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Countertenor, Randall Scotting, has become a sought-after artist by some of the world’s most esteemed opera houses. He recently made a spectacular debut at the Royal Opera House as Apollo in Britten’s Death in Venice, singing to sold-out audiences at Covent Garden in Sir David McVicar’s acclaimed production. Randall then joined the roster of the Metropolitan Opera to cover performances of Handel’s Agrippina and was invited to sing in Handel’s Xerxes for concerts at the Théâtre des Champs-Elysées. In 2021, after a widely praised performance as the Refugee in Flight at Seattle Opera, he performed the title role in Cavalli’s Eliogabalo in San Francisco and returned to London to record a highly anticipated solo album of virtuosic castrato arias with the Orchestra of the Age of Enlightenment led by Handel-specialist Laurence Cummings. Last season, Randall made his Bayerische Staatsoper debut in Georg Friedrich Haas’ opera Thomas and joined the Metropolitan Opera for their production of Eurydice. This season, Scotting will appear in the Lyric Opera of Chicago’s world premiere production of Proximity and sing Carmina Burana for Santa Barbara Symphony. Next season, Scotting is invited back to Seattle Opera for a role debut. [read more...]


"...Scotting is marvelous... compelling actor..." – Musical America

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.”


"...sung brilliantly..." – Le Salon Musical

Death in Venice – “Apollo è cantato brillantemente dal controtenore Randall Scotting.” |tr| “Apollo is sung brilliantly by countertenor Randall Scotting.”


"...there can surely only be a handful of singers on the planet that can carry this off..." – The Christchurch Mail

Oresteia Experience – “Scotting 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.”


"...his vocal choices are imaginative and always stylish..." – Limelight Magazine

Orlando – “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.”


"...he made it feel like a showpiece, as though we’ve been listening to it forever…" – Allegri con fuoco

Rinaldo – “Randall Scotting in the role of Rinaldo lent this 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 shined as Rinaldo.”


"...a very clear, sweet tone that captivates the audience..." – TheaterJones

Giulio Cesare“Scotting 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… he exudes the idea of a man’s man – a masculine hero who makes women swoon… the performances are world class.”


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