Randall Scotting | Countertenor

Kassandra & Goddess Athena in ORESTEIA by Xenakis
“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 that had him in his lower register for Agamemnon and screaming falsetto as Cassandra. 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.” – Christchurch Mail (NZ)

“stunningly performed by countertenor Randall Scotting’ his ‘second ‘aria’ reaffirmed the initial impact of an exceptionally powerful countertenor voice.” – TheatreReview (NZ)

Giulio Cesare in GIULIO CESARE by Handel
“Mr. Scotting showed technical brilliance with his delivery of spot on lines of coloratura within his many arias… In Act 3, as Caesar is revealed to be alive and he sings his prayer (Dall’ondoso… Aure, deh, per pietá spirate) for Cleopatra, Randall Scotting shows off not only his technical abilities to pull off the ridiculous florid ornamentation in absolutely spot-on Baroque style, he also uses the aria as a way to show off his downright impressive range.” – Examiner (USA)

“Countertenor Randall Scotting was a tall, commanding Caesar, tossing off the coloratura music with assurance and bringing compassion to the many lamentations that dot the piece.” – Fort Worth Weekly (USA)

“The final castrati role, Julius Caesar, is sung by countertenor Randall Scotting, who is the strongest of these countertenors, vocally, which is helpful because he shoulders the largest load of singing… he handles the complex technical demands of the music well, but his greatest strength lies in his intensely lyrical musical ability. He has a very clear, sweet tone that captivates the audience in many of his arias. As mentioned, he exudes the idea of a man’s man – a masculine hero who makes women swoon… The performances are world class.”  – TheaterJones (USA)

Goddess Juno in PARIS by Company XIV
“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. – Broadway World (USA)

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.” – Dance View Times (USA)

“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.”  – The Knockturnal (USA)

Rinaldo in RINALDO by Handel
“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 (USA)

“Randall Scotting possessed a flexible, expressive countertenor as Rinaldo.” – New York Times (USA)

“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 (USA)

Valentiniano in EZIO by Gluck
“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.” – South Shore Critic (USA)

“Randall Scotting’s Valentiniano was a deftly drawn portrait of imperial hauteur.” – Boston Globe (USA)

“Scotting towered over his fellow castmates as befits an emperor. [His] distinctive timbre and limpid, pliant voice stood him apart.” – Bachtrack (UK)

 “Randall Scotting sang mainly Italian works by Vivaldi. His countertenor carried a round timbre and even tone, with a seamless connection to his lower register and a resonant chest voice.  In the duet from Handel’s Giulio Cesare he showed virtuosic perfection, vocal proficiency, and a perfectly formed trill.” [translated] – Opera Plus (Czechia)

Orlando in ORLANDO by Handel
“Randall Scotting’s Orlando is highly watchable. He delivers a most convincing dramatic and 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.” – Limelight Magazine (Australia)

“Randall Scotting’s Orlando was finely, intensely sung.” – Sydney Morning Herald (Australia)

selections from OSCAR at Lenfest Hall
“Scotting has a luscious countertenor sound with all of the depth and clarity most lack while singing in the stratospheric ranges of the male voice.” – Opera Pulse (USA)

Giuliano in ELIOGABOLO by Cavalli
“the clarion countertenor Randall Scotting as Giuliano was excellent.” – New York Times (USA)

“Randall Scotting was a standout as Giuliano, his strong masculine countertenor matched his handsome muscular physique” – Random Opera (USA)

“Randall Scotting was a handsome Giuliano, his voice had a broad spectrum of colors and great variety of expressive nuance.” – Opernwelt (Germany)

“Randall Scotting exhibited a pleasing countertenor voice as well as a sure grasp of an often elusive style.” – Parterre Box (USA)

Stefano in SANTO STEFANO by Caldara
“The title role was sung by the internationally known countertenor Randall Scotting. Fascinating, he took coloratura passages with lightness and brilliance… the performer’s earned long applause and standing ovations.” [translated]  Südwest Presse (Germany)

Oberon in A MIDSUMMER NIGHT'S DREAM by Britten
“The fairies glittered visually and vocally, ruled by Randall Scotting’s ethereal Oberon” – Opera News (USA)

“Oberon, a countertenor (here Randall Scotting, an impressive guest artist)… sings in grandiloquent lines that recall English Baroque opera, but with wayward chromatic turns and spiky modern harmonies.” – New York Times (USA)

“Randall Scotting’s mellifluous countertenor caressed the role of Oberon” – MusicalAmerica (USA)

“It’s their voices, though, that complete the otherworldly effect. Redding’s soprano and Scotting’s countertenor are crystal clear and well matched for their quarrelsome opening duet. Where other singers might sound shrill, they power through with rich tone, and his range climbs nearly as high as hers.” – Des Moines Register (USA)

“The American Randall Scotting, with the ideal physique to give life to the loving chivalry of Theseus, we evidenced his beautiful voice in the aria Scorre il fiume mormorand … We will hear great things about him in the future.” – l’Opera (Italy)

“But the high point of the opera was the North American countertenor Randall Scotting who interprets the part of Teseo. Randall not only shows talent with his clear voice, pleasant and portraying virility, but he also exhibits a sensual sculptured body and a truly handsome face.” – Temporal de Idéias (Portugal)


Oberon; A Midsummer Night's Dream; The Juilliard School; Randall Scotting & Erin Morley