Ottone is beautifully sung by counter-tenor Tom Scott-Cowell. His serenade to Poppea is a highlight of the evening. Broadway World (The Coronation of Poppea, Opera Theatre of St. Louis)
Tom Scott-Cowell, a countertenor, was a delight to witness as he pretzeled his desperate character from jilted lover to cross-dressing assassin.
STL Limelight (The Coronation of Poppea, Opera Theatre of St. Louis)
Newbie Tom-Scott Cowell who gives a turn laced with comedy and nuanced tragedy as Ottone.
Review STL (The Coronation of Poppea, Opera Theatre of St. Louis)
Tom Scott-Cowell’s unfailingly musical Ottone.
The Classical Review (The Coronation of Poppea, Opera Theatre of St. Louis)
Countertenor Tom Scott-Cowell gave a vocally and dramatically satisfying account of the rejected Ottone.
STL Today (The Coronation of Poppea, Opera Theatre of St. Louis)
James Hall and Tom Scott-Cowell as Goffredo and Eustazio, respectively, deliver spirited characterisations, secure and imposing in tone Classical Source (Rinaldo, Glyndebourne)
Tom Scott-Cowell is excellent as Korimako, who lures Elin to live her dream with his alluring countertenor.
Classical Source (Agreed, Glyndebourne)
The principals were led by…Tom Scott-Cowell’s finely sung Korimako.
Music OMH (Agreed, Glyndebourne)
Tom Scott-Cowell’s imperiously sung Prospero ruled with a rod of iron.
Planet Hugill (The Enchanted Island, British Youth Opera)
Tom Scott-Cowell’s ringing countertenor makes him a suitably dominant Prospero.
Yehuda Shapiro/The Stage (The Enchanted Island, British Youth Opera)
There are names to watch in this cast…Tom Scott-Cowell a well-rounded Prospero.
Rebecca Franks/The Times (The Enchanted Island, British Youth Opera)
Tom Scott-Cowell’s Prospero movingly begged forgiveness of the witch Sycorax.
Barry Millington/Evening Standard (The Enchanted Island, British Youth Opera)
Prospero [is] sung commandingly by the countertenor Tom Scott-Cowell, even throughout his range.
John Johnston/Bachtrack (The Enchanted Island, British Youth Opera)
Tom Scott-Cowell’s puppyish, slightly goofy Armindo (the gawky hero who, when everyone else gets their swords for battle, returns armed with a cricket bat) is a gentle, confident and humourous presence on stage, ably across Armindo’s music with his appealing countertenor.
Charlotte Valori/Bachtrack (Partenope, Iford Arts)
Tom Scott-Cowell gives us creamy countertenor tone as Armindo.
Alex Coglan/Arts Desk (Partenope, Iford Arts)
Thomas Scott-Cowell’s trans-everything Oberon was more earthy than Ainslie’s [at English National Opera], but just as worthwhile.
Fiona Maddocks/Guardian (A Midsummer Night’s Dream, Royal College of Music International Opera School)
Thomas Scott-Cowell’s Nireno lurks and sneaks with Iago-like creepiness.
Opera Today/Claire Seymour (Giulio Cesare, English Touring Opera 2017)
Thomas Scott-Cowell as Nireno provided strong support.
Planet Hugill (Giulio Cesare, English Touring Opera 2017)
Thomas Scott-Cowell in the third counter-tenor (originally castrato) role of Cleopatra’s adviser Nireno supplied additional falsettist pleasure. Critic Circle/Tom Suttcliffe (Giulio Cesare, English Touring Opera 2017)
A suitably cocky, glue-sniffing Gernando –
Richard Fairman/Financial Times (Faramondo, London Handel Festival)
Noteworthy in the cast of well-coached singing actors …[was]Tom Scott-Cowell,with [his] salacious portrayal of the glue-sniffing and rather pathetic Gernando.
Opera con Brio/Richard Beams (Faramondo, London Handel Festival)
Thomas Scott-Cowell is a very personable young man on stage, with a fine counter-tenor voice…what he did with his voice was well worth listening to and he sang the Handel with intelligent style.
Planet Hugill (Ariodante, London Handel Festival)
I was particularly looking forward to hearing Thomas Scott-Cowell take on the role of Polinesso…and I was not disappointed. This young countertenor, a pupil of Laurence Zazzo, not only has huge potential as an operatic countertenor, but, like his mentor, has a convincing stage presence. I like the fact he was willing to go into his chest voice in order to project his vocal lines at a consistent volume throughout the range. His pitch is admirable and his coloratura excellent. He is definitely a talent I shall be watching with interest. Watching Xavier Sabata recently playing a villain in Handel at the Barbican I noted it is not easy for a countertenor to play a villain and still hit every note bang in the middle without distortion. Mr Scott-Cowell managed to avoid this pitfall by adding an edge to his voice where appropriate, in keeping with his sinister characterisation. His contribution to the fight scene was excellent. It is always a good start when a young artist learns how to die well.
Opera Britannia/ Miranda Jackson (Ariodante, London Handel Festival)