Lucia di Lammermoor [Edgardo] - Green Mountain Opera Festival

J. Lowe, The Times Argus

"Scott Ramsay was a heroic Edgardo ... his delivery in the final scenes was heart-wrenchingly tender and beautiful."

Verdi Requiem [Soloist] - Rochester Philharmonic Orchestra

A. Reguero, Democrat & Chronicle

"The concert, which ends the RPO's Philharmonic Series season, also included the best four vocal soloists I've heard perform choral repertoire with the RPO. Scott Ramsay, the tenor, had a shimmering upper register and a clear, expressive voice."

La Grande-Duchesse de Gérolstein [Fritz] - Opera Boston

K. Ratzlaff, Opera News

"..the sweetness of his voice, his bright smile and intrepid good cheer were irresistible."

K. Powers, The Boston Herald

"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."

C. Titcomb, The Arts Fuse - Boston

"Tenor Scott Ramsay is an appealing Fritz."

Faust [Faust] - Eugene Opera

M. Farwell, The Register-Guard

"Scott Ramsay is the finest tenor we have heard in years, and his bright, fine-grained voice was perfect for this French title role."

Mozart Requiem [Soloist] - Music of the Baroque

J. von Rhein, The Chicago Tribune

"The fine singing of the vocal quartet ... lent a sense of heartsease to Glover's conception."

E. Mandel, Chicago Classical Music

"The soloists ... brought an equally masterful command to the delicate texture. Ramsay's ringing tenor and Zukerman's silkey soprano blended evenly with their lower counterparts."

L.A. Johnson, Chicago Classical Review

"... and the clear plaintive tenor of Scott Ramsay made an impact as well."

Verdi Requiem [Soloist] - The Louisville Orchestra

A. Adler, The Courier-Journal

"Tenor Scott Ramsay displayed taste and refinement in his “Hostias,”

Album Review: Songs From Spoon River - [Soloist]

C. Clarke, Fanfare Magazine, Issue: January/February 2010

"The hypnotic opening song (“All are sleeping on the hill” for tenor), intriguingly introduces the listener to the inhabitants of a cemetery with a dirge-like gait. That Scott Ramsay can imbue this with a sense of contained beauty is testament to how carefully these chosen singers have been considered for this recording."

Così fan tutte [Ferrando} - Arizona Opera

C.E. Burch, Arizona Daily Star

"Scott Ramsay‘s Ferrando showcased a commanding, controlled tenor throughout the night."

La Boheme [Rodolfo] - Duluth Festival Opera

S. Black, The News Tribune

"Tenor Scott Ramsay as Rodolfo was riveting from opening to closing. He was the most charismatic character on stage, and his singing was absolutely beautiful."

Die Entführung aus dem Serail [Belmonte] - Opera New Jersey

R. Baxter, ConcertoNet

"Scott Ramsay ... sings Belmonte’s arias stylishly and elegantly."

Carmina Burana [Soloist] - Springfield Symphony Orchestra

C.J. Noble, The Republican

"Ramsay brought sky-scraping potency and rock-solid vocal control to bear in negotiating Orff's grotesque depiction of the spitted, roasting swan."

Gala Concert [Soloist] - Springfield Symphony Orchestra

C.J. Noble, The Republican

"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."

Roméo et Juliette [Roméo] - Syracuse Opera

S. Landesman, The Ithaca Journal

"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."

D. Kushner, The Post-Standard

"Ramsay was tender and appropriately sentimental as Romeo, his tasteful lyric tenor perfectly suited to the role ... his performance revealed a full-bodied instrument unencumbered by the challenge of repeated high B-naturals. The singer seemed to relish the rich, melodic phrases set down for him by Gounod."

L'Elisir d'Amore [Nemorino] - Opera Grand Rapids

J. Kaczmarczyk, The Grand Rapids Press

"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."

Lulu [Painter & Sailor] - Lyric Opera of Chicago

M. Thomas Ketterson, Opera News

"Tenor Scott Ramsay essayed the Painter's cruelly stratospheric tessitura exceptionally well and chillingly rendered his suicidal disintegration."

W. Delacoma - Musical America

"Scott Ramsay's Painter was a deft combination of romantic artiste and craven careerist. Re-appearing as the Sailor, he embodied menacing stupidity."

J. Sohre - Opera Today

"The many featured roles were well taken by Lyric’s outstanding young artists, with Scott Ramsay’s Painter deserving special mention for his gleaming delivery."

The Destruction of Jerusalem [Zedekiah] - American Symphony Orchestra, Avery Fisher Hall

A. Tommasini, The New York Times

"Also impressive was the bright-voiced tenor of Scott Ramsay as Zedekiah."

Die Zauberflöte [Tamino] - Arizona Opera

D. Behnke, The News & Sun

"Scott Ramsay is a trouper. After a successful performance Saturday night, he was called back on 30 minutes' notice Sunday to repeat the role of Tamino - the other tenor having become indisposed. Ramsay's clear tenor and capable acting surfaced fully by the recitative early in Act I, and he continued to put in a fine performance."

Semele [Jupiter] - Opera Boston

M. Guerriere, The Boston Globe

"Scott Ramsay's sweet, silky tenor was a fascinating match for Jupiter, reimagined as a formidable executive, exercising power through confident charisma; his elegant singing of "Where'er You Walk," the opera's greatest hit - staged as a counterpoint to a Semele-Ino reunion - reinvigorated even that warhorse."

W. Chin, Opera News

"In any production of Semele, Jupiter is no prince. Here, Helfrich turned him into a real "player," tossing around baubles and cash, giving as much time to checking text messages as tending to Semele. Scott Ramsay, who shows great promise, handled these dimensions very well. Vocally, he was at his best in Where'er you walk, singing with sweetness and sincerity."

G. Loomis, The Financial Times

"Scott Ramsay's Jupiter looked very corporate in a three-piece suit, but his soft-grained tenor made a touching moment of "Where'er you walk" as he gazed tenderly on his inamorata and her sister as they flipped through a photo album."

Don Giovanni [Don Ottavio] - Dayton Opera

E. Street, Dayton City Paper

"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 lucious, effortless-sounding instrument, Ramsay can modulate his voice to a melting mezzo-piano, which he displays in stunning effect in the second verse of his Act I aria, "Dalla sua pace."

Lucia di Lammermoor [Edgardo] - Dublin International Opera Festival

M. Dervan, The Irish Times

"He's engaged, he's wound up and fearlessly sends his voice on its difficult missions."

Roméo et Juliette [Roméo] - Opera New Jersey

D. Shengold, Opera News

"Ramsay's growing tenor remains light, but he is a thoughtful, musical artist and shaped text and music with care and stylish expressiveness. Nothing was shirked, certainly not the high C capping Act III.”

R. Baxter, The Courier Post

"Ramsay sings with the ardor and polish the music demands."

R. Bonapace, The Star-Ledger

"The setting was especially well suited for Scott Ramsay as Roméo whose fine acting skills exuded a tenderness and vulnerability. The tenor from Chicago sang with a warm and sonorous tone."

Lucia di Lammermoor [Edgardo] - Connecticut Grand Opera

D. Shengold, Opera News

"Scott Ramsay's Edgardo emerged a fully drawn figure, plausibly romantic and impulsive, etched in meaningfully declaimed and unfailingly musical phrases. He withstood the terrors of the part's high tessitura ... his clear, light timbre suggests a promising future ... it was a pleasure to hear Edgardo's beautiful music so cleanly negotiated."

J. Sehulster, The Advocate
"Edgardo was finely sung by Scott Ramsay. His bright tenor first matched Gilbert in Verranno a te sull'aure, the rapturous duet that concludes Act I; his grand aria Fra poco a me ricovero, Edgardo's suicide scene at the opera's conclusion, was soulful and touching."

Lucia di Lammermoor [Edgardo] - The Kentucky Opera

C.H. Parsons, Opera News

"With the arrival onstage of Lucia, Alisa and Edgardo ... the performance took soaring flight. Gilbert's Lucia was no ice-and-crystal voice but one with warm, opal sound that caressed the ear. Ramsay matched her note for note, his lovely tenor of similar color and grace ... Ramsay countered with an equally beautiful death scene, marshaling sufficient reserves of power for Edgardo's punishingly difficult final phrases."

Lucia di Lammermoor [Edgardo] - Lyric Opera of Chicago

W. Dellacoma, Chicago Sun-Times

“...his flexible voice is very attractive, and he is a much better actor than Alvarez. He brought a passionate intensity to the role that matched the fire of Dessay's riveting Lucia. The opera's tragic tale took flight as it had not with Alvarez.”

Interview with Lyric Opera’s Sir Andrew Davis

E. Eriksson, Wisconsin Music Review

“Well, I’m a great believer in Scott. I think he’s a tremendous talent and he’s come a long way in the time he’s been here. Of course, my wife (Gianna Rolandi) coaches him and he’s a wonderful musician – and did you hear him when he stepped in, in Lucia last season?” … “He sang beautifully and actually, his last scene was far more moving than who was scheduled. He was just fantastic and the last scene – which occurs right after the Mad Scene and can be such an anti-climax if it’s not well done – he did it so movingly. I was very, very impressed and we all were. He’s done some great things and I think he has a very good career ahead of him. Again, he’s someone who’s a very intelligent musician and a sensitive artist.”

"Mozart at the Opera" [Soloist] - Albany Symphony Orchestra

J. Hennerty, The Times Union

"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 Mar 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."

G. Freedman, The Daily Gazette

"Ramsay was fantastic in the brilliant coloratura work in the Fuor del mare. The evenness of his tone, agility, large range and stamina in this long aria were formidable"

"Ramsay sang a beautiful, fluid Dalla sua pace with a sweet tone."

Don Giovanni [Don Ottavio] - Austin Lyric Opera

D. Mead, The Austin Statesman

"The other aristocrats — Don Ottavio, the would-be fiancé of Donna Anna ... were sung beautifully by Angela Fout and especially Scott Ramsay." (Austin Critics Circle Nomination - Best Male Performance/Opera)

Semele [Jupiter] - Arizona Opera

C. Curcio, Curtain Up Phoenix

"Scott Ramsay's tenor was glowing for his Jupiter."

Turandot [Pong] - Lyric Opera of Chicago

J. von Rhein, Chicago Tribune

"...with those fine tenors David Cangelosi as Pang and Scott Ramsay as Pong."

A. Patner, Chicago Sun-Times

"Fortunately, the courtiers Ping, Pang and Pong are played wonderfully by three alums of Lyric's excellent training program ... Hawaiian baritone Quinn Kelsey's Ping is a superb anchor for veteran character tenor David Cangelosi's Pang and Chicago-based tenor Scott Ramsay's Pong in their essential and often-moving scenes."

Verdi Requiem [Soloist] - Toronto Symphony Orchestra

K. Winters, Toronto Globe and Mail

“Scott Ramsay was an 11th-hour substitute for the originally assigned tenor. He was unknown in the role, and apparently he learned it in four days. He proved a real find. His Ingemisco, Hostias and solo in the Lux Aeterna, had a sweetness and modest purity reminiscent of vintage Bjoerling and Simoneau.”

Beethoven Symphony No. 9 [Soloist] - Mobile Symphony

T. Harrison, The Mobile Register

"A sold-out Saenger Theater (1,921) was the setting for one of the season's genuine highlihgts, Symphony No. 9 in D minor ... the orchestra chose its guest artists well ... these four provided wonderous interludes as soloists and as a quartet, their combined voices soaring and melding like the vivid colors of a rainbow."

Rising Stars In Concert {Soloist} - Lyric Opera of Chicago

L. Emerick, Chicago Sun Times

“With ringing top notes, tenor Scott Ramsay skillfully negotiated the tricky intervals of “Porquoi me reveiller” from Massenet’s Werther.”

Opera Highlights Concert [Soloist] - Green Bay Symphony

E. Eriksson, The News-Chronicle

“Ramsay’s instrument posses the sine qua non for distinction – a vocal color immediately recognizable, singular in timbre and formed with technical mastery. Beautifully graduated, his voice has a trace of the softly veiled quality that made Jussi Björling’s tenor so unforgettable. The unfailing steady tone, the plaintive tonal quality, the ability to play assuredly with dynamics (his sustained diminuendo at the end was breathtaking) were all in the league with standards set by such immortal artists as Tito Schipa and Alfredo Kraus. This was consummate singing even by the most stringent standards.”

W. Gerds, Green Bay Press Gazette

“Hometown folks came away impressed with how Ramsay has developed. Ramsay has a smooth, fresh, flowing voice. He plays characters nicely, too. His voice has the strength to carry to the last row of the Weidner Auditorium balcony, which is where I sat — on purpose — to check his power.”

Bach Magnificat [Soloist] - Madison Symphony Orchestra

J. Anderson, Madison Music Review

"Of the soloists ... the standout performance was by Ramsay, whose aria "Deposuit potentes" was clear, strong and sure, despite its extreme pitch range and very fleet tempo.