R e v i e w s
The Songs of John Bucchino - Grateful 20th Anniversary Virtual Concert
“Real Enough to Change My Mind” from Lavender Girl, is performed by Jessica Fishenfeld and Scott Joiner. The pair perform to a richly orchestrated track. Voices are terrific, lyric meaning paramount."
—Alix Cohen, Theater Pizzazz, New York Theater Reviews (Dec 14, 2020)
Soloist, voice and piano, World Premiere, Two Eldritch Songs (text by HP Lovecraft)
"Scott Bradley Joiner was [already] not only a fabulous singer, but also a sparkling pianist. Today he is also one of the most exciting musical dramatists of my own generation, in a landscape at the intersection of opera and musical theater."
—Marcus Paus, Ballade (Norway) Issue LXVIII, Tingen på terskelen (October 9, 2020)
Tenor Soloist, Greenwich Choral Society - A Christmas Tapestry
"The Tapestry of the Holy Birth by Stephen Mager, a Cantata that unfolds with the drama of Jesus’ birth... featured a strong solo performance by tenor Scott Joiner." —Linda Phillips, Greenwich Sentinel (Dec 10, 2019)
2018/2019 Season Opening Gala - City Lyric Opera at Steinway Hall, NYC
"Scott Bradley Joiner joined [Fishenfeld] last night for the highly convincing love duet "Tornami a dir" from Donizetti's Don Pasquale... Similarly, Mr. Joiner got his solo number as well, the well-loved "Questa o Quella" from Verdi's Rigoletto, which was sung in garlic-scented Italian of which every word was clear." — Meche Kroop, Voce di Meche (September 11, 2019)
Tenor Soloist, The Great War Symphony by Patrick Hawes - DCINY - Carnegie Hall
"Tenor Scott Joiner has a strong voice that can fill any hall. While his lyric gifts were abundantly displayed, it was his bitingly ironic tone in “The Song of the Mud” that this listener enjoyed the most." —Jeffrey Williams, New York Concert Review (Nov. 2018)
Big Jim King, Big Jim & The Small-Time Investors by Eric Salzman (Gramercy Opera - Cutting Edge Festival at Symphony Space) 2018
"Salzman’s music is quite varied in styles... truly a fine piece of post-modern creative work. The excellent cast featured tenor Scott Joiner as 'Big Jim.' Joiner managed well to convey both Jim’s charisma and his sleaziness." —Arlo McKinnon, Opera News (July 2018)
"Big Jim travels in the avant-garde with atonal music that is comfortably braced with myriad rhythms including jazz [and] tango... Scott Joiner performs a vocal slight of hand with his portrayal of Big Jim. Projecting a puppy dog charm that is both relaxed and insinuating, he surmounts Salzman's composition with an elastic tenor sound that thrillingly embraces the abstract, even as the intended effect is that of him singing [a] soothing tune. Such is Big Jim's power of persuasion that he can employ an intentionally naïve touch of sleaze to appear trustworthy. As Joiner sings one thing, Jim's investors process quite another. So do we. The results on stage are financial disaster and dashed rather than virtually realized dreams. The payoff is a magical performance by Scott Joiner." —John Hohmann, Schmopera (April 13, 2018)
"There was not a single mediocre voice onstage. Not only did everyone sing with fine tone but the diction was uniformly successful. Big Jim [was] the excellent tenor Scott Joiner, whom we so enjoyed as Bob Cratchit at Gramercy Opera [in 2017]... The duet between Jim and Kim was a highlight."
—Meche Kroop, Voce di Meche (April 10, 2018)
"The driving forces for the show were first, J. Griffith Brown’s fine direction... Second Victoria Bond’s equally frisky conducting... Third, of course, was some terrific singing. Scott Joiner as Jim has a tough job competing with the raucous protestors (some with baseball bats!) but he works into his part with a tenor which can build into a shriek, exhortation and a fairly sympathetic duet with Mother... This was a work which never lost its sting."
—Harry Rolnick, ConcertoNet (April 10, 2018)
Tenor Soloist, International Carol Suites by Mark Hayes (Distinguished Concerts Int’l at Carnegie Hall) 2017
"I must mention the highlights from each of the four excellent soloists... Mr. Joiner’s Gesu Bambino was delivered with a crystalline clarity"
—Jeffrey Williams, New York Concert Review (Nov. 19, 2017)
Edoardo Plummer, Il grillo del focolare by Riccardo Zandonai (Teatro Grattacielo) NYC 2017
"Israel Gursky led a forty-four-piece orchestra with a firm grasp of style. The level of singing among his soloists was unusually high... Tenor Scott Joiner got to use two different voices—one as the ardent young hero Edward Plummer, the other as an old man when Edward is in disguise. Both voices were thoroughly convincing." —Eric Myers, Opera News (January 2018 issue)
"What draws audiences to Teatro Grattacielo, besides the eccentric charm of so many of these scores, is the opportunity to hear some striking young singers bring them to life. Scott Joiner sang the long-lost sailor, partly in vocal disguise as a rude old tramp... Joiner demonstrated theatrical talent and a most agreeable light tenor."
— John Yohalem, Parterre Box (October 18, 2017)
Tenor Soloist, Eric Salzman and Friends (the Center for Contemporary Opera) 2016
“On the first part of the concert, soprano Jessica Fishenfeld and tenor Scott Joiner, accompanied by Eric Sedgwick, sang song cycles by Eric Salzman… All three of these talented young performers did a fine job… Between the two Salzman sets came Connection Lost: The Tinder Opera, a 12-minute film directed by Adam Taylor. Scott Joiner (the tenor we had just heard) wrote the score as well as acted and sang the lead role. This dynamo proved himself quite up to the task across the board in this charming and witty little piece.”
—Matthew Harris, New Music Connoisseur (Volume 22, No. 2 – Fall 2016)
Tenor Soloist, Eternal Light: A Requiem by Howard Goodall (Distinguished Concerts Int’l at Carnegie Hall) 2016
“The three soloists were top-notch, and each delivered strong, passionate performances… Tenor Scott Joiner wrung out the emotion in the heartbreaking third movement Litany: Belief.” — Jeffrey Williams, New York Concert Review (Nov. 23, 2016)
Joseph Treat, Mrs President (National Opera Center) 2016
"As Joseph Treat, a past Woodhull follower, Scott Joiner (Tenor) gives a fiery declaration of Woodhull’s “pernicious” danger, which he pens as a letter to the New York Times." — Lianne Curtis, Boston Musical Intelligencer (October 27, 2016)
Piemonteser, Friedenstag (American Symphony Orchestra at Carnegie Hall) 2016
"Tenor Scott Joiner unleashed a lovely lyric sound in the Italian folk-singing of a Piedmontese soldier... " — Eric Myers, Opera News (October 19, 2016)
"Friedenstag has a number of roles in which savvy interpreters are able to make their mark. I especially liked the clear sweetness of Scott Joiner's tenor as a Piedontese soldier (he sang in Italian) and Carsten Wittmoser's sturdy vocalism as a Musketeer."
—Philip Gardner, Oberon's Grove (October 19, 2016)
"Besides [Donnie Ray] Albert, standouts in a strong cast included bass Ricardo Lugo as a stoical Sergeant, tenor Doug Jones as a boyish Corporal, bass-baritone Carsten Wittmoser as a cynical Musketeer, and tenor Scott Joiner as the Piedmontese, a messenger from Italy."
—David Wright, New York Classical Review (Oct. 20)
" …The visiting Piemontese, whose sun-drenched song — premiered by Peter Anders, no less — shows the others how bleak their lives have been (related “Italian” interpolations mark Der Rosenkavalier and Capriccio)... Scott Joiner served the music quite lyrically. "
—David Shengold, Classical Voice America
Pedrillo, Die Entführung aus dem Serail (St Petersburg Opera) 2016
This production stars some fine singers…Scott Joiner as Pedrillo is a talented physical comic whose antics help keep the slower parts of the opera entertaining. —Andrew Meacham, Tampa Bay Times (Feb. 6)
Chevalier de Danceny, Dangerous Liaisons (Manhattan School of Music) 2015
"The reason to go to MSM productions is to hear quality vocal talent. The finest on display was Scott Joiner in the role of the Chevalier de Danceny, the young nobleman who duels and ultimately slays Valmont... This singer had a genial quality and an innocent charm that suited the role and supported a warm tenor. " —Superconductor Classical and Opera
Fenton, Falstaff (Cinnabar Opera Theater) 2015
"There are other opportunities for showcasing some extraordinary vocal talent. Scott Joiner as Fenton, the one true love of Alice’s own daughter Nannetta, reveals a beautiful tenor voice..." —Sonoma County Gazette
"Interwoven in between is a subplot of young love with Alice’s daughter Nanetta (Aurelie Veruni) and her lover Fenton (Scott Joiner). Both have beautiful voices and their scene in the park in Act 3 (Dal labbro il canto) is a highlight of the show." —Petaluma Argus-Courier
"...The secret love between Nannetta and Fenton, [was] played with joyful earnestness by Aurélie Veruni and Scott Joiner." —North Bay Bohemian
Pang, Turandot (Opera Company of Middlebury) 2015
"There is the lovely, lively trio of Ping, Pang and Pong, played with humor and great interplay by Daniel Klein, Scott Joiner and Bray Wilkins."
"Comic relief as well as serious commentary was provided by the three ministers, Ping, Pang and Pong, performed delightfully by David Klein, Scott Joiner and Bray Wilkins." —Rutland Herald
Captain Scott, The Boston Tea Party Opera (world premiere, New York International Fringe Festival) 2014
“There are some exquisite voices in the cast; indeed with credits at some of our country’s leading opera houses… the cast is unquestionably gifted, Scott Joiner as Captain Scott works his scruffy charm successfully and Robert Balonek made an appealing Paul Revere.” —NYTheater Now
“The entire cast was inspiring in light of the talent each possessed. My favorites were... Captain James Scott, a smuggler charismatically portrayed by Scott Joiner..." —Applause! Applause! (Volume X, Issue 4)
Dickon, The Secret Garden (world premiere, San Francisco Opera) 2013
"A stellar cast...Scott Joiner brings a bright, arching tenor to the role of Dickon." —San Francisco Chronicle
"The singing was outstanding... roles were flawlessly sung by Erin Johnson, Marina Harris, Laura Krumm, Ao Li and Scott Joiner."
—American Record Guide
“Scott Joiner sings a hearty, jaunty Dickon with a lovely tenor, appropriately heavier than Meo’s." —The Classical Review
"I wish Scott Joiner — in a splendid performance as the key figure of Dickon Sowerby — were also in the Adler program so we would hear him more often." —The San Francisco Classical Voice
"Tenor Scott Joiner delivered Dickon’s music with freshness and a vibrant, piquant sound." —Seen and Heard International
"The San Francisco Opera's young singers were thoroughly prepared... with Scott Joiner scoring strongly as Dickon." —Huffington Post
"Scott Joiner, in his local debut, was splendid as Dickon." —San Francisco Examiner
"The production also excels in its casting choices... Joiner gives Mary's nature-loving friend, Dickon, pure energy." —Broadway World
"...The young cast is superb... Tenor Scott Joiner is a bubbling performer." —San Jose Mercury News
"...The first performance was not without rewards... Soprano Sarah Shafer was a bright, agile Mary; tenor Scott Joiner (Dickon) turned in [an] energetic performance..." —Opera News
Tenor Soloist, Messiah (Asheville Symphony Orchestra) 2012
“Soloists Jennifer Davison, Deborah Domanski, and Scott Joiner sang with brilliance and tonal splendor. Their attention to the text was extraordinary while their vocal color, performance skill and overall musicianship made the meaning of the work explicit." —Masterworks Review
"The soloists are all singers with extensive experience in opera and who brought their dramatic interpretive skills to this oratorio performance… each sang with facial expressions reflective of their respective texts and summoned their best technical chops to navigate Handel’s challenging score. Ms. Davison and Mr. Joiner are known to Asheville opera-goers, having appeared in leading roles with the Asheville Lyric Opera to critical acclaim… After intermission came a series of traditional carols in sumptuous arrangements played with an expanded orchestra... [including] Rutter's arrangement of “O Holy Night” (featuring Joiner’s thrilling, soaring tenor voice)..." —Classical Voice of North Carolina
Ferrando, Così fan tutte (Asheville Lyric Opera) 2012
"The cast was evenly balanced and musically secure… The men (Scott Joiner – Ferrando, Brent Davis – Guglielmo)… disguised as cowboys from Wyoming… gave rise to some of the production’s broadest comedy — the get ups (those moustaches and chaps!), the swaggers, the clownish pratfalls — and the evening’s biggest laughs." —Classical Voice of North Carolina
Goro, Madama Butterfly (Asheville Lyric Opera) 2011
"Joiner's youthful enthusiasm made him an especially good pick for the role (of Goro)." —Classical Voice of North Carolina
"The supporting characters were wonderful... tenor Scott Joiner was the perfect personification of the bustling and manipulative marriage broker Goro." —Biltmore Beacon
Tenor Soloist, For St. Cecilia (Finzi) (Asheville Symphony Orchestra) 2010
"The concert was greatly enriched by its vocal and dramatic elements... Finzi's ceremonial ode For St. Cecilia is a grand summation of breathless praise matched musically in the high arcing lines and sustained, operatic high notes delivered in thrilling fashion by the accomplished Mr. Joiner... this inspired performance was one to remember." —Classical Voice of North Carolina
"Resplendent with brass, For St. Cecelia began with a regal splendor befitting the grandest of occasions… but the real surprise was Joiner's rich and colorful tenor voice. —Biltmore Beacon
"Joiner's solo was a highlight of the concert. His rich tenor and range were well matched to the regal music." —Mountain Xpress
"For St. Cecilia, Opus 30 (1947), by the late English composer Gerald Finzi, opened the program after intermission. Scott Joiner was the tenor soloist. He sang with notable diction, firmly anchored vocalism and generally expressive use of his clear tone." —Masterworks Review
Tamino, Die Zauberflöte (Asheville Lyric Opera) 2010
“Asheville Lyric Opera opened their 2010-2011 season with a stunning production of The Magic Flute. Joiner portrayed his role [Tamino] with a clear and strong voice throughout, attended by his rich blend of colorful tones and youthful enthusiasm. The Beacon looks forward to hearing more from this talented singer…” —Biltmore Beacon
Goro, Madama Butterfly (Knoxville Opera) 2010
"...the role of the marriage broker, Goro, [was] sung well by Scott Joiner." —Knoxville Metropulse
Holiday Pops Soloist, Messiah (excertps), etc. (Asheville Symphony Orchestra) 2009
" 'When he [Joiner] sang an audition for me, I was impressed with his voice, with his communicative singing and with his stage presence,’ said conductor Daniel Meyer." —Asheville Citizen-Times