Classical Artist

Scot R. Cameron
tenor/countertenor
www.scotrcameron.com

The Dallas Morning News describes Scot R. Cameron as a “polished performer with a rich, expressive voice.” Mr. Cameron has spent the past ten years performing throughout the US and abroad, including Israel, Latvia, Spain, France, England, China, Brazil, Taiwan, and Singapore. In 2003, he made his Carnegie Hall debut singing Carmina Burana with the Sacramento Choral Society and the New England Philharmonic.

Recent performances include:

Samson with the Austin Civic Chorus
Alexander’s Feast with the Bach Sinfonia of Washington D.C.
Les Arts Flourissants with Concert Royale at Princeton University
Carmina Burana with the Fort Worth Dallas Ballet
Haydn’s Creation with the Hallelujah Oratorio Society in Singapore
Messiah and St. John's Passion with the Dallas Bach Society
On Wenlock Edge with the Spectrum Chamber Ensemble
Vivaldi’s Stabat Mater and Nisi Dominus with the Orchestra of New Spain
Mozart's Requiem
B Minor Mass
Beethoven's 9th Symphony

Additional performances:

The Early Music Foundation of New York
Rochester Bach Festival
Publick Musick
Fort Worth Early Music
Orpheus Chamber Chorale
New York Baroque Dance Company
Orquestra Sinfonica y Coro de Radio Television Espanola en Madrid
The Fort Worth Symphony

He is featured on the recently released Dorian recording, Madrid 1752, “Sacred Music from the Chapel of Spain” and "Alexander's Feast," recorded by Washington Bach Consort.

Scot has served as director and conductor for choral ensembles. He also leads choral workshops, provides music for revivals and conferences, and provides vocal instruction and seminars.

A native of North Carolina, Mr. Cameron now resides in Dallas, Texas and enjoys a musical career as a classical vocalist, conductor, vocal seminar clinician, and private voice instructor.

Reviews and Recommendations

Bach Society's St. John Passion turns tender notes

CLASSICAL REVIEW: Cameron's expressive Evangelist a dramatic standout
By SCOTT CANTRELL / The Dallas Morning News

..."Two centuries and three quarters on, this remains one of the monuments of Western music. So it was again Saturday evening, in one of the Dallas Bach Society's finest recent performances.

Much of the St. John Passion is narration, sung by a tenor Evangelist. It's a job demanding a very special singer, with a great storyteller's vivid delivery.

Scot R. Cameron was the Evangelist of dreams, his tenor firm on the lowest notes, soaring sweetly on high. And how dramatically he colored his voice, by turns sober, anxious, conspiratorial, irate, horrified and tender.

Again and again, a word or phrase struck an emotional nerve. The frantic lashings at the word "scourged" sent chills down the back. A long crescendo on "look" seemed gradually, and grippingly, to unveil Jesus' bloodstained back."

Tenor's Performance Highlight of Chamber Music Concert
by Wayne Lee Gay
Star-Telegram Classical Music Critic

Fort Worth - A 20th century masterpiece, Vaughan Williams' song cycle On Wenlock Edge, and a locally based tenor who was born to sing this work, crowned the Spectrum chamber music concert at First United Methodist Church last night.

For several years, local fans have admired Scot Cameron's performances - sometimes as a tenor, sometimes as a countertenor - in the Fort Worth Symphony and Southwestern Baptist Theological Seminary presentations of Handel's Messiah.

Last night he showed an equal ease in Vaughan Williams' intensely dramatic setting of six peoms from A. E. Housman's A Shropshire Lad. Cameron was at his best, with a distant, golden tone, in the elemental evocation of birth in the opening bars of From Far, From Eve and Morning.

Handel's Messiah Debuts Wonderful Local Talent Again
by Wayne Lee Gay
Star-Telegram Staff Writer

Fort Worth - In 1994, we were pleased to discover an outstanding new tenor on the local scene when Scot Cameron, then a student at Southwestern Baptist Theological Seminary, debuted with the Seminary Oratorio Chorus and the Fort Worth Chamber Orchestra as tenor soloist in the annual performance of Handel's Messiah.

Last night at the seminary's Truett Auditorium, again at a performance of Messiah, we were delighted to discover a superb new countertenor (i.e., male alto) on the local scene. It was Scot Cameron again, who has added the countertenor repertoire to his accomplishments.

He was impressive in this role as he has been as a tenor. This particular type of voice - no, it doesn't require an operation - was prized in the 18th century and has been revived in our own time in connection with the early music movement. Cameron's tone is brilliant and expressive, his range impressive - he even threw in an extra high F in his opening aria, But Who May Abide - and he apparently has the lung capacity of a pearl diver, as he demonstrated in the long melismas of Thou Art Gone Up On High.

A Holiday Ritual that Sounds Great; Performance of Handel's 'Messiah' at Bass Hall is Again Outstanding
by Punch Shaw
Special to Star-Telegram

The line-up of soloists for this year's model featured four singers who have filled those positions for the past several seasons. Bass James David Robinson, tenor Stanley Warren, countertenor Scot Cameron, and alto Angela Faith Cofer were good last year and, if anything, sounded even better Monday night.

Cameron, who sings both tenor and countertenor roles, seems to be increasingly comfortable at the higher end of his range. He delivered some of the evening's translucently beautiful moments.