A Kansas native, the young bass Scott Conner has been lauded by critics and audiences as a major talent on the rise.  Mr. Conner’s warm, flexible voice and elegant stature brings proficiency in a wide range of repertoire, including Mozart, Rossini, Handel, Donizetti and Verdi.

Mr. Conner’s 2019-2020 season begins with Opera Philadelphia, where he performs the role of The King in The Love for Three Oranges. He then returns to the Metropolitan Opera singing the Police Commissioner in Der Rosenkavalier and covering Colline in La bohème. During the summer of 2020, he returns to Santa Fe Opera as Basilio in their production of Il barbiere di Siviglia.

Last season, Mr. Conner returned to the Metropolitan Opera, singing Pinellino in Gianni Schicchi and covering Bello in La fanciulla del West. He made his house debut with San Diego Opera, singing Escamillo in Carmen, and with Opera de Dijon as Jupiter/Vulcano in La finta pazza. He also appeared as a Judge in the American Premiere of Korngold’s Das Wunder der Heliane at the Bard Summerscape, and joined the Spoleto Festival USA as the First Soldier and First Nazarene in Salome.

During the 2017-2018 season, he sang Nerbulone in Eliogabalo with Dutch National Opera, Sparafucile in Rigoletto with both Semperoper Dresden and Portland Opera, Angelotti in Tosca for his debut with Palm Beach Opera, joined the roster of the Lyric Opera of Chicago to cover Mephistopheles in Faust, and returned to Santa Fe Opera to sing Mustafa in L’italiana in Algeri.

During the 2016-2017 season Scott Conner made significant company debuts at the Opéra National de Paris as Nerbulone in Eliogabalo, and at both Royal Opera House Covent Garden and the Metropolitan Opera as the Police Commissioner in Der Rosenkavalier. He also returned to San Francisco Opera as Colline in La bohème.

During the 2015-2016 season Mr. Conner returned to Zürich Opera for Don Profondo in a new production of Il Viaggio a Reims, as well as Zoroastro in Orlando under the baton of William Christie.  He also joined the Bayerische Staatsoper in Munich, singing Tom in Verdi’s Un ballo in maschera, conducted by Zubin Mehta, as well as the Festival d’Aix-en-Provence for a recital featuring works by Rossini.

During the 2014-2015 season, Scott Conner made his debut with Dutch National Opera in Amsterdam as Bernardino in Benvenuto Cellini, and also debuted with San Francisco Opera as Tom in Un ballo in maschera. Additionally, he appeared with the company as Angelotti in Tosca and as Colline in the family performances of La bohème, and covered Alidoro in La Cenerentola.  He closed the season in a return to Festival d’Aix-en-Provence, singing Theseus in Robert Carsen’s production of A Midsummer Night’s Dream.

During the 2013-2014 season, Scott Conner’s engagements included: Raimondo in Lucia di Lammermoor with L’Opéra de Lille; the roles of Colline, Nourabad, and un Frate with the Zürich OperaGlyndebourne Festival Opera for Zaretsky in Eugene Onegin, the Police Commissioner in Der Rosenkavalier, covered the title role in Don Giovanni, and a live performance of Der Rosenkavalier with the BBC Proms at the prestigious Royal Albert Hall in London.

Scott Conner joined the Ensemble of the Semperoper Dresden in 2012-2013, where roles included Colline in La Boheme, Sparafucile in Rigoletto, Masetto in Don Giovanni and Don Basilio in Il barbiere di Siviglia.  He was also seen as the Bass soloist in Handel’s Messiah with the National Symphony Orchestra at the John F. Kennedy Center in Washington D.C.  During the summer of 2013, he debuted at Festival d’Aix-en-Provence in Cavalli’s Elena.  Additionally Scott was the recipient of a 2012 Sara Tucker Study Grant from the Richard Tucker Foundation, and the 1st Prize Award in the 2012 Gerda Lissner Vocal Competition and the 2012 Loren L. Zachary Vocal Competition.

Scott Conner is a 2012 graduate of Philadelphia’s Academy of Vocal Arts.  There, he performed the title role in Don Giovanni, Colline in La bohème, La Roche in Capriccio, Oroveso in Norma, and First Man in the world premiere of Scarlet Letter.  During the 2011-2012 season, his assignments at the Academy included the Four Villains in Les contes d’Hoffmann, the title role in Verdi’s Oberto, and Dulcamara in L’elsir d’amore.  He also sang the Mozart Requiem with Symphony in C, conducted by Rossen Milanov.

The early years of his career have seen Mr. Conner perform the title role in Le nozze di Figaro with Nashville Opera and Columbus Opera, the Commendatore and Masetto in Don Giovanni with Opera Cleveland, Alidoro in La cenerentola with Opera New Jersey, and Curio in Giulio Cesare with Lyric Opera of Kansas City.

Scott Conner attended the University of Missouri, Kansas City for his Bachelor of Music degree, where roles included Sarastro in Die Zauberflöte, the Pirate King in Pirates of Penzance, and the title role in The Mikado.


Portland Opera – Rigoletto

Standing ramrod-straight and intoning a sepulchral bass, Scott Conner was a chilly Sparafucile. ”

Mark Mandel, Opera News

Tosca – Palm Beach Opera

Supporting roles were well taken, notably with Scott Conner’s powerfully voiced, well-acted Angelotti.”

Robert Croan, Palm Beach Daily News

La bohème – San Francisco Opera

He as well fit right into the gang, his aria to his coat sung softly and very beautifully.”

Michael Milensk, Opera Today

Orlando – Zurich Opera

Scott Conner is a young American bass, garnering much positive critical review. His very bottom notes were a glory, to which he added a nice comic touch.”

John Rhodes, Seen and Heard International


“Zoroastro’s was a wonderful bass: Scott conner had that little-boy-guilty look that made for a perfect psychiatrist.”

Sarah Batschelet, Bachtrack

Il Viaggio a Reims – Zurich Opera

Don Profundo’s (Scott Conner) solo commentary on the foreign hotel guests, sung in each of their pronounced accents brought down the house.”

Sarah Batschelet, Bachtrack

Tosca – San Francisco Opera

As the escaped prisoner Cesare Angelotti, bass Scott Conner sang with penetrating tone, and one could see this zealot’s passions in his burning eyes.”

Richard Scheinin, Mercury News

Lucia di Lammermoor – Opéra de Lille

s for Scott Conner, his Raimondo owes much to Samuel Ramey – both for the performance and the grain of an instrument that will continue to mature.”

Mehdi Mahdavi, Diapason

Rigoletto – Dresden Semperoper

Scott Conner was a wonderfully dark and sinister Sparafucile…”
Matthew Lynch, Bachtrack

The Tales of Hoffmann – Academy of Vocal Arts

But the evening belonged to bass Scott Conner, who was a menacing Lindorf, Copéllius, Dappertutto and Dr. Miracle with a masterful voice—pitch perfect, resonant, and robust.”

Gale Martin, Bachtrack


“Scott Conner was magnetic as Hoffman’s antagonists, Lindorf, Coppélius, Dr. Miracle and Dapertutto.”

Steven Cohen, Broad Street Review

Don Giovanni – Academy of Vocal Arts

And as the Don, Scott Conner was a vivid actor with a solid bass voice.”

Steven Cohen, Broad Street Review

Don Giovanni – Opera Cleveland

As in the opera’s original Prague and Vienna productions, bass Scott Conner doubles as Masetto and the Commendatore, lavishing both with sonorous command. (he’s a future Giovanni/Leporello.)”

Donald Rosenberg, The Plain Dealer

La cenerentola – Opera New Jersey

Scott Conner made a positive impression as Alidoro, singing with good style, apt geniality and notable agility.”
David Shengold, Opera News