RECENT REVIEWS

“As her lover Alfred, tenor james Schaffner was likewise superb both physically and vocally...his ardor and anger were as clear in his focused sound and expressive phrasing as in his face and body. The chemestry between the two was convincing”James McQuillen, The Oregonian (La Traviata) March 12, 2005

“Lively acting and singing were also provided by James Schaffner” Leighton Kerner, Opera News (Haroun and the Sea of Stories) January, 2005

“The eight (!) roles for very high tenor (think Berg's Hauptmann) left many characters sounding exactly alike…Some of the tenors struggled, but James Schaffner (the paired villains Sengupta and Khattam-Shud) and Andrew Drost (the fish Bagha) coped admirably with both music and text.” David Shengold, Opéra International, (Haroun and the Sea of Stories) December, 2004

“The rest of the cast also demonstrate one of the joys of opera companies like City Opera: The fact that singers can not only sing, but can act and look their parts as well. Ethan Herschenfeld (Butt, later Hoopoe bird), James Schaffner (Sengupta, later the villainous Khattam-Shud), Joel Sorensen (Snooty Bhutto), Ryan MacPherson (Iff, the water genie) and beloved Mali (sung by Wilbur Pauley) all have strong presences, to match their voices.” Rajika Puri, News India-Times (Haroun and the Sea Stories) November 12, 2004

“Khattam-Shud, played with melodramatic flourishes by tenor James Schaffner” Fredrick M. Windship, The Washington Times, (Haroun and the Sea of Stories) November 12, 2004

“James Schaffner as the Prince of Silence contributed to an accomplished cast.” Shirley Flemming, New York Post, (Haroun and the Sea of Stories) November 5, 2004

“tenor James Schaffner made a sweet-voiced Fabrizio.” Bruce-Michael Gelbert, TheaterScene.net (Mirandolina) May 1, 2004

“Top of the soloist list was tenor James Schaffner,  a former Lincoln are student and singer who's now up-and-coming in national opera circles.  His voice has matured handsomely, and it filled First Plymouth Saturday with sonority, riding confidently over the top of heavy chorus parts... Schaffner gava a terrific touch to the solo lines in an anthem from "Chess," the short-lived Broadway operetta.” John Cutler, Lincoln Journal Star, (Abendmusik Opera Highlights concert) April 5, 04

“As Ernesto — Norina's real sweetheart and the Don's nephew — James Schaffner projected a big, bright lyric tenor...He even accompanied himself on guitar in his serenade to Norina. The futures market might want to take note of this one. “ Mike Greenberg, San Antonio Express-News, (Don Pasquale) January 18, 2004

“The leads were smartly cast...James schaffner brings the right touch of innocence to Candide, and sings with beautiful tone and conviction.” Robert Nesti, Boston Herald (Candide) November 30, 2003

“James Schaffner was ideal for the title role, the perfect youthful innocent presented directly and appealingly without ever allowing him to look simple minded. His voice was a sweet, unclouded…lyric tenor.” William Fregosi OPERA-L (Candide) November 30, 2003

“Tenor James Schaffner as Lord Reginald dispatched his part with appealing, casual ease. His voice maintained its sweetness even in the more ardent declarations of love at the opera’s close.” Richard Lynn, New Music Connoisseur (The Music Cure, Opera Intimate at Lincoln Center) November 2003

“Tami Petty and James Schaffner were well matched in their comedic flair and superb vocalism. Their tit-for-tat repartée was a joy from beginning to unbelievable end.” Josephine Mongiardo, New York Singing Teachers’ Association (The Music Cure, Opera Intimate at Lincoln Center) November, 2003

“James Schaffner has a tenor voice that is extremely flexible.” Lauro Machado Coelho, O Estado de São Paulo (The Haroun Songbook) October 8, 2003

“I adored the American James Schaffner. He, like all the Brazilians was excellent” Brazilian online entertainment review: Matahari007.blogger.com.br (The Haroun Songbook) October, 2003

“James Schaffner contributed some appealing boyish sass as Piquillo.” David Gregson, Opera News Online (La Périchole) September, 2003

“Young Schaffner, memorable from last season’s ‘Powder Her Face,’ is a master of physical humor, and his Piquillo was equally enjoyable for the acting and the singing.” Jim Ruggirello, Grunion Gazette (La Périchole) July 3, 2003

“Schaffner’s Piquillo is a comic delight: confused, vulnerable and plaintive. Singing every note with a clarity of diction that makes each word clear. He is handsome, lively and knows how to turn on a sly, sexy charm.” John Farrell, Long Beach Press-Telegram (La Périchole) June 18, 2003

“The singer most comfortable in this mad, mad, mad, mad world was tenor James Schaffner, who plays La Périchole’s partner and ardent lover, Piquillo. Schaffner has a bell-like tenor, was able to project some real charm, and actually made me care about what happened to his character.” Jim Farber, Daily Breeze (La Périchole) June 17, 2003

“As Périchole and Piquillo, respectively, mezzo Cynthia Jansen and tenor James Schaffner...are...pleasant to listen to, with smooth, mellifluous voices.” Timothy Mangan, Orange County Register (La Périchole) June 17, 2003

“Perfectly cast as Valencienne and Camille, Shalyn Rosenthal and James Schaffner were witty and charmantes, and their bright and “youthful” voices provided a perfect blend of tone and personality in their many duets.” Miguel del Aguila, Chautauquan Daily (Merry Widow) August 19, 2002

“James Schaffner rightly played Baron Kronthal as a Tyrolean Hugh Grant, with easy stage presence...and great hair.” William V. Madison, Opera News Online (Der Wildschütz) July, 2002

“Schaffner is a find -- a facile tenor voice and fluent stage presence...whose combination of musical skills and fearless acting ability encourage hope for opera’s future.” Mark Swed, Los Angeles Times (Powder Her Face) November 13, 2001

“Young James Schaffner, as the electrician, revealed a nice smooth tenor and a Hugh Grantish approach to acting.” Timothy Mangan, Orange County Register (Powder Her Face) November 12, 2001

“James Schaffner’s pitiable Clifford reacts touchingly and with blossoming vocalism to the glimpses of beauty that penetrate his tormented existence.” Joshua Rosenblum, Opera News (House of the Seven Gables, Albany Records recording) October, 2001

“James Schaffner displayed a tenor of considerable color and warmth” Anne Midgette, New York Times (The Rape of Lucretia) April 21, 2001

“The young principals sang beautifully and dramatically....outstanding were Kelly Smith as the young cousin, Phoebe, and James Schaffner as the recently released convict, Clifford.” Richard Traubner, American Record Guide (House of the Seven Gables) March/April, 2001

“If this opera has a central character, it’s the unstable Clifford; with rueful eloquence, tenor James Schaffner gave a resourceful study in depression, hysteria and gradual return to life.” John W. Freeman, Opera News Online (House of the Seven Gables) March, 2001

“With his firm tenor and verbal clarity, James Schaffner created the most vivid personality as the dotty Clifford Pyncheon” Peter G. Davis, New York Magazine (House of the Seven Gables) January 1, 2001

“James Schaffner, the most interesting of the singers” Heidi Waleson, Wall Street Journal (House of the Seven Gables) December 14, 2000

“Tenor James Schaffner was ideal as the dotty Clifford” Bill Zakariasen, The Westsider (House of the Seven Gables) December 14, 2000

“Of the singers, James Schaffner was particularly notable in the emotionally difficult role of Clifford Pincheon. Clifford, just back from jail...is a stunted neurotic when we meet him but becomes entirely whole when he confronts his cousin. Mr. Schaffner made that transition deftly and sang Clifford’s music with an appealing, flexible tenor.” Allan Kozinn, New York Times (House of the Seven Gables) December 13, 2000