"Callon...is completely believable as the young man in love who doesn't seem to have a chance with his beauty, but remains faithful to his feelings. That's not only due to acting, but his emotional and gorgeous voice."
--Edith Decker, Grants Pass Daily Courier
"His (Callon's) aria 'Je crois entendre encore' was a thing of delicate beauty, ideal for this repetoire, but thereafter grew in amplitude."
--Scott MacClelland, San Francisco Classical Voice
"Blessed with a ringing tenor...Callon sang with rare beauty, compelling ardor, and, in the great aria, 'Che gelida manina' (What a frozen little hand), touching nuance. Who would have expected such a fine tenor in a small regional production?"
--Jason Victor Serinus, San Francisco Classical Voice
"Lyric tenor Mr. Callon handles both the acting and singing chores with equal aplomb, displaying a refined tone and an affable comic sense. He comes alive vocally in the final terzett...and his 'watch duet'...is nicely conceived and executed."
--Gregory M. Alonzo, StarkInsider
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"The exception is tenor James Callon from Los Angeles, who sang the difficult and showy title role with relish. His powerful chest voice and impressive high notes would be at home in much larger opera houses."
--Janos Gereben, San Franciso Examiner
"...Shaw tends to attract singers who tend to be young, accomplished and on the upswing of their careers. Take James Callon, for example. He captured the tenderness and pathos of the besotted lover, Rudy/Rodolfo with a dynamic vocal style that convincingly followed the peaks and valleys of his emotional turmoil."
--David Maurer, Culture Spot LA
"James Callon, as Blanche’s fickle suitor, Mitch, helped anchor some of the production’s most powerful scenes, both in terms of vocals and acting."
--Donald Munro, Fresno Bee
"James Callon brings a beautiful tenor voice to Faust, and is always compelling...that voice is extraordinary."
--John Orr, San Jose Mercury News
"I found tenor James Callon accurate and expressive, and not overpowering, as so many other tenors I’ve heard (especially when performing this piece)."
--Dick Franzreb, The Sacramento Choral Calendar
"James Callon is excellent in the role of the villanous Duke. He sings with such ease...He even manages to persued us for a moment that this debouched roué truly loves Gilda."
--Steve Callahan, BroadwayWorld.com
"'...the tenor gets all the good music.'" And the tenor in this “Rigoletto,” James Callon, took full advantage of this high-flying bounty. The audience heard him stake his claim and...when the show was done, the bravos began..."
--Robert Duffy, St. Louis Public Radio
'Susannah' at the Pasadena Opera
"James Callon...provide[s] depth and texture in [his] supporting role...under brisk and lively stage direction."
--Hoyt Hilsman, HufftingtonPost.com
"James Callon as Mitch is good — his crisp, powerful tenor having just the right naïve tone for someone who remains very much a “mama’s boy.” His singing projects that sense of vulnerability and openness, to the point that you really hope this character, at least, finds some sort of happiness. But then, this IS a Tennessee Williams play …"
--James D. Watts, Jr., Tulsa World
"The terrific supporting performances are almost too numerous to praise, from Jeanine De Bique's moving second-act duet as Sister Rose to James Callon's precisely surly prison chaplain."
--Donald Munro, Fresno Bee