Critical Acclaim

San Antonio Opera – Tosca

Soprano Carter Scott owned the stage as the fiery and charming Tosca, delivering delicious swells and a brassy tone that hovered sweetly over the orchestra below.

                                                         San Antonio Current (Nicolette Good)

The show is designed to belong to the title character Tosca, of course, and soprano Carter Scott met the challenge. Her rendition of the opera’s signature aria, “Vissi d’arte,” was plaintive and passionate all at once. Her voice has a strength to it that seemed more true in the later parts of the opera – when the audience knows what Tosca is capable of – than when she played the ingénue in the first act.

She aced the confrontation scene with Scarpia – tossing off a high C as if it was nothing. And Scott’s dramatic power kept the tension real at the close of the third act as Scarpia’s treachery is revealed.

San Antonio Express-News (Jennifer Roolf Laster)

Fort Worth Opera – Turandot

Tall and handsome, soprano Carter Scott brought exceptional stage presence to the title role, depicting a princess who is very much a performer. With grand gestures and an immense, powerfully focused voice, Scott appeared eager to tackle this role in a bigger house, yet in dynamic shadings - sometimes quite daring - she really exploited the intimacy of the 1,986-seat Bass Hall.

Opera News (William V. Madison)

As Princess Turandot, Carter Scott sang with a big steely tone that matched her character's icy resolve. She remained cold and calculating throughout. The abbreviated love duet at the opera's conclusion did not offer a thaw.

Fort Worth Star-Telegram (Chris Shull)

But Carter Scott, a late replacement, is as thrilling a Turandot as you'll hear anywhere. At first, her soprano seems almost too luxuriously creamy. But when emotional and musical pitch rise the voice gathers an amazing intensity that blazes across the orchestra in fully cry. She's also the rare Turandot who actually looks as though she could lure men to their deaths. When her carefully constructed defenses crumple around her, we genuinely feel her pain.

Opera and Dallas Morning News (Scott Cantrell)

Soprano Carter Scott stepped in for an ailing Elizabeth Bennett in the title role and tackled the brutal vocal line with strength and assurance. The hauteur and cruelty of the mythical Chinese princess was all there, as she refused to marry any prince who couldn’t answer three riddles and put him to death if he failed. Scott sounded tentative at first, but her voice warmed and opened up, easily sailing over the combined chorus and orchestra.

Fort Worth Weekly (Leonard Eureka)

Knoxville Opera – La forza del destino

Topping the list of vocal delights was soprano Carter Scott, whose Leonora lit up the stage and filled the house with powerful singing, as well as an especially touching moment of realization of fate's victory, delicately delivered while flat on her back near the end of Act IV.

Knoxville News Sentinel (Harold Duckett)

• Opera Roanoke – Macbeth

  “Lady makes 'Macbeth': The opera features a stunning female villain

  But here’s why you need to see this show on Sunday: Carter Scott is an amazingly powerful and menacing Lady Macbeth. Her huge Verdian soprano is the kind of instrument you hear only rarely in Roanoke. And despite the fact that her opportunities for real acting were limited in a concert performance, she did all she needed to do with her eyes, facial expression and body language.

  Small wonder that Macbeth would rather face bloody ghosts than her disapproval. She conveys the impression of such reserves of emotion and vocal power that you sense if she ever chose to crank it up to 11, she could blow the entire orchestra and chorus off the stage.

  Yes, the orchestra and chorus sounded beautifully well rehearsed under Steven White’s baton, but don’t miss your chance to see Carter Scott.”

  -Seth Williamson, The Roanoke Times, April 14, 2007

• Mobile Symphony – Götterdämmerung Immolation Scene

  “The Maestro then introduced soprano Carter Scott, who lent her formidable vocal gifts to Brunnhilde's wrenching immolation scene in which she mounts her steed and both leap into the flaming pyre. The Saenger stage was ablaze in crimson light and the effect was enhanced by Scott's voice, which should have raised gooseflesh on this theatrical night. It was the end of an era, but a rebirth as well.”

  -Thomas B. Harrison, Mobile Press-Register, April 1, 2007

• Forth Worth Opera – Tosca

  “Scott has the personality to carry the role and the voice to make it work -- beautiful and sure from her first entrance…When Scott and Chioldi were together on stage, the intensity they projected was almost frightening.”

  -Wayne Lee Gay, Fort Worth Star-Telegram, March 12, 2005

• Syracuse Opera – Macbeth

  "Carter Scott showed enormous vocal potential and a handsome, dynamic presence in her first Lady Macbeth. Rock-solid top notes (both written and interpolated) dominated ensemble scenes excitingly."

  -David Shengold, Opera News, July, 2003