktion und ebensolcher Durchdringung des Textes. Mit eindrucklicker Plastizitat gestaltet er den grossen Monolog, sein wunderbar stromender Bassbariton verfugt aber auch uber die fahlen Farben fur den Beginn de Duetts.”

  Kaspar Sanneman/Der Operfreund, May 2017

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  18 May 16 WAGNER The Ring Cycle
  Frankfurt Opera

  “James Rutherford’s Wotan was in his element, with his rich and booming voice and nuanced acting impressively encompassing the range of the character’s dilemma to create a complete character.”
  Amo Imamura, Bachtrack, May 2016 

  “Wenn die Frankfurter Wiederaufnahme nichtsdestotrotz zum lustvollen Erlebnis wird, ist dies den stimmlich wie schauspielerisch herausragenden Leistungen einiger Sänger zu verdanken. So liefern James Rutherford als Wotan mit warm getöntem Bariton…”
  Miriam Zeh, Bachtrack

  “Fricka und Wotan (James Rutherford) geben ein göttliches Paar.”
  Marion Schwarzmann, Giessener Allgemeine Zeitung

  “Die Um-den-Kopf-Wette zwischen Wanderer-Wotan und Mime bringt dramatische Spannung auf die Szene: James Rutherford avancierte als stimmgewaltiger Wotan dabei schnell zum Publikumsliebling, der am Ende mit besonderem Applaus bedacht werden sollte. Von sattem Timbre und reichem Vibrato gekennzeichnet stand ihm die Rolle ausgezeichnet, er wusste ihr den passenden epischen Atem zu verleihen.”
  Miriam Zeh, Bachtrack, May 2016

  “James Rutherford seemed most comfortable in Siegfried, as his light-timbre bass-baritone suited the Wanderer. His extended Act I interchange with Mime was sung with good sense of lyrical passages, while he was a witty conspirator with Alberich in Act II. The two crucial encounters in Act III, first with Erda, to whom he revealed his final plan and desire of bequeathing the world to Siegfried, and finally with Siegfried, to give up his reign, were both sung splendidly and majestically; soaring lines made a thrilling arch and the voice rang out with authority.”
  Ako Imamura, Bachtrack, May 2016

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  25 Apr 16 CD: Schwanengesang
  BIS Records

  “‘James Rutherford besitzt einen ebenmäßigen, eleganten Bariton. Interpretatorisch orientiert er sich hier nicht an Dietrich Fischer-Dieskau, der meinte, mit jeder gesungenen Note den Text erklären zu müssen.’…’James Rutherford verleiht seiner Stimme bei jedem Lied eine  eigene Klangfarbe.  Die Stimme klingt hier ausgeglichen, geradezu in sich ruhend. Einer der schönsten Momente auf dieser CD erlebt man gleich im ersten Lied, wo der Sänger kunstvoll ins Piano geht. Ebenso wie er den Titel Nr. 5 gestaltet, habe ich dieses Lied ‘Aufenthalt’  vom Ausdruck her so noch nie zuvor gehört. Man hält förmlich den Atem an.'”
  Sven Godenrath, Openratgeber blog, April 2016 

  “‘His (James Rutherford’s) baritone has almost everything for the Schubert selection on this disc: lightness at the top, warmth in the middle, velvety low notes, and an edge that ensures the words cut through. In dramatic songs he’s capable of quicksilver changes of timbre; in Kriegers Ahnung, for example, he moves from a low snarl early on to gentle, airborne high notes.’…’Die Forelle.. is lovely, with Eugene Asti’s bubbling piano nudging the vocal lines along. An die Musik, sung and played with great intensity of feeling, closes a rewarding disc.'”
  The Guardian, Erica Jeal, April 2016

  “‘Wie so oft, wenn zwei außerordentliche Künstler zusammentreffen, wie hier James Rutherford und sein Begleiter Eugene Asti, kommt dabei nicht nur Gutes heraus, sondern sogar das Bestmögliche.’…’Dennoch ist seine wohl- und volltönende Stimme beweglich, schmiegsam, sie besitzt große Dimension und vermag sogar ein schönes, schwebendes Piano hervorzuzaubern. Der Vortrag zeugt von tiefem Eindringen in die Werke und hält sich dennoch von Tüftelei und Affektesse fern.’…’Die Aussprache de Sängers ist überwiegend klar und deutlich, der Vortrag lebensvoll und tief berührend in den melancholischen, sehnsuchtsvollen Gesängen (Kriegers Ahnung, In der Ferne). Eugen Asti am Klavier ist nicht bloß Assistent, sondern mitlebender, mitfühlender Gefährte.'”
  Klassik Heute, Clemens Höslinger, April 2016 

  “Kreigers Ahnung suits Rutherford’s very fine voice perfectly, and one notices his impeccable German diction from the start. The third song, Frühlingssehnsucht shows that his large voice can deploy a lighter manner, and he really relishes the text. Ständchen, is the best known of all these songs and benefits here from a restrained but still ardent treatment. Following Aufenthalt with Herbst feels slightly like viewing a sketch after the finished painting, but both songs are so well done it seems churlish to complain. With the long (six minutes), slow and anguished In der Ferne the low voice makes its mark, as does the pianist in Abschied, with just the right tempo – a canter, not a gallop, that allows the singer to articulate the text.”
  Roy Westbrook, MusicWeb International, April 2016 

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  20 Nov 15 WAGNER Die Meistersinger von Nürnberg
  San Francisco Opera

  “Notwithstanding the name of the opera, ‘Meistersinger’s’ central role is Hans Sachs, a cobbler-poet who artfully and selflessly brings together the main romantic characters and is its moral compass.  Ethically grounded, Sachs is one of the most likable characters in all of opera, and one of its most demanding roles. Baritone James Rutherford shepherded the part masterfully with his muscular, rich voice that carried through the house, and sturdy build and blend of dramatic and comic prowess.”
  James Ambroff-Tahan, SF Examiner, November 2015 

  “On opening night, Rutherford’s essentially lyric instrument sounded warm and expressive…this Sachs projected the right combination of the character’s humanity, intelligence and longing.”
  Georgia Rowe, Mercury News, November 2015 

  “James Rutherford, taking over the extensive, key role of Hans Sachs from a singer who withdrew from the production, built the performance steadily, peaking when it required the most five hours into the evening”
  SFExaminer, Janos Gereben, November 2015 

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  30 Sep 15 STRAUSS 'Salome' Bournemouth Symphony Orchestra
  The Lighthouse, Poole and Symphony Hall Birmingham

  “It’s rare to hear this score liberated from an orchestra pit, and in Poole’s Lighthouse all the detail and colour came across directly. James Rutherford had booming resonance and authority as Jokanaan.”
  The Telegraph, John Allison, September 2015 

  “James Rutherford the Jokanaan, wrapping his burnished tone around the prophet’s phrases and communicating meaning in a way that mostly defeated other singers.”
  Andrew Clements, The Guardian, September 2015 

  “James Rutherford as Jochanaan was strongly authoritative and all zealous outrage, determined that the abominations of Herodias and the corrupt Judaea court be cast down and of course totally immune to Salome’s  increasing desperate blandishments.”
  Ian Lace, Seen and Heard International, September 2015 

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  27 Sep 15 BEETHOVEN Symphony No. 9 Philharmonia Orchestra
  Royal Festival Hall, London

  “In the final movement, Dohnányi’s interpretation was informed by clarity and vigour, the energetic orchestral playing now supported by spirited choral contributions from the Rodolfus Choir and Philharmonia Voices. The four soloists, bass James Rutherford, tenor Michael König, mezzo-soprano Ruxandra Donose and soprano Rachel Willis-Sørensen, were uniformly excellent.”
  ★★★★ MusicOMH, Christian Hopkins, September 2015

  “Beethoven’s writing made life notoriously difficult for the vocal soloists and choir… however soprano Charlotta Larsson, mezzo Ruxandra Donose, tenor Michael König and baritone James Rutherford formed an impressive quartet of soloists.”
  George Hall, The Guardian, September 2015 

  “Beethoven’s Ninth Symphony, which followed after the interval was an irrepressible performance, demonstrating Dohnányi’s ability to energise his troops. The Rodolfus Choir and Philharmonia Voices could hardly have sounded more enthused. Nor could the soloists (soprano Rachel Willis-Sørensen, tenor Michael König, mezzo-soprano Ruxandra Donose, and bass James Rutherford).
  ★★★★ The Financial Times, Hannah Nepil, September 2015 

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  24 Feb 15 STRAUSS 'Elektra'
  Hamburg State Opera

  “James Rutherford made a splendid Orest, his robus and pleasingly rounded bass-baritone reflecting his growing status as a Wagnerian”
  Hugo Shirley, Opera Magazine, May 2015

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  22 Apr 14 CD: James Rutherford Sings Wagner
  BIS Records AB

  “this disc … acts as an admirable ‘sampler’ of the work of a singer whose assumption of the Wagnerian mantle is assured and highly idiomatic.”
  Paul Corfield Godrey, Music Web International, April 2014

  “Depuis longtemps nous n’avions entendu une voix capable de communiquer aussi simplement la vérité de personnages si éminemment complexes.”
  Sylvain Fort, N°163 de Classica, June 2014

  “The Norfolk-born bass-baritone’s voice, on this showing, is close to ideal – chocolate-dark and rich in tone, with a deceptive effortlessness and security that shows up many more famous exponents.”
  BBC Music Magazine, Michael Scott Rohan, July 2014

  “He (Rutherford) is the possessor of a voice that happily combines strength and warmth, in the mold of Terfel… Every rounded tone is securely produced; there’s real human emotion, delivered without edginess.”
  Huntley Dent, Fanfare, April 2014

  “‘Rutherford’s baritone, almost a bass-baritone, is dark, nutty brown in colour and broad in its phrasing…the seriousness of his Sachs, his warmth and generosity, come across impressively from his stage experience.’…’His Amfortas in Parisfal, has a wonderful, unforced dignity, and in Wotan’s Farewell his is remarkably authoritative for one so young – noble, sensitive, no forcing and with no fear.'”
  Richard Fairman, Gramophone Magazine, September 2014

  “James Rutherford’s timbre reminds me a bit of Thomas Stewart’s, a blend of bass and baritone closer to the higher end…it’s just right for the heroic Wagner roles.  He’s at his best in the Amfortas final lament, ‘Ja! Wehe’, so moving that it’s a real jolt when the scene is abruptly cut off at the end…”
  American Record Guide, November 2014

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  22 May 13 WAGNER 'Die Walküre' Act III
  Royal Festival Hall, London

  “James Rutherford’s Wotan was full and visceral of voice”
  Martin Kettle, The Guardian, 23 May 2013 

  “Although the act requires seven other singers, it is a confrontation between Brünnhilde and her father Wotan, sung here by James Rutherford. There was cruelty in Rutherford’s voice, anguish and dismay in Bullock’s.Both sang with weighty authority”
  Nick Kimberley, The Evening Standard, 23 May 2013 

  “To say that over time Rutherford should develop into a great Wotan would be true but slightly unfair, because from the moment that he stepped out from behind his lectern for ‘Leb’ wohl, du kühnes, herrliches Kind!’, never to return for the rest of the act, he already felt like one. His performance of ‘Der Augen leuchtendes Paar’ was enough to bring tears to the eyes”
  Sam Smith, Music OMH, 24 May 2013 

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  01 Jan 13 CD: Most Grand to Die
  BIS1610

  “Rutherford … displays the warm and gentle approach that is needed most of the time and then he produces exquisite singing. With a full range of well-applied dynamics, he is able to employ his robust operatic voice as needed and also harness it gorgeously for the tender passages. … this performance (Songs of Travel) is deeply engaging and comes to a deeply affecting conclusion as Rutherford reduces his voice to a vibrato-free hush on the final line ”And I have lived and loved, and closed the door.” Rutherford rapturous singing of the beautiful long lines brings you magically into the night of those “that suffer long” who may in sleep ‘know some little joy’. This is one of the best available anthologies of 20th Century English songs.”
  R Moore, American Records Guide, February 2013

  “A Shropshire Lad’s ‘Think no more, lad’ is wittily scored, and the string writing in ‘Is my team ploughing?’ is exquisite. Impeccable singing too, from baritone James Rutherford. He’s also heard in Butterworth’s own orchestral version of Love Blows as the Wind Blows. ‘On the Way to Kew’’s bittersweet nostalgia is a thing to treasure, he and Russman handling the soft fade with tender affection.”
  Graham Rickson, The Arts Desk, February 2013 

  “Two sets of Butterworth’s songs are also included, both sung with exemplary diction and compelling conviction by James Rutherford. A fine release to commemorate not just one promising young life cut short, but a generation of millions.”
  Richard Morrison, The Times, February 2013

  “On se rappelle du Hans Sachs de James Rutherford dans les maîtres chanteurs de Nuremberg au Festival de Bayreuth de 2010 et 2011 où il avait montré ses qualités de musicalité précise. Il met ici toute sa sensibilité pour exprimer dans sa langue maternelle le romantisme rural des poèmes de Housman.”
  Jean-Marie André, Crescendo, February 2013 

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  01 Nov 12 WAGNER Die Meistersinger von Nürnberg
  Wiener Staatsoper

  “I can think of no better Sachs than James Rutherford, charismatic and extraordinarily young for the role, but sailing through it effortlessly with his velvety baritone.”
  Musical America, 30 November 2012

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  12 Apr 12 VERDI 'La Traviata' (Recording)
  Graz Opera

  “James Rutherford (Bayreuth’s Hans Sachs) and Italian tenor Giuseppe Varano (as a nerdy, speccy Alfredo straight out of Brad in The Rocky Horror Show) are intensely involved and in good vocal shape.”
  Mike Ashman, Gramophone, April 2012

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  01 Apr 12 ELGAR 'The Dream of Gerontius' City of Birmingham Symphony Orchestra
  Symphony Hall, Birmingham

  “James Rutherford was in his customary commanding, authoritative form as the Priest despatching Gerontius into the afterworld, and as the awesome Angel of the Agony interceding for him as judgement approaches.”
  Christopher Morley, Birmingham Post, 13 April 2012

  “Baritone James Rutherford brought Part One to an exultant close with his deeply mellow, resounding Priest filling the Symphony Hall, backed by a rhythmically insistent CBSO chorus.”
  ★★★★★ Andrew H. King, Bachtrack, 16 April 2012

  “James Rutherford, authoritative in the bass roles, completed a top-flight team of soloists.”
  Barry Millington, The Evening Standard, 16 April 2012

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  01 Jan 12 VERDI 'Otello'
  Graz Opera

  “James Rutherford als Orest ist nicht weniger als eine Luxusbesetzung auf Weltklasseniveau, sein viriles Timbre tönt wie in Ehrfurcht gebietende delphische Bronze gegossen.”
  Harald Haslmayr, Die Presse, 22 January 2012

  “Mit dem Orest, den er markig, kraftvoll und nobel singt, hat James Rutherford eine weitere Paradepartie erobert.”
  Ernst Naredi-Rainer, Kleine Zeitung, 22 January 2012

  “Orest, dieser wieder von James Rutherford, souverän und zum Teil aus dem Zuschauerraum gesungen und somit bewußt als Nichtinsasse herausgestellt.”
  Peter Skorepa, Neue Merker, 22 January 2012

  “James Rutherford ist ein nobel timbrierender Orest”
  Helmut Christian Mayer, Kurier, 22 January 2012

  “James Rutherfords stimmkräftiger Orest ist eine Bank”
  Martin Gasser, Kronen Zeitung, 22 January 2012

  “James Rutherford, ein als Harlekin oder Hofnarr kostümierter Jago, singt diesen sehr kraftvoll, mit reichem Tremolo in der Tiefe.”
  Helmut Christian Mayer, Kurier, 3 October 2011

  “James Rutherford (momentan Bayreuths Hans Sachs) gelingt eine raffinierte, in jeder Nuance durchdachte Darstellung jenes Erzbösewichtes, der eben nicht notwendig ein ölig-schwarzes Gangster-Timbre benötigt, um zu überzeugen.”
  Die Presse, 5 October 2011