"It is impossible to imagine Randall Scarlata singing a mechanical or thoughtless phrase. One has the wonderful sense that Scarlata searches out the Platonic essence of anything he plans to sing and then uses every attribute at his disposal to create the most appropriate and fully dimensional realization possible."

~The Washington Post
(review of Kennedy Center solo recital)

"A triumph...this baritone has the vocal wherewithal to do just about anything he wants."

~The Boston Globe
(Review of Boston Debut recital "Winterreise")

"The young American singer revealed a baritone of handsome weight and color as well as considerable power and agility. Even more impressive was the depth of emotion Scarlata found in the music, bringing texts to life with arresting force. Idiomatic phrasing, clear diction and unerring tone combined with Goode's artfully shaded pianism to give a first-rate performance."

~Contra Costa Times
(Review of recital with pianist Richard Goode)

"One of the marks of an excellent singer is the ability to adapt to a variety of musical styles, and that ability is clearly present in baritone Randall Scarlata. Earlier in the festival, he had given a first-rate account of Schumann's "Dichterliebe" song cycle; Wednesday evening, Scarlata was in ultra-suave French mode for Ravel's "Chansons Madècasses," along with flutist Lorna McGhee, cellist Ronald Thomas and pianist Anton Nel. Scarlata's voice caressed the music, with its sensuous texts and subtle, minimalist instrumental accompaniments."

~The Seattle Times
(Seattle Chamber Music Festival)

"Scarlata impresses with his extraordinary vocal range and colour palette, not to mention his ability to traverse so many different singing styles...Scarlata makes this performance come alive. By comparison Titus sounds like a lightweight, lacking in character or feeling. Just listen to how Scaralata conveys exhaustion and despair in this penultimate - and very demanding - section. And savour those harps, soft pillows of sound on which the Celebrant can rest his weary head. Hugely theatrical, but as with all such gestures they are highly effective when handled with such sensitivity and good judgment."

~MusicWeb International
(review of recording of Bernstein's Mass)

"Mr. Scarlata sang with masterful authority and secure technique as the Celebrant, with over two hours on the stage".

~ Die Presse
(Vienna performances of Bernstein's Mass)

"The skillfully balanced program began with seven lieder calibrated by Mr. Barnatan and baritone Randall Scarlata to underscore the pensive, withdrawn quality of the music with tenderness and refreshing vigor. Mr. Scarlata enlarged loss and longing, for instance, in Herbst and Vor meiner Wiege with restrained, but sensuous coloration. Mr. Barnatan tempered joy and transcendence in Bei dir allein and Des fischers Liebesglück with nuanced phrasing and dynamics. Their collaboration in Die Taubenpost exposed piercing simplicity in Schubert's yearning."

~MusicWeb International
(review of performance with Chamber Music Society of Lincoln Center)

"An imposing rather than a flashy performer, Scarlata shaped his sound -- with a manifold array of timbres -- to emphasize single words and the moods (from exhilarating to morbid) of each setting. Denk's phrasing, coloring and tempos reinforced Scarlata's dramatic force."

~The Washington Post
(Review of Die Schöne Müllerin)

"Randall Scarlata is an intelligent and communicative singer. In songs of Schumann and Schubert his delivery of the text was vivid, and this was not just a matter of clear diction but of a compelling desire to bring texts to life. His voice is hearty and robust, and his lovely, soft singing in high-lying phrases was poignant."

~The New York Times
(Review of Alice Tully Debut Recital)

"Scarlata's singing was one of the highlights of the evening."

~Opera News
(Review of BAM performance of Messiaen's St. François d'Assise)

"Scarlata possesses an instrument that is high and a musicality that is instinctive, dramatic and wholly natural. He knows how to link music with text, in this case, Heinrich Heine, and to make the German clear and eloquent. His performance was a remarkable one, but so was that of Neiman, a young, gifted musician introduced to Seattle by the festival. Schumann did not cheat the pianist, and Neiman played with imagination, supporting Scarlata but making his own part equally compelling."

~Seattle Post-Intelligencer
(review of Schumann's Dichterliebe)

"Randall Scarlata sings with the assurance of one with nothing to prove. It would be criminal not to mention his comprehensive artistry."

-The Daily Telegraph
(review of Edinburgh Festival recital debut with Richard Goode)

"Scarlata is a true art song singer, with warm expressive voice and clear words. He connected with the audience and never lost them. His voice is even throughout a wide range, with a firm bottom and true sweet high notes, and power when he needs it."

~The Seattle Post-Intelligencer

"Scarlata demonstrated admirable stylistic flexibility, a burly yet beautifully schooled instrument, and a winning way with the audience. The performance brought to mind the sensibility of Peter Pears and the lusty swagger of Bryn Terfel."

~Opera Now
(review of Morgan Library recital)

"Scarlata gave an engaging performance, showing intelligence, strong programming and a felicitous knowledge of his materials."

~The Los Angeles Times

Randall Scarlata, as the Celebrant effectively modulates his trained opera voice to the more vernacular realm of direct expression called for by the part. This is crossover singing at its best. Scarlata's "Simple Song" soars, first gently then urgently, and he delivers a ringing, passionate "Word of the Lord."

~Opera News
(review of Bernstein's Mass)