Media Reviews

A sampling of professional reviews since my Fall 2012 hire:

Soloist

[Mustafá’s] erstwhile rival, the fake-uncle Taddeo, was sung by bass Scott MacLeod whose pleasing voice and excellent intonation and diction matched his most convincing acting. Perret, P. (2017). Spirits Soar in Piedmont Opera's Sondheim Musical. Classical Voice of North Carolina.

Scott MacLeod keeps Fredrik on the right side of dignity; he is courtly but not pompous, reasonably frustrated with Anne, warm but restrained with Desiree. His scenes with his rival, Carl-Magnus, played by Michael Redding, are hilarious. Felder, L. Piedmont Opera's production of "A Little Night Music" comes close to perfection. (2016, March 19). Winston-Salem Journal.

Most impressive among the solo voices was baritone Scott MacLeod, singing the role of Herod the Great. MacLeod's clear, resonant voice was strong at both top and bottom of the bass-baritone range, conveying the paranoia of this Judean king with drama, vocal dexterity, and superb musicianship. Simon, G. (2016). Gentle Berlioz, Beautifully Sung by North Carolina Master Chorale. Classical Voice of North Carolina.

Baritone Scott MacLeod was a joy as Hortensius, the Marquise’s long-suffering servant: indeed, he could have been more charming only if Donizetti had given him more to do. In his Act One entrance with the Marquise, he was atremble with barely-concealed trepidation and a healthy hint of scorn for his employer’s condescension, and his voicing of ‘Allons, madame la marquise, remettez-vous et faites un effort!’ was appealing. Dr. MacLeod’s announcement of the interestingly-named guests at what was intended to be Marie’s wedding was hilarious, and he was a consistently engaging presence in ensembles. His skills as a raconteur were confirmed by his recounting of his unfortunate mistake after being charged with the upbringing of the roving Captain Robert’s children. Only an accomplished singing actor could have so amusingly summarized the sub-plot of La fille du régiment with a single, well-timed ‘Oops!’ Newsome, J. (2015). PERFORMANCE REVIEW: Gaetano Donizetti - LA FILLE DU RÉGIMENT (A. Emerson, R. Barbera, S. Nicely, D. Hartmann; Greensboro Opera - 9 January 2015). Voix des Artes.

Bringing an exceptional baritone to the proceedings was Scott MacLeod. This High Point University professor's initial offering was the near-canonical "Ol' Man River" from Kern's Showboat. In introductory remarks, he paid tribute to his "model and mentor," William Warfield, a consequential bass-baritone from days of yore, and one who could be said to "own" that song. MacLeod did his mentor proud, with a low register on a par with that of the great man himself. He followed with another staple, "Some Enchanted Evening" from South Pacific. His finest dramatic work came with "Being Alive" from Sondheim's Company, wherein he finds that being a loner is not the way to go. Williams, P. (2014). North Carolina Symphony Brings Broadway Romance to Koka Booth Amphitheatre. Classical Voice of North Carolina.

In his brief appearance on stage and, especially, in his lines sung from the wings, baritone Scott MacLeod—also the Chorus Master—was a strong, resonant Huntsman (Lovec), his singing of ‘Jel mladý lovec, jel a jel, laň bilou vlese uvidĕl’ jovial but vaguely mysterious and grandly masculine. Newsome, J. (2014). PERFORMANCE REVIEW: Antonín Dvořak - RUSALKA (J. El-Khoury, R. Thomas, M. Gawrysiak, H. Melton, T. Fox; North Carolina Opera; 30 March 2014). Voix des Artes.

There were a few highlights of this performance. The aria in the first section entitled "The People That Walked In Darkness," sung by MacLeod, was lovely. It was sung with such feeling and emotion. Swinyard, M. (2013). Hallelujah! Greensboro Oratorio Singers Perform Their 60th Messiah. Classical Voice of North Carolina.

MacLeod’s singing of the “Quia fecit” was hearty and majestic. Lindemann, T. (2013). An Evening of Boisterous Bach. Classical Voice of North Carolina.

Chorus Master

Scott MacLeod's chorus also deserves great credit. Despite being seated behind the orchestra, they could be heard in the quietest moments and easily filled the hall in the booming Act III temple scene. The women were particularly impressive in the shimmering passages accompanying Dalila's Act I entrance. Dicks, R. C. (2018) NC Opera's Samson et Dalila In Concert Is A Huge Success In All Respects. Classical Voice of North Carolina.

Various choruses, some all men, some all women, and some mixed, play significant parts in The Pearl Fishers; and under the direction of Scott MacLeod, they were all resplendent. Act II ends as a violent storm erupts and the fishermen unite in singing a hymn to Brahma ("Brahma divin Brahma!"). It was glorious. Hoover, K. (2017). North Carolina Opera's The Pearl Fishers Sparkles with Exotic Grandeur. Classical Voice of North Carolina.

The best impression came from the chorus, singing prayers and protestations with powerful precision under chorus master Scott MacLeod. Dicks, R. C. (2017, April 29). NC Opera's flawed 'Pearl Fishers' still engages. The News & Observer.

Another extraordinary element this afternoon was the NC Opera Chorus. This ensemble is getting better and better, now that a permanent chorus master has been hired - Scott MacLeod is a good opera singer himself, which, no doubt, helps him in his effort to push this chorus to ever higher operatic standards. Gazzola, L. (2016). Eugene Onegin at North Carolina Opera. Opera Lively.

Equally heartening has been the artistic growth of the NC Opera Chorus in recent seasons, and Chorus Master Scott MacLeod's fastidious training of the ensemble was apparent in the world-class choral singing in this performance. As Cio-Cio San's attendants and relations in Act One, the choristers sang with precision, and their traversal of the famous 'a bocca chiusa' humming chorus that bridges Acts Two and Three was bewitching, sopranos and tenors alike braving the top B♭s fearlessly. Newsome, J. (2015). PERFORMANCE REVIEW: Giacomo Puccini - MADAM BUTTERFLY (T. Trevigne, M. Brandenburg, M. Sumuel, L. Ammann, I. McEuen; North Carolina Opera, 30 October 2015). Voix des Artes.

Scott MacLeod led the chorus, mostly offstage, in some of the most magical moments in the opera. The "Humming Chorus," which bridges the two parts of Act II, surely coaxed tears down many a cheek. Hoover, K. (2015). North Carolina Opera's Madama Butterfly - Opera at its Best. Classical Voice of North Carolina.

The fantastic impact of the whole of Act Two was due in no small part to the wondrously vibrant singing of the North Carolina Opera Chorus. Prepared by Dr. Scott R. MacLeod to a level of excellence that exceeded the work of the choruses of much larger opera companies, the NCO Chorus sang with charming brio and crispness of diction and ensemble, evoking a genuine sense of the joy of Christmas Eve in Act Two. Newsome, J. (2014). PERFORMANCE REVIEW: Giacomo Puccini - LA BOHÈME (A. Fout, E. Barry, J. Echols, T. Cook; North Carolina Opera; Raleigh, NC; 26.01.2014). Voix des Artes.