James Ross (conductor)
Ross studied at Harrow School, and later at Christ Church, Oxford from where he received an MA in Modern History (1993), an MSt in Music (1994), and a DPhil in French opera (1998) awarded the Donald Tovey Prize. He was also a finalist in the 1998 BBC Philharmonic Conducting Competition.
Since graduating he has conducted over 900 works in fifteen countries throughout Western and Eastern Europe, North America and Asia, and in Westminster Abbey and leading UK concert halls including the Symphony Hall, Birmingham, St. John's, Smith Square, London, and the Sheldonian Theatre, Oxford.  In 2013 he gave the first orchestral concert at Sri Lanka's new national performing arts venue, The Nelum Pokuna Theatre, with the Commonwealth Festival Orchestra.  He is music director of the Oxford Opera Company, the Christ Church Festival Orchestra, and from 2006 the Sidcup Symphony Orchestra. Previous positions include with Oxford University Sinfonietta and St Albans Symphony Orchestra. He has conducted numerous first performances of new works, including by composers such as Tunde Jegede, Philip Sheppard (musician) and Geoffrey Álvarez, at London's Saatchi Gallery., and for Commonwealth Day at Westminster Abbey.
Ross has co-written several books and articles on music, including Music in the French Salon, French Music Since Berlioz, Vincent d'Indy l'interprète, and Messidor: Republican Patriotism and the French Revolutionary Tradition in Third Republic Opera, and has also been published in journals including The English Historical Review, Opera (magazine), The Musical Times and Music & Letters.
- Ross, James, Music in the French Salon
- Ross, James (2006) Vincent d'Indy l'interprète in Vincent d'Indy et son temps, edited by Manuela Schwartz; Sprimont, Mardaga ISBN 2-87009-888-X
- Ross, James (2006) French Music Since Berlioz, edited by Richard Langham Smith and Caroline Potter; Ashgate Press ISBN 0-7546-0282-6
- Ross, James (2008) Messidor: Republican Patriotism and the French Revolutionary Tradition in Third Republic Opera in Music, Culture and National Identity in France, 1870-1939, edited by Barbara Kelly; University of Rochester Press. ISBN 978-1-58046-272-3 
- Ross, James, ‘D’Indy’s Fervaal: Reconstructing French Identity at the Fin-de-Siècle’, Music & Letters 84/2 (May 2003), pp. 209–40.
- Ross, James, Music & Letters and Opera
- "James Ross", Sidcup Symphony Orchestra. Retrieved 19 July 2011
- "Gutsier, Confident Sounds Under the Baton of James Ross". The Sunday Times (Sri Lanka). February 28, 2010. ISSN 1391-0531.
- "James Ross and SOSL take on Dvorak, Rossini and Bruch". The Sunday Times (Sri Lanka). April 29, 2007. ISSN 1391-0531. Retrieved 5 May 2010.
- Chorus Mundi
- Christ Church Festival Orchestra. Retrieved 19 July 2011
- Christ Church Festival Orchestra: The Oxford Times 
- 'Celebrating 75 years of the St Albans Symphony Orchestra', St Albans Review 
- 'Long-serving conductor leaves Symphony Orchestra'
- Hart, Brian (May 2008). "Reviews of Books: French Music since Berlioz. Edited by Richard Langham Smith and Caroline Potter.". Music and Letters 89: 266–270. "Jeunes Artistes, not Auteurs pp. 55, 82. "James Ross reminds us of the vital role that salons...as composers, performers, and patrons. Ross discusses the varying impact of salons... At their best, as in those by Ross, Simeone, Howat, O'Hagan, and both those......""
- Whiteman, Bruce: "James Ross brings welcome attention to the importance of the Parisian salon in French music before World War II..." 
- James Ross’ fascinating survey of the salon traces some vitally important and little explored threads in the fabric of French music.’ Hugh Macdonald, Professor of Music, Washington University, St. Louis, USA.
- ‘A masterly survey of a quintessentially French tradition’! Brio, March 2007
- 'A remarkable contribution, and an essential work for those who are interested in French cultural history': Marie-Noelle Lavoie, 'Intersections': Canadian Journal of Music / Revue Canadienne de Musique
- 'A compelling statement about the complexity of relationship between politics and art, culture and national identity, especially in fin-de siècle France, but also in many places and times besides... detailed and nuanced; concise, well-argued, and thoroughly documented. ... The volume is historically rooted in the best ways. ... The exploration of this ambivalence [about how French nationalism should be reflected in music] makes for a powerful statement. Accessible to musicologists and historians alike. A model for exploring the often-repeated, yet open-ended connections between music and politics, culture and identity.' Sindhumathi Revuluri, Journal of Musicological Research