as Kassandra & Athena in THE ORESTEIA by Xenakis  |  Christchurch Arts Festival

“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.”

     – Patrick Shepherd, Christchurch Mail (NZ)

stunningly performed by countertenor Randall Scotting… his second aria reaffirmed the initial impact of an exceptionally powerful countertenor voice.”

     – Tony Ryan, TheatreReview (NZ)

as Cesare in GIULIO CESARE by Handel  |  Fort Worth Opera

“Mr. Scotting displayed technical brilliance with his delivery of spot on lines of coloratura within his many arias… In Act 3, as Caesar sings for Cleopatra, Scotting shows not only his technical abilities to pull off the 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)

“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.”

     – John Norine Jr, TheaterJones

“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.”

     – Leonard Eureka, Fort Worth Weekly

360 West | Cesare Feature


Seattle Opera Interview


selections from OSCAR by Morrison  |  Lenfest Hall, Philadelphia

“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.”

– Evan McCormack, Opera Pulse

as Stefano in SANTO STEFANO by Caldara  |  Savaria Baroque at DonauFest

“The title role was sung by the internationally sought-after countertenor Randall Scotting. It’s fascinating how he took coloratura passages with brilliance and lightness… the performer’s earned long applause and standing ovations.”

     – Christa Kanand, Südwest Presse (Germany) translated

as Juno in PARIS! (Handel & Cohen)  |  Company XIV, New York

“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

“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.

     – Bob Rizzo, Broadway World

“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

Ludus NYC Interview


Broadway World | Juno Feature


as Orlando in ORLANDO by Handel  |  Hobart Baroque, Australia

“Randall Scotting’s Orlando is highly watchable. He delivers a most convincing and dramatic musical performancehis 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 (Australia)

“Randall Scotting’s Orlando was finely, intensely sung.”

     – Michael Shmith, Sydney Morning Herald (Australia)

“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 Britannia

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 (Australia)

Randall Featured on BBC Documentary

as Rinaldo in RINALDO by Handel  |  Merkin Concert Hall, New York

“Randall Scotting possessed a flexible, expressive countertenor as Rinaldo.”

     – James R. Oestreich, New York Times

“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

“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

as Tigrane in IL TIGRANE by Vivaldi  |  Budapest Kammeroper

“A charming and handsome countertenor with a pleasant vocal tone quality… a strong actor, who is able to fill the stage with his presence.”

– Adrienn Csepelyi, Opera-Világ (Hungary) translated

as Oberon in A MIDSUMMER NIGHT’S DREAM by Britten  |  Des Moines Metro Opera

“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.”

     – Michael Morain, Des Moines Register

as Valentiniano in EZIO by Gluck  |  Odyssey Opera, Boston

“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

“Scotting towered over his fellow castmates as befits an emperor… his distinctive timbre and limpid, pliant voice stood him apart.”

– Kevin Wells, Bachtrack

“Randall Scotting’s Valentiniano was a deftly drawn portrait of imperial hauteur.”

– Jeremy Eichler, Boston Globe

as Giuliano in ELIOGABOLO by Cavalli  |  Gotham Chamber Opera, New York

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

     – David Shengold, Opernwelt (Germany)

“The clarion countertenor Randall Scotting as Giuliano was excellent.”

     – Anthony Tommasini, New York Times

“Standouts were Randall Scotting, as Giuliano, the virtuous captain of the Praetorian guard, whose strong masculine countertenor matched his handsome muscular physique.”

     – James Glazier, Random Opera

“Randall Scotting, as Giuliano, exhibited a more pleasing voice, as well as a surer grasp of an often elusive style.”

     – Christopher Corwin, Parterre Box

as Oberon in A MIDSUMMER NIGHT’S DREAM by Britten  |  JOC at Lincoln Center, New York

“The fairies glittered visually and vocally, ruled by Randall Scotting’s ethereal Oberon.”

     – Opera News

“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.”

     – Anthony Tommasini, New York Times

“Randall Scotting’s mellifluous countertenor caressed the role of Oberon.”

     – MuscialAmerica

Love’s Tempest: Vivaldi to Berio  |  Recital Tour of Hungary & Czechia

“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.”

     – Jiří Fuchs, Opera Plus (Czechiz) translated

as Teseo in ERCOLE SUL TERMODONTE by Vivaldi  |  Spoleto Festival dei due Mondi, Italy

“In 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) translated

“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) translated