American soprano Carter Scott has received tremendous critical acclaim for her portrayals of a wide variety of the Verdi, Strauss, and Wagner heroines. Turandot has become one of Ms. Scott’s signature roles: she has sung over forty performances of the role in Europe, Asia, and the United States.

Highlights of recent seasons include Scott’s return to Lyric Opera of Chicago for its production of The Passenger, and a return to Piedmont Opera as Senta in Der Fliegende Holländer. Ms. Scott made her official stage debut with Lyric Opera of Chicago in the 2010-2011 season as the Lady in Waiting (also covering Lady Macbeth) in Macbeth. During the 2012-2013 season, she covered the Overseer in Lyric Opera of Chicago’s new production of Elektra, returned to Knoxville Opera for her role debut as Minnie in La fanciulla del West, and debuted with the Theater Erfurt as Turandot.

The soprano began the 2011-12 season with Boston Lyric Opera, as Lady Macbeth, and later made a successful return to Fort Worth Opera, as the title role in Tosca. In summer of 2009, Ms. Scott sang title roles in Turandot with South Dakota Symphony Orchestra and Tosca with Des Moines Metro Opera and Chautauqua Opera. She began the fall covering the title role in Tosca at Lyric Opera of Chicago, before making her stage debut at Washington National Opera as the 3rd Norn (also covering Gutrune) in concert performances of Götterdämmerung. Ms. Scott concluded the 2009-2010 season with concert performances of Turandot for Piedmont Opera.

In the 2007-2008 season, Ms. Scott returned to the Lyric Opera of Chicago to cover the Färberin in Die Frau ohne Schatten and was a last-minute replacement as Turandot with Fort Worth Opera. Other engagements in the 07-08 season included Leonora in La forza del destino with Knoxville Opera, and Santuzza in Cavalleria rusticana with San Diego Opera.

Highlights of her career include Abigaille in Nabucco for her European debut with the Dortmund Opera in 2003-2004 season, Ježibaba in Rusalka at San Diego Opera (opposite Renée Fleming), her first performances of the title role in Aida with Syracuse Opera, Lady Macbeth in Macbeth  withSyracuse OperaOpera Roanoke and Washington National Opera (cover), and the title role in Tosca with Fort Worth Opera. She has served as the understudy for the title roles in Salome andTurandot for Lyric Opera of Chicago, and has sung excerpts from Wagner’s Götterdämmerungwith the Mobile Symphony.

Ms. Scott was engaged by the Bremen Opera for 24 performances of the title role in Turandot in the 2004-2005 season. She recently returned to Germany for Die Walküre with the Deutsche Oper am Rhein in Düsseldorf.

Ms. Scott is a recipient of many distinguished awards and grants, including the 1996 William Matheus Sullivan Award, as well as awards from the Metropolitan OperaSouthern California Opera Guild, and the Luciano Pavarotti Vocal Competition. Her vocal training includes study at the North Carolina School of the Arts, the University of California, the Music Academy of the Westthe Tanglewood Festival, and the American School of Musical Studies in Graz, Austria.


Piedmont Opera – Der fliegende Holländer

Carter Scott, as his potential savior Senta, is flawless, the quintessence of feminine devotion.

Lynn Felder, Winston-Salem Journal

Knoxville Opera – La fanciulla del West

Scott, singing her first Minnie, the kindhearted Polka Saloon owner, was a joy in the role–a role she could conceivably own should she choose. Her vocal strength is considerable, yet her most beautiful moments were those in which that strength, carefully controlled, became a luscious warm softness that suited her character. Dramatically, Scott’s Minnie was a wealth of patient strength and purpose that hid her almost heartbreaking and sweet vulnerability.”
Alan Sherrod, Metro Pulse

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.”
Scott Cantrell, The Dallas Morning News

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.”
Anthony Mariani, Fort Worth Weekly

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.”
Martha Heimberg, Theater Jones

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.”
David Weuste, Everyday Opera

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.”
Ken Keuffel, Winston-Salem Journal

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.”
Peter Perret, Classical Voice of North Carolina

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.”
Mark Thomas Ketterson, Opera News

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.”
Michael Morain, Des Moines Register

Chautauqua Opera – Tosca

Scott’s beauty and queenly bearing alone would seem to make her an ideal Tosca, and she is easily at home on stage, her acting charmingly kittenish when need be…”
Clair W. Van Ausdall, The Chautauquan Daily

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.”
Nicolette Good, San Antonio Current

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.”
Jennifer Roolf Laster, San Antonio Express-News

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.”
William V. Madison, Opera News

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.”
Chris Shull, Fort Worth Star-Telegram

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.”
Scott Cantrell, Dallas Morning News

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.”
Leonard Eureka, Fort Worth Weekly

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.”
Harold Duckett, Knoxville News Sentinel

Mascagni Santuzza Cavalleria Rusticana
Puccini Minnie La fanciulla del West
Puccini Tosca Tosca
Puccini Turandot Turandot
Verdi Aida Aida
Verdi Leonora La forza del destino
Verdi Lady Macbeth Macbeth
Verdi Abigaille Nabucco
Strauss Die Färberin Die Frau ohne Schatten
Strauss Salome Salome
Wagner Senta Der fliegende Holländer
Wagner Brünnhilde, Gutrune Götterdämmerung
Wagner Brünnhilde Siegfried
Wagner Isolde Tristan und Isolde
Wagner Sieglinde, Brünnhilde, Helmwige Die Walküre

  • Carter Scott highres
  • Scott2