Scott Ramsay, Tenor
Praised by Mark Swed of the Los Angeles Times for his “stentorian, strong tenor”, Scott Ramsay is highly regarded by opera companies and symphony orchestras across North America and abroad for his dynamic performances in repertoire ranging from bel canto to the 21st Century.
Following his portrayal of Edgardo in Lucia di Lammermoor, under the baton of Jesús López-Cobos at the Lyric Opera of Chicago, the Chicago Sun-Times proclaimed “Ramsay brought a passionate intensity to the role that matched the fire of Dessay’s riveting Lucia.” Of his Canadian debut in Verdi’s Requiem with Sir Andrew Davis and the Toronto Symphony Orchestra, the Toronto Globe & Mail declared, “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.” Most recently, for his portrayal of Narraboth in Salome with the Detroit Symphony Orchestra, the Detroit Free Press declared, “Scott Ramsay was a more distinctive Narraboth, singing with both lyricism and enough edge to compete with the orchestral roar behind him.”
Acclaimed performances of Mr. Ramsay’s include Narraboth in Salome and as soloist in David Del Tredici’s world premiere of Dum Dee Tweedle with the Detroit Symphony Orchestra, both under the baton of Leonard Slatkin; his return to the Lyric Opera of Chicago as the Painter/Sailor in Berg’s Lulu, Mark in Tippett’s The Midsummer Marriage both conducted by Sir Andrew Davis, and Mitch in Previn’s A Streetcar Named Desire; his Virginia Opera debut in the same role; Wilhelm Dantine in Glass’ The Perfect American with Long Beach Opera and Chicago Opera Theater; Nemorino in L’elisir d’amore at Michigan Opera Theater; Lenski in Eugene Onegin with Madison Opera; the Duke in Rigoletto with Sacramento Opera; Tom Rakewell in The Rake’s Progress with the Cincinnati Chamber Orchestra; Jupiter in Semele, Ferrando in Cosi fan tutte and Tamino in Die Zauberflöte all with Arizona Opera; Roméo in Roméo et Juliette with both Opera New Jersey and Syracuse Opera; Don Ottavio in Don Giovanni with Austin Lyric Opera and Dayton Opera; and in his signature role of Edgardo in Donizetti’s Lucia di Lammermoor with Lyric Opera of Chicago, Dublin International Opera Festival, Kentucky Opera, New Orleans Opera, Connecticut Grand Opera, Green Mountain Opera Festival, and for his debut at Portland Opera.
Mr. Ramsay’s numerous symphonic engagements have included solo appearances with the Chicago Symphony Orchestra (Francesca da Rimini/Christoph Eschenbach, and A Child of Our Time/Sir Andrew Davis); Toronto Symphony Orchestra (Verdi Requiem/Sir Andrew Davis); Saint Louis Symphony Orchestra (Kammermusik 1958/David Robertson); American Symphony Orchestra at Avery Fisher Hall, Symphony Space, and the Bard Festival (U.S. premiere: The Destruction of Jerusalem and Beethoven’s Symphony No. 9, both under Leon Botstein); Ravinia Festival (Grier’s Songs from Spoon River); Grant Park Music Festival (Rinuccio in Gianni Schicchi/Hannu Lintu, and Die erste Walpurgisnacht/Carlos Kalmar); Berkshire Choral Festival (the title role in Handel’s Judas Maccabeus, Beethoven’s Symphony No. 9, Carmina Burana and Verdi’s Requiem at the Terezin Memorial in Prague); Rochester Philharmonic, Milwaukee Symphony Orchestra, also Bel Canto Chorus, Louisville Orchestra, and Master Chorale of South Florida (Verdi’s Requiem); Pacific Symphony Orchestra (Tchaikovsky and Taneyev’s Roméo et Juliette/Carl St. Clair); Nashville and Pacific symphony orchestras (Messiah); Chicago’s Music of the Baroque (Mozart’s Requiem, and cantatas of Telemann and Bach/Jane Glover); Santa Cruz Symphony, Toledo, Albany, Jacksonville, Mobile and Pasadena symphony orchestras (Beethoven’s Symphony No. 9); Albany Symphony Orchestra (Opera Gala Concert, also “Mozart at the Opera”); Bach-Collegium Stuttgart (Bach Cantatas No. 41, 109 & 205); Pasadena and Jacksonville symphony orchestras (Mozart’s Requiem); Springfield Symphony Orchestra (Opera Gala Concert, and Carmina Burana); Madison Symphony Orchestra (Bach’s Magnificat); Green Bay Symphony Orchestra (Opera Gala Concert) and “Songs by Edward T. Cone” at Princeton University.
During his three-season engagement as a member of the Lyric Opera of Chicago’s Ryan Opera Center, Mr. Ramsay made his debut as Rodrigo in Verdi’s Otello alongside Ben Heppner, Renée Fleming and Jonas Kaufmann. During his time in the Ryan Opera Center he also sang principal roles in La bohème, Die Zauberflöte, Parsifal, La Traviata, Samson et Dalila, Regina, Lucia di Lammermoor and Madama Butterfly. Mr. Ramsay’s final season at Lyric Opera’s Ryan Opera Center was detailed by the New York Post writer William Murray in his book entitled Fortissimo: Backstage at the Opera with Sacred Monsters and Young Singers.
Scott Ramsay has won the top prizes from the Upper Midwest Region of the Metropolitan Opera Auditions, the American Opera Society and the Union League Civic and Arts Foundation. Additional training programs have included a two-season position in the young artist program at Florida Grand Opera, and apprentice positions with Glimmerglass Opera, Central City Opera and the Berkshire Choral Festival. Mr. Ramsay attended both The University of Wisconsin-Stevens Point & the University of Wisconsin-Milwaukee.
Mr. Ramsay is a member of the voice faculty at DePaul University’s School of Music in Chicago.
