Critical Acclaim

Fort Worth Opera – Tosca

“In too many other productions the eponymous diva has been played as a self-absorbed shrew. Carter Scott is far more nuanced, and believable, alternately imperious and vulnerable, flirtatious and genuinely tender. Add a soprano that can fill Bass Performance Hall with enormous, creamy tone, or shade down to a delicate pianissimo or snarl menacingly.”

The Dallas Morning News (Scott Cantrell)

“Soprano Scott chewed the scenery lovably and skillfully, shedding and donning emotions as if they were mere costumes and attacking the bristling coloratura passages with fiery abandon. She threw everything into the role, at one moment flirting with her lover and at another seething with rage at the police chief, her high notes sparkling along the way.”

Fort Worth Weekly (Anthony Mariani)

“Soprano Carter Scott is a powerful singer and a compelling actress in the title role, her rich voice reverberating through the hall and her handsome presence commanding the stage the way a diva should. Her Tosca is a jealous and playful tease in the first act, a terrified pawn in the second and a passionate woman willing to murder for her lover by the end. Everyone desires Tosca, including the enthusiastic opening night audience, applauding Scott’s exquisite solos, then standing and cheering when the final curtain rings down.”

TheaterJones (Martha Heimberg)

“To say soprano Carter Scott has a big voice would be quite the understatement. As extreme of a dynamic range as she showed on Saturday night, one never got the feeling that she was showing you all she had. But within that big voice, Scott also demonstrated great flexibility within her upper register, and was even able to be wonderfully “light and bouncy” within Tosca’s opening “Non la sospiri, la nostra casetta” aria.”

Everyday Opera (David Weuste)

Piedmont Opera – Turandot

“Scott, who has played Turandot more than 35 times, owns the role in everything from the smallest of gestures to the largest of emotional transformations — which is to say that her ice catches the fire of Duval and melts in way that allows a fully mature woman with empathy and desires to emerge.”

Winston-Salem Journal (Ken Keuffel)

“Carter Scott was impressive in the title role of Turandot. Her dark soprano exudes power, even above the opulence of the massed chorus and orchestra.”

Classical Voice of North Carolina (Peter Perret)

Des Moines Metro Opera – Tosca

“The opera itself was distinguished by a blazing performance of Puccini’s mercurial diva by Carter Scott. The soprano captured the character’s labile emotionality as few do; there is a certain wildness in the voice and thrilling, pointed use of chest tones…This Floria was one exciting ride, and Scott deserves the attention of major houses.”

Opera News (Mark Thomas Ketterson)

“DMMO newcomer Carter Scott takes charge of the title role, from her first offstage notes to her lover — when she sounds like an approaching train: “Mario! Maaaario!” to her last embattled cry. Her character is a Roman opera singer swept up in the upheaval of the Napoleonic wars, and she sings with all the passionate expression one would expect from an Italian diva. She turned her candle-lit aria “Vissi d’arte,” for example, into a genuine showstopper in the second act. It helps, too, that the New York soprano’s Tosca has an ego as big as her voice. She struts like a peacock and casts wild-eyed glares at anyone who fails to sufficiently adore her.”

Des Moines Register (Michael Morain)