Press

‘He’s an exceptional accompanist, knowing both when to hold back and let the vocal line do the work, and when to assert himself and propel the music forward.’
Tim Ashley, The Guardian, 2 January 2020

‘Yende’s partner for this recital, fellow South African James Baillieu, was extraordinary, showing all the makings of an exceptional vocal accompanist: his vivid playing never upstaged his partner, and he followed her beautifully, his choices responding to hers in real time.

Baillieu brought a gorgeous variety of tone and natural freedom in his phrasing: he offered a gossamer touch in “Der Nussbaum,” dreaming sighs in Donizetti’s “Le crépuscule,” and rippling breezes in Tosti’s “Aprile.” In Strauss’s “Zueignung” he played with concerto-like virtuosity, contrasting with the airy glitter of “Ständchen.” If Wednesday was indicative of his usual playing, Baillieu might become one of the few pianists to achieve real fame as a vocal accompanist.’

Eric C. Simpson, New York Classical Review, 5 December 2019

‘At the piano, Baillieu was a beautifully matched “partner in crime” (Davidsen’s phrase, in one of several disarmingly sweet spoken introductions), with quicksilver fingers in Grieg, a delicious flexibility of tempo in Strauss and delicately balanced sound throughout. And in the closing bars of Strauss’s Morgen (their second encore), he provided the most breathtaking touch of all – suspending time and allowing silence itself to speak.’

Flora Wilson, The Guardian, 11 February 2020

 

 

‘Baillieu, with his warm sound and empathetic ear, is one of our favourite pianists these days. His playing reminds us of something Steven Blier said about the job of the accompanist, how it’s like taking a singer by the hand and leading them down a hallway of doors. At each door, the pianist opens it for the singer, and asks if they want to go in; if they do, they join them enthusiastically, and if they don’t, the pianist simply invites the singer through the next door. Baillieu has a knack for creating a soloistic phrase out of a singer’s intent; he follows, without losing his autonomy.’

Jenna Douglas, Schmopera, 30 January 2017

4 December 2015 – Wigmore Hall, with Iestyn Davies and Allan Clayton 

“Last night’s Wigmore Hall recital by conter tenor Iestyn Davies and tenor Allan Clayton, accompanied by James Baillieu, was an all-round triumph: brilliantly programmed, superbly sung and very thought-provoking.”
David Nice, The Arts Desk,  5 December 2015

“James Baillieu was instrumental in the commission [Nico Muhly’sLorne ys my liking] and it was funded partly from his Borletti Buitoni Trust Fellowship funds. His reward was to help bring to life a remarkably striking new work, and one which rewarded Baillieu with a dazzling piano part which was far more than accompaniment.”
Robert Hugill, Planet Hugill, 6 December 2015

“Plaudits should also go to the excellent pianist, James Baillieu, who contributed much to the make-up of the programme and accompanied with an unassertive sensitivity and imagination that illuminated every aspect of both music and text”
Rupert Christiansen, Daily Telegraph, 7 December 2015

“…these wonderful singers and their excellent accompanist James Baillieu turned [Canticle II: Abraham and Isaac] into white-hot drama.”
Michael Church, The Independent, 7 December 2015

“Baillieu gave us some gorgeous iridescent modulations at the beginning of the first song and imaginative tone painting in the final song.”
Robert Beattie Seen and heard International, 7 December 2015

“There was keen intelligence in the programming, an ear for subtle literary and musical connections and significant personal investment … There was also some of the most sheerly beautiful singing and playing to be heard from this generation of musicians.”
Anna Picard, The Times, 7 December 2015

“James Baillieu is in a class of his own, he is in the Gerald Moore/Graham Johnson bracket, a remarkable pianist.”