Features & Interviews
IDAGIO: Classical Streaming
April 2022
“Fred Plotkin on Fridays: Randall Scotting
Classical Singer Magazine
Nov / Dec 2021
Counterting the Narrative with Countertenor Randall Scotting by Jonathan Blalock
Musical America Worldwide
July 2021
New Artist of the Month: Countertenor Randall Scotting by Clive Paget
Pro Ópera
July 2021
“Primero trabajo el drama, luego la música by Gamaliel Ruiz
Classical Post
July 2021
“Fit Countertenor from Colorado Meets 18th Century Opera, Randall Scotting Carves a Singular Path by Jonathan Eifert
Planet Hugill
April 2021
A name to watch: American counter-tenor Randall Scotting by Robert Hugill
Seattle Opera Blog
April 2021
Meet the Artist: RANDALL SCOTTING
by Gabrielle Kazuko
Reviews
ELIOGABALO (by Cavalli) | Randall sings the title role
West Edge Opera, San Francisco : JUL-AUG 2021
Sex, Corruption, and Song at West Edge Opera’s Eliogabalo
“Eliogabalo has a splendid moment of hubris near the end, crowing about how he can do anything, enacted with glee by countertenor Randall Scotting.” – by Nicholas Jones, San Francisco Classical Voice
Opera Wire preview of Eliogabalo
“The scandalous high-drama and dark comedy of Eliogabalo come wrapped in the gorgeous melodies of Cavalli, and the opera’s themes of power, betrayal, love, and loyalty could not be more timely.” – by David Salazar, Opera Wire
FLIGHT (by Jonathan Dove) | Randall sings the Refugee
Seattle Opera, Seattle : APRIL 2021
Seattle’s Museum of Flight as Optimal for Jonathan Dove’s Opera Flight
“American countertenor Randall Scotting is marvelous as the Refugee, his plangent, rich-toned instrument possessing just the right degree of otherworldliness to suggest his mysterious origins and the complexities of his unique dilemma. He’s a compelling actor as well, which ensures that his final aria and its dramatic reveal (no spoilers) lands with due pathos.” – by Clive Paget, Musical America
Opera News review of Flight
“Randall Scotting’s cool, lovely countertenor was perfect when the Refugee sang in Act III of the cold he had endured as a wheel-well stowaway: voice and orchestra executed icy, downward glissandi as an upward shot placed him against the cold glass and steel of the museum rafters.” – by Mark Mandel, Opera News
Flight at the museum: Seattle Opera’s new film imaginatively re-locates Jonathan Dove’s opera
“At the heart was Randall Scotting’s Refugee, singing with a warm, focused and fluid tone he projected a touching naivety which, as the play with the magic stones developed, you realised was a persona, there was a craftiness there too. Yet at the end, Scotting wrenched our heart muscles with the scene where he narrates how he got there and tragedy with his brother.” – by Robert Hugill, Planet Hugill
Flight in the land of Boeing: Seattle Opera delivers Dove with panache
“Scotting has a lilt and a mellow smoothness to his countertenor voice that is particularly appealing, heartbreaking in the denouement scene where we learn the details of how the Refugee has come to be at the airport.” – by David Karlin, Bachtrack
Infrequent flyers in unfamiliar skies
“In Seattle, the role is taken by burly, bearded Randall Scotting, familiar to New Yorkers for his Handel, Bostonians for his Gluck, whose creamy, muscular alto soars suavely high when he remembers the agonizing cold of his journey.” – by John Yohalem, Parterre Box
Livestream Chronicle
“The Refugee is portrayed by Randall Scotting, a countertenor from Colorado. There is not a weak link in the cast.” – by Jay Nordlinger, New Criterion
DEATH IN VENICE (by Benjamin Britten) | Randall sings the Voice of Apollo
Royal Opera House, Covent Garden, London : DEC 2019
La decontestualizzazione di Death in Venice
“Apollo è cantato brillantemente dal controtenore Randall Scotting.” |tr| “Apollo is sung brilliantly by countertenor Randall Scotting.” – by Thomas Gobbetti, Le Salon Musical
JEPHTHA (by Handel) | Randall sings Hamor
Boston Baroque, Boston, MA : MARCH 2019
Boston Baroque’s Jephtha – The Fate of Youth
“Randall Scotting, as her amorous Hamor, dominated the proceedings whenever he let his magnificent countertenor loose.” – by Susan Miron, The Arts Fuse
“Countertenor Randall Scotting rang a bright and ardent Hamor.” – by CJ Ru, The Boston Musical Intelligencer
THE ORESTEIA (by Iannis Xenakis) | Randall sings Kassandra and Athena
Christchurch Arts Festival, New Zealand : SEPT 2017
Oresteia: a tough but worthwhile listen
“Drawing it all together was the virtuosic skill of singer Randall Scotting who was absolutely amazing, commanding the stage for two long periods of demanding extremes. There can surely only be a handful of singers on the planet that can carry this off and with his strong physical presence he really was remarkable… But I keep coming back to Scotting and his vocal wizardry. Given that Oresteia is a piece that tests one’s tolerance at times and doesn’t make friends easily, Scotting’s performance on its own was well worth turning out for.” – by Patrick Shepherd, Christchurch Mail
Courageous Challenging of Comfort Zones
“stunningly performed by countertenor Randall Scotting… his second aria reaffirmed the initial impact of an exceptionally powerful countertenor voice.” – by Tony Ryan, Theatre Review
PARIS (Handel arias & Leonard Cohen song) | Randall sings the Goddess Juno
Company XIV, Brooklyn, NY : OCT 2016
Troy Revisited
“Scotting started out as Joan Sutherland with agile coloratura leaps through a Handel aria, then he stripped during a fan dance to Leonard Cohen’s ‘I’m Your Man.’ The level of multi-talent was high. After singing, and without putting on extra clothing, Scotting played the cello during the intermission. If Scotting had offered to fix my plumbing, I would have taken him up on it.” – by Leigh Witchel, Dance View Timesw
Superb Performers Sparkle in Company XIV’s PARIS
“Juno (Randall Scotting) has a more earthbound approach while commanding center stage gloriously singing the music of Handel. When performing Leonard Cohen’s I’m Your Man, the sexy chorus strips off Juno’s female garb down to the bare necessities. Yes, he’s indeed a man (dominatrix boots and all) and his countertenor prowess is breathtaking.” – by Bob Rizzo, Broadway World
Company XIV’s ‘PARIS’ Is a Sexy, Beautiful, And Incredible Burlesque to Watch
“We were extremely impressed and in awe over the fact that they decided to cast the goddess Juno with Randall Scotting who was charismatic, funny, and just plain sexy. He was definitely a person to remember and watching him undress into thigh-high stiletto boots gave us our lives.” – by Vinesh Vora, The Knockturnal
RINALDO (by Handel) | Randall sings the title role
Merkin Concert Hall, New York, NY : June 2016
Review: Handel’s Rinaldo, With Period Brass in Good Repair
“Randall Scotting possessed a flexible, expressive countertenor as Rinaldo.” – by James R. Oestreich, The New York Times
A Garden of Baroque Delights
“Randall Scotting in the role of Rinaldo lent the aria ‘Cara sposa, amante cara’ an emotionality that burst out into the space and pushed against the ceiling. Imbuing it with the confidence of familiarity, he made it feel like a showpiece, as though we’ve been listening to it forever… Scotting showed that it was his night. He really excelled as Rinaldo.” – Allegri con Fuoco
A Long Night’s Journey Into Handel
“As the eponymous hero we had Randall Scotting whose instrument was the most sizable of the four–but never lacking in flexibility for the elaborate embellishments so beloved of Handel. Mr. Scotting sang Rinaldo’s lament ‘Cara sposa, amante cara’ with such great pathos and dynamic control that tears threatened to spring from our eyes.” – Voce di Meche
EZIO (by CW Gluck) | Randall sings Valentiniano
Odyssey Opera, Boston, MA : June 2016
Odyssey Opera’s “Ezio”: What Fortunate Disloyalty!
“Scotting was visually commanding (surely he never let his gym membership lapse) and audibly amazing, such a sweet high countertenor voice, winning the audience over even as he executed dastardly deeds.” – Jack Craib, South Shore Critic
Da capo drama: Odyssey Opera rejuvenates Gluck’s Ezio
“Scotting towered over his fellow castmates as befits an emperor… his distinctive timbre and limpid, pliant voice stood him apart.” – Kevin Wells, Bachtrack
Gluck’s ‘Ezio’ kicks off Odyssey mini-fest
“Randall Scotting’s Valentiniano was a deftly drawn portrait of imperial hauteur.” – Jeremy Eichler, Boston Globe
Orlando (by Handel) | Randall sings the title role
Hobart Baroque Festival, Hobart, Australia : MARCH 2014
Opera review: Orlando (Glimmerglass Festival at Hobart Baroque)
“Randall Scotting’s Orlando is highly watchable. He delivers a most convincing and dramatic musical performance… his vocal choices are imaginative and always stylish – ‘Fammi combattere’ is terrifically decorated – and he grows in intensity as the evening progresses, delivering an excellent mad scene.” – Clive Paget, Limelight Magazine
Opera Review, Handel: Orlando / Hobart Baroque Festival
“Scotting’s stage presence was excellent, being tall and well-built as well as assertive of personality. He has a nice open sound… impressive ringing high notes and resonant deep ones, and delivered some exciting cadenzas…” – Sandra Bowdler, Opera Brittania
Hobart Baroque 2014 – Music Events Taking Australia by Storm
“delivered in true virtuosic style… Scotting had both the power and presence to draw us in and hold us captive whenever he was on stage.” – Carolyn McDowall, The Culture Concept
A Pure Delight to Savour
“Randall Scotting’s Orlando was finely, intensely sung.” – Michael Shmith, Sydney Morning Herald
RECITAL TOUR (arias by Handel & Vivaldi, songs by Wolf & Berio)
Hungary & Czechia : APRIL 2015