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Randall Scotting | Countertenor

RINALDO, Handel - OperaMission 2016
“Randall Scotting possessed a flexible, expressive countertenor as Rinaldo.”  New York Times (USA)

“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

“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

VALENTINIANO, Gluck - Odyssey Opera 2016
“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

“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

SOLOIST, Love's Tempest: Vivaldi to Berio | Recital Tour 2015
 “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 (Czech Republic)

ORLANDO, Handel - Hobart Baroque 2014
“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)

ELIOGABOLO, Cavalli - Gotham Chamber Opera 2013
“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)

SANTO STEFANO, Caldara - Donau Festival 2012
“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)

selections from OSCAR, Morrison - Opera America 2012
“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)

GIULIO CESARE, Handel - Fort Worth Opera 2011
“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)

A MIDSUMMER NIGHT'S DREAM, Britten - Des Moines Metro Opera 2007
“The fairies glittered visually and vocally, ruled by Randall Scotting’s ethereal Oberon”  Opera News (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)

ERCOLE SUL TERMODONTE, Vivaldi - Spoleto Festival Italy 2006
“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)

A MIDUSMMER NIGHT'S DREAM, Britten - Juilliard Opera Center 2005
“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)

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

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