- Bachelor of Music, University of Missouri/Kansas City
- Master of Music, University of South Florida
“The role of Taddeo, Isabella’s klutzy companion, was hilariously portrayed by baritone Scott D. Wheatley. His voice, his face, his whole body were put to work as acting tools, and his entire portrayal was large, yet subtle.”
Scott first discovered the world of music as a young and promising pianist growing up in Kansas. When his beautiful baritone voice made itself known and clearly needed to be heard, he heeded the call and altered course. He soon held degrees from the University of Missouri/Kansas City Conservatory of Music and the University of South Florida, having developed a clear and strong operatic baritone voice.
He performed with the Kansas City Lyric Opera, New York City Opera, Whitewater Opera, Bronx Opera, Sarasota Opera, Opera Northeast, Connecticut Grand Opera, and the Ashlawn Summer Festivals. In these companies, he performed a variety of roles including Sharpless in Madama Butterfly, Count Almaviva in Le Nozze di Figaro, Marcello in La Boheme, Enrico in Lucia di Lammermoor, Gerard in Andrea Chenier, and Germont in La Traviata.
Scott’s love of music has helped him to also find a home on the concert stage, where he has performed the Requiems of both Fauré and Duruflé, Ravel’s Don Quichotte et Dulcinée, Vaughan Williams’ Five Mystical Songs, Haydn’s Paukenmesse and Creation and Handel’s Messiah. He made his solo Lincoln Center debut at the Mostly Mozart Festival in Mozart’s Vesperae Solennes de Confessore under the baton of Ivan Fisher. He was invited back as a soloist at the Lincoln Center in a concert production of Gluck’s Alceste starring Deborah Voight and Vinson Cole. Other career concert highlights include Bluebeard in a new translation of Bartok’s Bluebeard’s Castle with the Bartok Foundation in Tampa, as well as world premiere performances of the role of Recruit in Thea Musgrave’s a cappella opera Voices of Power and Protest with the Virtuoso Singers of New York at both the Society of Ethical Culture and the United Nations. Scott has appeared as a soloist with the Israel Philharmonic in concerts throughout Israel and at the Salzburg Festival under the baton of Zubin Mehta, as well as with the Collegiate Chorale in Verbier, Switzerland and the Bard Festival in New York.
Internationally, Scott has also sung as a choral artist with many of the world’s greatest orchestras, including the New York Philharmonic, San Francisco Symphony, L.A. Philharmonic, Vienna Philharmonic, Cleveland Orchestra, Israel Philharmonic, American Symphony Orchestra, under the batons of renowned conductors such as Lorin Maazel, Sir Colin Davis, Kurt Masur, Leon Botstein, Esa-Pekka Salonen, Franz Welser-Möst, Nicholas Mcgegan, Louis Langree, Valery Gergiev, and John Mauceri. Other highlights include Verdi’s Requiem with the Israel Philharmonic, under the baton of Riccardo Muti, Carnegie Hall performances of the premiere of Sir Paul McCartney’s Ecce Cor Meum, the Julie Taymor-directed production of Elliot Goldenthal’s Grendel, Handel’s L’Allegro, il Penseroso, ed il Moderato with the Mark Morris Dance Company at the Brooklyn Academy of Music, and Ligeti’s Le Grand Macabre with the New York Philharmonic, conducted by Alan Gilbert.
In addition to his full calendar of singing and teaching, Scott enjoys an active career as a coach/accompanist, collaborating with both singers and instrumentalists, and his rare downtime is spent enjoying his new home in the beautiful Maine countryside.