Scott Piper


Spinto tenor Scott Piper’s rich, resonant voice and charismatic stage presence quickly established him as a sought after interpreter of opera's romantic leading men, in roles such as  Cavaradossi in Tosca, Don José in Bizet's Carmen, Pinkerton in Puccini’s Madama Butterfly, and Turiddu in Cavalleria Rusticana. Of his performance with Utah Opera, the Salt Lake Tribune wrote “His voice was rich and natural, with baritone heft in the lower range; his heart-tugging third-act aria, "E lucevan le stelle," was one of the evening's highlights.” Recently transitioning into spinto repertoire, Mr. Piper has sung Calaf in Turandot for Pensacola Opera and Minnesota Opera, Manrico in Il trovatore with Utah Opera, Pollione in Norma in Wiesbaden, and Luigi in Il tabarro and the title role of Otello with Opera Köln, Wiesbaden, Klagenfurt, and Dayton Opera, Verdi’s Requiem with Angers-Nantes in France, Canio in Pagliacci with Utah Opera, and Canio/Turridu in Pagliacci/Cavalleria rusticana with Madison Opera. Engagements for the 2019-2020 season include Pablo Neruda in Il postino with Virginia Opera and Opera Santa Barbara.


Recently, Mr. Piper made his role debut as Turiddu with the New Israeli Opera, added Canio for a Cavalleria – Pagliacci double bill with Opera Tampa, and debuted Manrico in Verdi’s Il trovatore with Opera Roanoke, and Anatol in Barber’s Vanessa with Sarasota Opera. Additionally, he returned to his signature roles: Rodolfo in La bohème with Angers-Nantes Opera in France, Don Jose in Carmen with Kentucky Opera and Nashville Opera, and Edgardo in Lucia di Lammermoor with Seattle Opera. 


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Scott Piper


"The two are given handsome visual presentations. . . Kristine McIntyre’s staging, some points aside, is imaginative, again, especially in Pagliacci. (Giving the Prologue an anticipatory staging of its own was especially clever.) . . . The vocal cast is excellent throu...


"Under the sure hands of stage director Tara Faircloth and conductor Timothy Myers, these one-act operas spanned a broad emotional range with tight drama, good pacing and imaginative charm . . . Scott Piper sang Canio with palpable menace. Piper’s “Vesti la giubba” was...


“Scott became the perfect Otello. His presence on stage, the powerful hero, the ardent lover and the jealously-infected victim, requires vocal intensity and dramatic acting. Scott dissects every one of his characters. In his Otello, we saw love, witnessed attack by Iag...


The Great Falls Symphony welcomed tenor Scott Piper’s return this week. Read the feature article on Scott here…

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