"James Strauss is hands down the best flautist I have ever had the pleasure of working with.  He is certainly one of the best flute players in the world, with an unbelievable sense of musicianship, impeccable intonation, and the purest tone quality you could ever hope for.  He is a true, true master of his craft."

Maestro Jeffrey Dokken - Symphony Orchestra of Northern Virginia

“The Lang Lang of the Flute “

Arizona Daily Star

Brazilian  flutist James Strauss has made a spectacular ascent in the world of classical music as a solo artist, champion of the concerto repertoire, chamber. Combining consummate technique with rare sensitivity and depth, his performances are a perpetual source of awe. “The Lang Lang of the flute” says the Arizona Daily Star ."  Un grand bravo! An authentic Latin representative of the French School of Flute "  said Jean Pierre Rampal.   Those fortunate enough to hear Brazilian flutist James Strauss immediately agree with the French Master appreciation; it´s an extraordinary display of erudite musicianship allied with an innate sense of communication through Art. Strauss is a musician with an equal flair for sweetness, elegance and whatever extremes possible inside the concept of dramatic intimacy all filtered through an honest and sincere skill to properly conceptualize a work. His repertoire ranges from baroque to contemporary Masters in addition to endeavors in Brazilian and South American folk that perfectly reflects the many facets of his abilities in solo, chamber or concerto performances. James Strauss is the first Brazilian flutist to ever be conceded a Diplomme de Concertiste by the École Normale de Musique de Paris. He was one of very few last disciples of Jean-Pierre Rampal. Strauss was laureate with a scholarship by the French government for the Conservatoire de Paris and for the École Normale de Musique Alfred Cortot de Paris where he studied with Pierre-Yves Artaud, Alain Marion, Genevieve Martigny, Alain Menard, Maurice Pruvot, Lazlo Hadadi, Bernard Andrés and later masterclasses with Mstislav Rostropovich, Ransom Wilson, Michel Moragues, Michel Debost, and Lars Nilsson. Strauss was laureate in many international competitions and awards as:

·         * UFAM – Concours International de Musique de Chamber 1st Prize

·         * UFAM – Concours International de Flute 1st Prize ( France )

·   * Concours International de la Ville de Lempdes – best interpretation of contemporary piece ( France)

·         * Concours du jeune Flutiste 2st prize - Morangis   ( France)

·         * Premio Carlos Gomes – Brazil

·         * Huesped Ilustre de la Ciudad de Guayaquil ( Ecuador)

  Strauss has a special interest in new music and unconventional repertoire, which has led many composers to dedicate works to him including the world or local premières of works by Philip Glass, Alexander Arutiunian Nicole Randall, Solfa Carlile, Sean Hickey, Glenn Roger Davis, Ricardo Tacuchian, Philip Czaplowski,  Dimitri Cervo, Julio Medaglia, Charles Chaynes, Jean Françaix, Thorkel Sigibjornsson, Ezequiel Diz, Betholven Cunha  and many others. He gave the modern première on the piccolo of the fourth piccolo concerto by Antonio Vivaldi, discovered by the French musicologist Jean Cassignol. He is regularly featured in the international press, as guest on NPR's Performance Today, Bowed Radio, WGUC FM , RADIO FRANCE INERNATIONAL, Radio Classique  and he were host and performer on the Musical TV show in Brazil  Musicas que elevam at the REDE MUNDIAL. The Falls House Press/Theodore Presser Company published James Strauss's discovery and reconstruction of the Concertstuck for flute by Tchaikovsky. Strauss has been guest soloist with orchestras including: Capriccioso Chamber Ensemble (Finland), Orchestre de Chambre de Paris (France), Israeli Virtuosi (Israel), Orchestre Philharmonic de Sibiu (Romania), Oxford Chamber Orchestra (UK), Tokyo Chamber Orchestra (Japan), Orquestra Sinfonica do Recife”( Brazil), Orquestra Sinfonica de São José dos Campos ( Brazil), Bachiana Chamber Orchestra, Orquesta Sinfonica de Guayaquil ( Ecuador)  ,Orquesta Sinfonica de Cuenca ( Ecuador) , Orquestra Sinfonica de Venezuela, Orquesta Sinfonica de Xalapa ( exico)   Orquestra Sinfonica do Teatro Nacional de Brasilia and many others. Respected for his inspiring teaching, Strauss has taught master classes and performed recitals for universities and flute societies, such Miami University (USA), Iceland Academy of Arts ( Iceland), Ecole Normale de Musique de Paris ( France), the Festival Eleazar de Carvalho Fortaleza CEARA (Brazil) - Londrina Music Festival (Brazil), Venezuela Simon Bolivar Conservatory. As music critics say, “He has an astonishing tone color, beautifully rich and thick sound and he imparts a shimmering brilliance to his music...”   This emotional and technically superb musician performs as a concert soloist all over the world, with his virtuoso flute. James Strauss is one of the most brilliant artists of his generation.  Active recording artist for the Label CAPRICCIOSO – He did already 10 cds with artists as Israeli Virtuosi ( Tchaikovsky and Brazilian flute concertos) , Lithuanian National Symphony Orchestra, Orquesta Sinfonica de Venezuela , Ada Pelleg, Regina Glasunova, Miyo Umezu, Alfonso Lopez, Camerata Simon Bolivar and others.

ActuallyStrauss is bases in Quito/Ecuador  he enjoys a multi-faceted career as a leading soloist, recitalist, chamber musician and  teacher.

Critics :

“James  Strauss, the visiting flutist from Brazil showed fluent mastery of his instrument.With the solo Partita in a minor BWV 1013. More was to come: things started to happen , when the two artists arrived onstage to present their interpretation of the b minor sonata BWV1030. The melodic arches of the slow Largo movement emerged spacious & expressive from Strauss's flute. The somewhat stolid Finale benefited beautifully from pianist's motoric skill.”

Keskisuomalainen Finland

Caro  James ,
Finalmente trovo il tempo di scrivere a rispetto della splendida esecuzione del Concerto di Tchaikovsky. Fin dall'inizio ho capito che devo esserti grato per la scoperta di questo gioiello musicale.  Ma a parte cio', volevo sottolineare l'ottima qualita' del suono, del tuo flauto come dell'orchestra israeliana. Trovo che l'atmosfera del Concerto e' stata resa molto bene, e tutto e' eseguito in una maniera talmente elegante e piena di buon gusto che chi ascolta puo' rilassarsi e godere la musica di Tchaikovsky. Ho apprezzato anche la misura e l'equilibrio di una cadenza che poteva facilmente diventare una semplice dimostrazione di bravura fine a se stessa e che nella tua registrazione invece, scorre semplicemente e elegantemente. 
Grazie per questa registrazione che dovrebbe arricchire qualunque amante della buona musica.

Sinceramente,

EMMANUELE  BALDINI  
concertmaster/spalla – OSESP

Oxford Chamber Orchestra : An Evining with James Strauss

"The concert was indeed "An Evening with James Strauss," as he was featured in every piece save the first, the Prelude from Bachianas Brasileiras No. 4 by Villa-Lobos, played warmly by the OCO strings under the direction of  Ricardo Averbach  . In the five works that Strauss played with the OCO, he proved himself in excellent control of technique, nuance, and color. The most impressive work of the evening, the Concerto for Violin, Cembalo and Strings by Haydn transcribed for flute, piano, and strings, was elegant and highly polished. Pianist  Siok Lian Tan , impeccable in her own performance in style, rhythmic control, and touch, followed Strauss's every move. Averbach and the OCO strings were locked in as well, catching each phrase. It was an excellent performance, and was followed by several encores featuring Tan and Strauss together. The three works that followed the Concertstück, Tchaikovsky's Lensky's Aria from Eugene Onegin , Rimsky-Korsakov's Flight of the Bumblebee , and Dinicu's Hora staccato, all transcribed and arranged by the soloist, again pointed to his technical and musical prowess, and earned him a standing ovation. His own set of variations on The Carnival of Venice, played acappella, brought the audience to its feet once again.

James Ocolt

Miami University Press