TURANDOT - Michigan Opera Theatre
“Eugene Villanueva (Ping), Julius Ahn (Pang) and Scott Ramsay (Pong), dressed in lively, brilliantly colored costumes, were smartly matched in vocal power and skill, giving us an extra dose of credibility and humanity instead of pandering for comic relief.”
— Deborah Gover,
A Story for The Ages: Yet Again, Love Conquers All
“A gory story needs a little comic relief; in ‘Turandot,’ that would be its three courtiers, Ping, Pang and Pong. And while a modern sensibility might find the names mildly racist, the roles are exuberantly rendered by Eugene Villanueva, Julius Ahn and Scott Ramsay with just the right touch of whimsy. The trio sings ‘Ho una casa nell honan’ with such a sense of yearning it would touch the heart of the iciest princess.”
— John Quinn,
Between the Lines
Chroma Chamber Orchestra returns with admirable concertante program
“The vocalist was tenor Scott Ramsay, and his strong clear voice filled the hall admirably.... The tenor’s enunciation made up for a lot and the short Blake Elegy ‘O Rose, thou art sick!’ emerged dramatically and cleanly from the foreboding horn and string ensemble.”
— Gerald Fisher,
Chicago Classical Review
Virginia Opera A Streetcar Named Desire
“As Mitch, tenor Scott Ramsay has a lovely moment at the end of Act 2 as he sings of his hopes for ending his lonely existence through loving Blanche.… Of all the leads, Ramsay is the most perfectly cast. In addition to his musical qualifications, his Mitch becomes a large, shambling, socially awkward fellow, whose sweetness and kinder instincts are never quite a match for his domination by his mother and his peers, particularly Stanley.”
— Bob Ashby,
'A Streetcar Named Desire'
“As Mitch, buddy to Stanley and tempting morsel to Blanche, Scott Ramsay sang with both appealing innocence and wary caution.”
— Joan Reinthaler,
'A Streetcar Named Desire' (The Opera) at George Mason University's Center for the Arts
“What stayed with me throughout tenor Harold ‘Mitch’ Mitchell’s (Scott Ramsay) artful, melancholy rendition of ‘The Love Aria’ was a sort of naiveté in the preceding dialogue which left me wondering if he was really that gullible about women and about life. Plaintively singing, ‘I’m not getting any younger … I know it’s true …[T]hat the time is running out …’ Mitch delivers a most powerful truth, ‘Still believe in love, no matter who you are, no matter what you’ve been through, you still need to love.’ On a lighter side, I immensely enjoyed his strong tenor voice and the aria’s lines where he bragged about his height and weight.”
— Audrey Thornton,
Mad Hatter, Demon Barber Are Spirited in St. Louis
“OTSL fielded a carnival of tenor talent [including] Scott Ramsay, a smarmy Beadle Bamford.”
— Heidi Waleson,
Wall Street Journal
CCO + VAE = Rake²
"Ramsay's smooth lyric tenor enhanced Tom's sympathetic side, as in his remorseful aria sung on his knees at Mother Goose's whore house and at the beginning of act II, where he lamented ‘the gap in my heart.'"
— Mary Ellen Hutton,
Music in Cincinnati
Sacramento Opera returns to full-length production with tasteful 'Rigoletto'
"As the free-loving Duke of Mantua, Scott Ramsay proved a fitting tenor.... He sold the cluelessness that comes with the obsession for constant sexual conquests under the guise of nobility. His take on ‘La donna e mobile' was one where his lithe tenor gave a buoyancy to the irony of the music and lyrics."
— Edward Ortiz,
"... Ramsay took the part of the ill-fated Lenski ... and in his big aria just before the duel with Onegin, Ramsay delivered solid evidence of his growing reputation."
— Madison Magazine
Celebrating a decade of Madison Opera al fresco
"Tenor Scott Ramsay's 'Una furtiva lagrima,' from Donizetti's 'The Elixir of Love,' was sweet and sorrowful. I found it hopelessly romantic."
— Lindsay Christians,
Review: Giuseppe Verdi's Requiem
"Scott Ramsay sang an ardent Ingemisco with a bright lyric tenor of strength and beauty."
— Lawrence Budmen,
South Florida Classical Review
'Lucia di Lammermoor' intimately powerful at the Barre Opera House
"Scott Ramsay was a heroic Edgardo ... his delivery in the final scenes was heart-wrenchingly tender and beautiful."
— Jim Lowe,
The Times Argus (VT)
RPO, choir deliver powerful performance
"Scott Ramsay, the tenor, had a shimmering upper register and a clear, expressive voice."
— Anna Reguero,
Rochester Democrat and Chronicle
'Gerolstein' updated in grand style
"Scott Ramsay (Fritz) and Wendy Bryn Harmer (Wanda) played the peasant lovers to perfection, and both more than held their own in their onstage musical jousts with Blythe."
— Keith Powers,
Mozart's Requiem - Music of the Baroque
"This movement showcased the quartet well all around, beautifully heralded by Phyllis Pancella's earthy, pungent mezzo in the opening measures and graced by a perfectly calibrated trill from tenor Scott Ramsay that rivaled the soprano's."
— Mark Thomas Ketterson,
'Faust' short on drama, but tall on operatic performances
"Scott Ramsay is the finest tenor we have heard in years, and his bright, fine-grained voice was perfect for this French title role."
— Marilyn Farwell,
Music of the Baroque's 'Requiem' both fierce and tender
"Zukerman's and Pancella's voices blended so well that they could have been sisters, and set in contrast to the robust Ramsay and the powerful Morscheck tenor, they created a musical chiarascuro, light and dark in lovely combination.
"Again in the 'Benedictus' the four voices braided together, one after the other, to create a dynamic whole with hosannas echoed by the majestic chorus. It was a stirring and deeply satisfying performance."
— Dorothy Andries,
Pioneer Press (IL)
Glover leads MOB in a fervent, stylish Mozart Requiem
"The fine singing of the vocal quartet - soprano Arianna Zukerman, mezzo-soprano Phyllis Pancella, tenor Scott Ramsay and bass-baritone Stephen Morscheck - lent a sense of heartsease to Glover's conception."
— John von Rhein,
Life and Exhaltation in Mozart's Requiem
"Soloists Arianna Zukerman (soprano), Phyllis Pancella (mezzo-soprano), Scott Ramsay (tenor), and Stephen Morscheck (bass-baritone) brought an equally masterful command of the delicate texture. Ramsay's ringing tenor and Zukerman's silky soprano blended evenly with their lower counterparts."
— Elliot Mandel,
Chicago Classical Music
Music of the Baroque delivers an impassioned Mozart Requiem
“Phyllis Pancella’s rich, even mezzo conveyed the consolatory nature of the Recordare and the clear plaintive tenor of Scott Ramsay made an impact as well."
— Lawrence A. Johnson,
Chicago Classical Review
"Cosi" hilarious start to 2009-10 Arizona Opera season
"Scott Ramsay‘s Ferrando showcased a commanding, controlled tenor throughout the night."
— Cathalena E. Burch,
Arizona Daily Star
SSO winds up 65th season
"Ramsay brought similar sky-scraping potency and rock-solid vocal control to bear in negotiating Orff's grotesque depiction of the spitted, roasting swan."
— Clifton J. Noble Jr.,
The Rebublican (Springfield, MA)
Opera hits high note for Springfield Symphony Orchestra crowd
"Puccini got the longest home-run shot of the night, as Scott Ramsay and Sara Jakubiak sang 'O Soave Fanciulla' from his opera 'La Boheme,' floating their high Cs from offstage to the delight of all present."
— Clifton J. Noble Jr.,
The Republican (Springfield, MA)
"In the strongly cast title roles, the Roméo of tenor Scott Ramsay was superb. Ramsay, with the bearing and hunky appearance of a Gerard Depardieu, sang his balcony scene apostrophe ('Ah! lève-toi, soleil!') with powerful and ringing ardor, the final scene's 'Salut! tombeau' and his deadly toast with somber passion." Read More...
— Stephen G. Landesman,
"Donizetti gave him the night's best aria, and Ramsay held the audience in the palm of his hands with a mixture of vulnerability and virtuosity while singing 'Una furtiva lagrima.'"
— J. Kaczmarczyk,
Grand Rapids Press
Lulu, Lyric Opera of Chicago, 11/7/08
"Tenor Scott Ramsay essayed the Painter's cruelly stratospheric tessitura exceptionally well and chillingly rendered his suicidal disintegration."
— Mark Thomas Ketterson,
"Scott Ramsay's Painter was a deft combination of romantic artiste and craven careerist. Re-appearing as the Sailor, he embodied menacing stupidity." Read More...
— Wynne Delacoma,
"Scott Ramsay makes an auspicious Dayton Opera debut in the part of Don Ottavio. Ramsay seems totally at home on stage and thoroughly in sympathy with Mozartean style. Blessed with a luscious, effortless-sounding instrument, Ramsay can modulate his voice to a melting mezzo-piano, which he displays to stunning effect in the second verse of his Act I aria, 'Dalla sua pace.'" [DON GIOVANNI - Dayton Opera]
— E. Street,
Dayton City Paper
"Scott Ramsay was arguably the most impressive of the four singers. He was ambitious enough to sing the original (very difficult) version of 'Fuor del mare' from Idomeneo. He performed the rapid runs and other decorations handsomely. His voice was shown to even better effect in 'Dalla sua pace' from Don Giovanni." ["MOZART AT THE OPERA" - Albany Symphony Orchestra]
— J. Hennerty,