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)

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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)

 

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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 (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)

 

 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 (Ariodante, London Handel Festival)

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Thomas Scott-Cowell’s Nireno lurks and sneaks with Iago-like creepiness.

Opera Today (Giulio Cesare, English Touring Opera)

 

Thomas Scott-Cowell as Nireno provided strong support. 

Planet Hugill (Giulio Cesare, English Touring Opera)

 

Thomas Scott-Cowell in the third counter-tenor (originally castrato) role of Cleopatra’s adviser Nireno supplied additional falsettist pleasure. Critic Circle (Giulio Cesare, English Touring Opera)