"Ramsay sings with the ardor and polish the music demands."

"The setting was especially well suited for Scott Ramsay as Romeo whose fine acting skills exuded a tenderness and vulnerability ... The tenor from Chicago sang with a warm and sonorous tone."

"Scott Ramsay's Edgardo emerged a fully drawn figure, plausibly romantic and impulsive, etched in meaningfully declaimed and unfailingly musical phrases. He withstood the terrors of the part's high tessitura ... his clear, light timbre suggests a promising future ... it was a pleasure to hear Edgardo's beautiful music so cleanly negotiated."

"Edgardo was finely sung by Scott Ramsay. His bright tenor first matched Gilbert in Verranno a te sull'aure, the rapturous duet that concludes Act I; his grand aria Fra poco a me ricovero, Edgardo's suicide scene at the opera's conclusion, was soulful and touching."

"With the arrival onstage of Lucia, Alisa and Edgardo ... the performance took soaring flight. Gilbert's Lucia was no ice-and-crystal voice but one with warm, opal sound that caressed the ear. Ramsay matched her note for note, his lovely tenor of similar color and grace ... Ramsay countered with an equally beautiful death scene, marshaling sufficient reserves of power for Edgardo's punishingly difficult final phrases."

“...his light, flexible voice is very attractive, and he is a much better actor than Alvarez. He brought a passionate intensity to the role that matched the fire of Dessay's riveting Lucia. The opera's tragic tale took flight as it had not with Alvarez.”

“Well, I’m a great believer in Scott. I think he’s a tremendous talent and he’s come a long way in the time he’s been here. Of course, my wife (Gianna Rolandi) coaches him and he’s a wonderful musician – and did you hear him when he stepped in, in Lucia last season?” … “He sang beautifully and actually, his last scene was far more moving than who was scheduled. He was just fantastic and the last scene – which occurs right after the Mad Scene and can be such an anti-climax if it’s not well done – he did it so movingly. I was very, very impressed and we all were. He’s done some great things and I think he has a very good career ahead of him. Again, he’s someone who’s a very intelligent musician and a sensitive artist.”

"Scott Ramsay was arguably the most impressive of the four singers. He was ambitious enough to sing the original (very difficult) version of Fuor Del Mar from Idomeneo. He performed the rapid runs and other decorations handsomely. His voice was shown to even better effect in Dalla Sua Pace from Don Giovanni."

"Ramsay was fantastic in the brilliant coloratura work in the Fuor del mare. The evenness of his tones, agility, large range and stamina in the long aria were formidable"

"The other aristocrats — Don Ottavio, the would-be fiancé of Donna Anna ... were sung beautifully by Angela Fout and especially Scott Ramsay." (Austin Critics Circle Nomination - Best Male Performance/Opera)

"Scott Ramsay's tenor was glowing for his Jupiter..."

“Scott Ramsay was an 11th-hour substitute for the originally assigned tenor. He was unknown in the role, and apparently he learned it in four days. He proved a real find. His Ingemisco and Hostias, and his solo in the Lux Aeterna, had a sweetness and a modest purity reminiscent of vintage Bjoerling and Simoneau.”

“With ringing top notes, tenor Scott Ramsay skillfully negotiated the tricky intervals of “Porquoi me reveiller” from Massenet’s Werther.

“Ramsay's growing tenor remains light, but he is a thoughtful, musical artist and shaped text and music with care and stylish expressiveness. Nothing was shirked, certainly not the high C capping Act III.”