Critical Acclaim

Rodolfo, Cavaradossi, Pinkerton, Death by Puccini (Penn Square Music Festival) 2018

“Tenor Peter Scott Drackley, a Lancaster native, sang Rodolfo, Cavaradossi, and Pinkerton. His lyric-dramatic tenor is so

serviceable, I could envision Drackley mastering a range of tenor roles from Nemorino in Elixir to the Duke in Rigoletto.

His Rodolfo was particularly winning. Drackley has similar qualities to a young Pavarotti–charisma, wonderful diction,

and a powerful Italianate sound. I got tingles through the tops of my toes when he sang with Cannizzo as Mimi. Unlike

Pavarotti, Drackley is an expressive presence on stage, which is what opera viewers demand these days.” Gale Martin, Operatoonity

Fernando, La Favorita (New Amsterdam Opera) 2018

“As Fernando we enjoyed the tenor of Peter Scott Drackley who managed to be both agile and full voiced.” Meche Kroop, Voce di Meche

“Indeed Act four was his best act. In “Spirto Gentil” Drackley sang with a fil di voce, showing a purity of sound... And this made for a beautifully phrased lament. His ascension into the upper register was effortless and it rang with a gorgeous color. In the final duet with Martin, Drackley was also at his most unhinged, but in a good way. One could hear the passion and the virile voice... His final “e spenta” was beautifully sung with resonant power and desperation.” Francisco Salazar, Opera Wire

Turiddu, Cavalleria Rusticana (Boheme Opera New Jersey) 2018

"Tenor Peter Scott Drackley, singing the role of Turiddu (was) well matching in vocal power. Drackley...was especially elegant, and presented well (his) vocal soliloquy." Nancy Plum, Town Topics

Nemorino, L'elisir d'amore (Winter Opera St. Louis) 2018

“Tenor Peter Scott Drackley was an outstanding Nemorino, with a powerful tenor voice (including some remarkably strong low notes)“ Chuck Lavazzi,

“Peter Scott Drackley as Nemorino...displays a clear, sweet, strong voice which is utterly comfortable over the whole range of the role.” Steve Callahan,

“Nemorino, Peter Scott Drackley, has a resonant tenor with solid high notes. His “Una furtiva lagrima” was poignantly sung.” Sarah Bryan Miller, St. Louis Post Dispatch

Macduff, Macbeth (LoftOpera) 2016

"Lyric tenor Peter Scott Drackley, as Macduff... excellently rounded out the dire urgency and political complexity of this opera’s savage game of thrones... Drackley rendered the throbbing, raw grief of “Ah, la paterna mano” with gorgeous, heartbreaking tenderness tempered by touching, manly restraint." Charles Geyer,

"Peter Scott Drackley as MacDuff brings the performance to an awestruck standstill with his exquisitely sung Act IV aria. He cuts a fine figure throughout the performance, with an intense stage presence” Alexis Rodda, Opera Today

"Peter Scott Drackley was a poignant, Pavarotti-channeling Macduff” Heidi Waleson, Wall Street Journal

"Another terrific singer…was tenor Peter Scott Drackley as Macduff. While he had truly only one big aria, Ah, la paterna mano, he delivered it as though his life depended on it while he grieved over his family murdered by Macbeth. With perfect Italian, soaring expressivity and a clean sound, he created one of those moments where time stopped, and tears streamed down my face." Masetto,

"Peter Scott Drackley sang Macduff with a lovely lyric tenor and a fine command of Verdian line”

John Yohalem,

“As Macduff, tenor Peter Scott Drackley won massive ovations after his heart-rendering performance of the famed “O figli, o figli miei… A la paterna mano,” his pianissimo singing full of an intimate pathos so necessary to render the pain and suffering otherwise lacking in this opera. He retained a reserved and gentle legato line throughout the opening of the aria, letting his voice build to the orchestral and vocal explosion that takes place halfway through. This allowed the audience to take the emotional journey with him from pain to anguish to eventually blood lust... for the murder of his family" David Salazar,

"Peter Scott Drackley sings Macduff’s aria plangently” George Loomis, Financial Times

"Among the fine cast, one other standout performance was by the tenor Peter Scott Drackley, who sang Macduff with expressive pliancy” Zachary Woolfe, New York Times

"In the key role of Macduff, tenor Peter Scott Drackley showed a bright sound with a welcome "ping" in the upper register. He proved convincing as the survivor of tragedy who goes on to lead the Scots people to freedom. As he and Mr. Irvin battled on one of the staircases, the audience sat enraptured” Paul J. Pelkonen,

"Peter Scott Drackley’s muscular tenor focused attention on the role of the rebel Macduff. His defiant side eye during the banquet scene was every bit as effective as his blazing top notes” James Jordan, The Observer

Il Duca di Mantova, Rigoletto (Anchorage Opera) 2016

“Peter Scott Drackley as the rakish Duke of Mantua, sang convincingly…Drackley’s breath control (was) impressive.” Mike Dunham, Alaska Dispatch News

Rodolfo, La Bohème (Utah Festival Opera) 2015

"The chemistry between Rodolfo and Mimì, sung by Peter Scott Drackley..., was the most compelling. Their relationship, born of coy glances and awkward advances, ended with the searing poignancy of Rodolfo’s final cries of “Mimì” over her lifeless body.”

"Drackley, who (was) making a debut in the role, showed vocal confidence.... during “Che gelida manina” and the duet, “O soave fanciulla,” his luminous head voice blooming with expansive and penetrating phrases." Robert Coleman, Opera News

"Drackley’s strong tenor seems perfectly matched... particularly [with] Mimi in the final act."

"As Rodolfo... begin(s) hinting at long-term promises of love, each solo is strong and rich and projects hopefulness." Jay Wamsley, Deseret News

Soloist, Essential Verdi (Washington Chorus/Kennedy Center) 2014

“A magnificent tenor voice, which this writer later found out belonged to one Peter Scott Drackley, popped up in the chorus to respond as Alfredo in the “Sempre libera” Leslie Weisman,

Male Chorus, The Rape of Lucretia (hexaCollective) 2013

“The depth, the maturity, and the diversity of voices that tenor Peter Scott Drackley projects... makes one almost feel guilty for enjoying an Opera that deals with issues such as crimes committed towards women.” Alexandra Lopez de Haro,

Alfredo, La Traviata (Opera AACC) 2012

“Drackley's Alfredo displays an impressive lyric tenor voice…summoning credible emotional intensity in his last duet with the dying Violetta.” Mary Johnson, The Baltimore Sun