Repertoire
 

2011: The Metropolitan Opera - New York, New York - Chairman Mao (cover)

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Opera Boston - Boston, Massachusetts (USA)

SUPERB SINGING AND PLAYING IN OPERA BOSTON'S FIDELIO "The cast —Christine Goerke (Leonore), Andrew Funk (Rocco), Michael Hendrick (Florestan), Meredith Hansen (Marzelline), Scott Bearden (Don Pizzaro), Jason Ferrante (Jaquino) and Robert Honeysucker (Don Fernando) — was excellent throughout, all boasting of big and beautiful instruments that they used to full effect."
~ Mark Kroll, The Boston Musical Intelligencer

Mershon Auditorium - Columbus, Ohio (USA)

FIDELIO @ OHIO STATE- AND THE WINNER IS... "I grew up hearing Jon Vickers do the role, so my standards are impossibly high, and Jon Vickers in his 80s is living a happy retirement in Bermuda. But bing-o, tenor Michael Hendrick is en route to save the show. He gets off a plane at 9 pm on March 8 while the first dress rehearsal is going on, comes in to Mershon auditorium with his coat on and luggage in hand, gets on stage and sings…and sings…WOW! Mind you, the guy barely had time to take off his coat. Thank you, Michael Hendrick."
~ Christopher Purdy, WOSU FM 89.7 Public Media Weblog (Columbus, OH)

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2011: The Metropolitan Opera - Tambourmajor (cover)

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Festival Amazonas de Ópera (Manaus, Brazil)

Michael Hendrick ... credible in the role of Aeneas, argued, despite being ill, the demands of the score.
~ Jorge Coli, "Folha de S. Paulo"

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New York City Opera

…as Don José, Michael Hendrick sang with a sturdy voice and ample ardor.
~ The New York Times

Opera Pacific (USA)

Hendrick sang… with a rich and subtle tenor that was particularly thrilling in the high range.
~ The Los Angeles Times

Hendrick sings powerfully throughout, with intensity and a sense of dramatic build. Nice pealing high notes, security in the lower range, balanced, rounded- an engaged, viscerally connected reading. (He) gave the final act passion and fire.
~ Orange County Register

La Coruña (Spain)

Michael Hendrick as Don José ...vocally demonstrated that he dominated the situation, with an ample and decided registry, of which mère left to certainty in "Parle moi de ma mère", the pair of Don José and Micaela, or in the final scene of the work.
~ El Diario Montañés

The tenor Michael Hendrick, equipped by temperament (reminds of Jon Vickers)... ...hits upon at the tragic final moments at which the work shows the expressive facets that place it in the birth of the verismo.
~ ABC

Santander (Spain)

It was a great triumph at night in a success shared with the tenor Michael Hendrick, who made a very good Don José ...wonderful singing.
~ La Voz de Galicia

Michael Hendrick made a crescendoing Don José, evolving dramatically in the four acts of the work, but obtaining the most interesting levels in last two, returning one more stunned performance when there is to be a very solid presence for the last part of drama.
~ Alerta: El Diario de Cantabria

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University of Cincinnati College-Conservatory of Music - Cincinnati, Ohio (USA)

A particularly impressive rendering of Lysander by Michael Hendrick.
~ Opera News

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2008: The Metropolitan Opera - New York, New York (USA) - Peter Grimes (cover)

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New York City Opera

Mr. Hendrick was most eloquent, his chatty, almost countertenor tessitura just perfect for a somewhat bitchy representative of the Fates.
~ Concertonet.com

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1993: Opera Theatre St. Louis - St. Louis, Missouri (USA) - Lorimond (cover)

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Washington National Opera - The Kennedy Center, Washington, D.C.

Stunning… Tenor Michael Hendrick as Lennie gives what probably will be regarded as one of this season's great performances. He negotiated Lennie's difficult vocal part with only the slightest sign of strain during last week's premiere. From the standpoint of stage drama, he imbued his character with layers of complexity, joining extremely physical acting to a surprisingly sweet tenor voice that makes Lennie's dark side all the more jarring. Mr. Hendrick's Lennie is clearly good at heart but not in touch at all with normal human boundaries or appropriate behavior, or most particularly with his own strength. Like fellow ranch-hand Candy's worn-out old dog, which is finally put down by a co-worker, there is only one possible ending for a misfit such as Lennie… you'll have to experience this for yourself.
~ The Washington Times

The loudest (ovation) was justly granted to tenor Michael Hendrick’s endearing portrayal of the childish giant Lennie, who loves to stroke soft, furry things but never comprehends why they die under his unknowingly brutal caresses. Brilliant, subtle facial expression, clumsy walk and self-conscious hand gestures lent credibility to the character. Solid vocal technique and complete comfort with Floyd’s musical idiom made Hendrick’s performance compelling. No wonder Mr. Hendrick was chosen toreceive the Washington Opera Guild’s 2001 Martin and Bernice Feinstein Artist of the Year award at the end of the season.
~ Intermission

Sarasota Opera - Sarasota, Florida (USA)

In the final tragic moments of Carlisle Floyd’s Of Mice and Men, a handsome, well-dressed woman began quietly weeping, continuing without letup until the end of the opera. “I’m sorry,” she said after the house lights came up. 'I knew what was coming but I couldn’t help myself. It was just so powerful.'... Floyd’s 1970 adaptation of John Steinbeck’s tragic tale of George, his retarded friend Lennie and their thwarted American dream received a deeply moving and emotionally harrowing performance Sunday afternoon, presented by Sarasota Opera. The production was not only the high point of the company’s American Classics Series, but one of its finest efforts over the last decade... Michael Hendrick came in at the 11th hour to save the production. The veteran tenor sang with a mellow tone and sweet top notes. Dramatically, Hendrick conveyed the endearing vulnerability of the handicapped man who likes to stroke soft things as well as his propensity to sudden, fearful reactive violence.
~ Lawrence A. Johnson, The Classical Review

Tenor Michael Hendrick and baritone Sean Anderson starred as Lennie Small and George Milton, respectively, in the Sarasota Opera production, and it's hard to imagine these two outcasts portrayed any better... As the hulking, childlike Lennie, Hendrick gave a performance that contained both scary violence and tenderness, as in his superbly nuanced Act III soliloquy in which, having just killed Curley's Wife, he waited in the dark woods for his protector once again to save him: "Hurry up, George, an' find me/ I'm so cold."
~ John Fleming, Opera News

Hendrick, a last-minute replacement for the tenor originally slated to sing Lennie, has made this role his own by slipping into the skin of this lovable but dangerous galoot with such a tight fit, vocally and emotionally, it’s hard to think of him as anyone else. Hendrick, who’s sung everything from Bacchus in “Ariadne” at the Met to Parsifal with the Lyric Opera of Chicago, has a soaring tenor voice that seems endless in range, color and depth. Yet, his acting is so skilled, his characterization so complete, you forget he’s singing; with remarkable enunciation and body language, he totally personifies Lennie.
~ June LeBell, The Observer Group

Tenor Michael Hendrick and baritone Sean Anderson star as Lennie Small and George Milton, respectively, in the Sarasota Opera production that opened Saturday night, and it's hard to imagine these iconic outcasts portrayed any better.... As the hulking Lennie, Hendrick combines child-like tenderness and scary violence in superbly nuanced singing.
~ John Fleming, The Tampa Bay Times

Their final scene is tragically gripping and bestows the finality this strange work demands. On Saturday evening, that reward was greatly appreciated by a hushed audience as the impressive protagonists (Michael Hendrick as Lennie and Sean Anderson as George) and the superb orchestra, under the direction of David Neely, brought the opera to its inevitable close.
~ Richard Storm, The Sarasota Herald-Tribune

Arizona Opera - Tucson and Phoenix, Arizona (USA)

The Tucson Convention Center Music Hall crowd of 1,600 thundered its approval of the two hour and 15 minute work, saving its most enthusiastic applause for tenor Michael Hendrick, who played the lumbering innocent Lennie. There were many great performances last night, chief among them those of Hendrick. Hendrick's Lennie captured in the fullest sense the childlike innocence of this hulk of a man. In the opening scene, when George tells Lennie that despite the trouble he causes, George will stick by him, Hendrick dances around like a 4-year old with a balloon. When the puppy that Lennie too vigorously strokes dies, Hendrick throws its lifeless corpse to the ground like a spoiled child. And when George tells Lennie at the close to look across the river and see the farm they'll someday have, Hendrick's fidgeting feet tell a tale of uncluttered, childlike joy. Vocally, Hendrick was impressive, sporting a big, warm sound from top to bottom, handily projected to the cheap seats.
~ The Arizona Citizen

Heading a powerful, unforgettable cast is tenor Michael Hendrick as Lennie Small. Hendrick projects an indefatigably naive figure, a character of kitten-like sanguineness capable of transformation into pantherish fury. Floyd gives him music equal to the sensibility, simple constructed but all over the range and very exposed. The score frequently calls for Lennie to pull high notes out of the blue, which Hendrick does with impeccable taste.
~ The Arizona Republic

(A) stellar vocal and dramatic performance by Michael Hendrick as Lennie.
~ Arizona Daily Star

Utah Opera - Salt Lake City, Utah (USA)

Tenor Michael Hendrick was awe-inspiring as the half-wit Lennie. He brought the pathetic, gentle giant to life on stage, and presented his struggle honestly and nobly. His clear, pure voice range with guileless pathos, and he appeared to be about 9 feet tall.
~ Deseret News

Michael Hendrick played Lennie as ‘just a big kid,’ in keeping with the composer’s stated intentions. His steady, secure tenor captured the young man’s physical power as well as his innocence, most affectingly in the barn scene with Curley’s Wife, his large stature and boyish face adding to his believability.
~ Opera News

Kentucky Opera - Louisville, Kentucky (USA)

"Hendrick rendered Lennie with indisputable authority. He could caress a phrase suggesting complete innocence, and then in an instant create a sensation of utter, frightening menace.... Contemporary opera offers few human beings who are so different from each other, yet so intractably codependent. And in bass Rod Nelman and tenor Michael Hendrick, Kentucky Opera has a pair of singers fully capable of translating Steinbeck's inexhaustible yearning into potent theater."
~ Andrew Adler, Kentucky Courier-Journal

"Singing and dramatic intensity were at fever pitch. At the intermission, it was announced that Michael Hendrick (Lennie Small) was "indisposed," a condition that he had gamely concealed during Act I. Nonetheless, Hendrick sang with plenty of power and gusto, a bit restrained in his acting but turning in a most powerful performance throughout."
~ Charles H. Parsons, Opera News

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...strong performance by Michael Hendrick as Sam… Hendrick brought vocal authority to his role."
~ Opera News

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"Michael Hendrick playing and singing the role of Faust was strong in his voice and wonderful in his theatrics. He transforms from an aged man contemplating suicide to a young amorous adventurer nicely on stage."
~ Oak Park Journal (Chicago)

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2003: Bard Music Festival - Annandale-on-Hudson, New York (USA)

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La Abao, Bilbao - Palacio Euscalduna

Michael Hendrick sang with vigor and no lack of beautiful color.
~ El Correo

Utah Opera - Salt Lake City, Utah (USA)

Tenor Michael Hendrick was wonderful. Hendrick’s portrayal is dynamic and poignant as he struggles with his jealousy and hatred of Steva and his passion for Jenufa.
~ Edward Reichel, Deseret Morning News

Michael Hendrick (as Laca) who loves (Jenufa) but inflicts a disfiguring injury on her… A first class performance, and equal to a knockout in musical and emotional potency... All four singers gave first-class performances on opening night Saturday. Forst's was the biggest knockout, but only because her character is the showiest; the others were every bit her equal in musical and emotional potency."
~ Catherine Reese Newton, The Salt Lake Tribune

Sarasota Opera - Sarasota, Florida (USA)

"Michael Hendrick (Laca) and Michael Hayes (Steva) brought plenty of vocal stamina, expressive weight and persuasive characterizations to the production."
~ Tim Smith, Opera News

"Michael Hendrick's Laca was a compelling, convincing fellow, with plenty of vocal stamina and expressive nuance."
~ Opera (United Kingdom)

"Tenor Michael Hendrick, as Laca, so good in previous seasons, tackles this demanding and dramatic role with strength and superior talent. He is superb. Bravo."
~ The Advertiser

"Tenor Michael Hendrick made a believable Laca, sulking and spiteful in Act I as he voices his resentment of his step-grandmother’s unloving treatment of him and cutting Jenufa’s cheek with his whittling knife after she repels his advances. Returning as a reformed human being in Act II and Act III, he shows his true character as a loyal, steadfast person ready to forgive all and marry the shamed Jenufa."
~ Sarasota Herald-Tribune

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2001: San Francisco Opera - San Francisco, California (USA) - Boris (cover)

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Bard Summerscape - Fisher Center for the Performing Arts

"From the opening of Act II Zhivny dominates the stage, beginning gently and happily, singing quite tenderly as he recalls a loving letter he wrote to Mila and progressing to enraged self-reproach before the catastrophic closing moments. It might seem that there was nothing left to top the melodrama of that closing, but Janácek contrives an even stronger climax at the end of Act III, with Zhivny’s final convulsive outpouring. It's a solo scene lasting well over six minutes, and it takes everything a tenor's got to give. The tenor of the occasion handled it wonderfully: Michael Hendrick, a veteran of Chicago Lyric, Washington Opera, and New York City Opera, commanded both power and pathos, and in addition revealed, in earlier scenes and calmer moments, a marked sweetness of tone."
~ Shirley Fleming, MusicalAmerica.com

"In the cruelly exacting high tessitura of the protagonist, Michael Hendrick revealed impressive stamina and an attractive, powerful "young dramatic" voice ideally suited to leading Czech tenor roles."
~ David Shengold, Opera News

"Michael Hendrick, as Zivny, the composer, gained steam throughout the play to deliver a shattering closing aria."
~ Paul Rapp, Metroland Online

"The tessitura of this tough monologue seemed to suit Mr. Hendrick; after a couple of acts in which his voice sounded a little strained and grainy on top, he settled here into smoother and clearer singing."
~ Anne Midgette, The New York Times

"Heading the excellent cast was Michael Hendrick as the composer. With a strong tenor voice hinting at a wail, he was the picture of an intellectual confronted with a life of emotional suffering. His lengthy final aria was part life confession and part music lecture ("the dissonant chords of life beat on"). Though the metaphors wore a bit thin, it was a fascinating coda that surely revealed some of Janacek's own thoughts."
~ Joseph Dalton, Albany Times-Union

"Janacek's depressing story centers on Mila (Christine Abraham), who has an out-of-wedlock child with the composer Zivny (Michael Hendrick) and has been kept away from him by her mother (Linda Roark-Strummer)... Zivny, thinking Mila has betrayed him, composes an angry opera that is a fictionalized account of the events, then reunites with her at the spa where they first met. Four years later, after the pair marry, the mother visits them, gets into an argument, and the mother and daughter go over the balcony to their deaths... The final act is set 11 years later, when an excerpt of the opera is in rehearsal, and the students realize the still-unfinished work is about the composer's life. The opera closes with sort of a male Libestod, with Zivny collapsing while fixated on the image of his dead wife... Abraham, looking gorgeous in red dresses, was impressive and intense as Mila, dominating the stage whenever she was on it, and Hendrick and Roark-Strummer also gave highly polished accounts."
~ Ronald Blum, The Associated Press

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American Opera Projects - New York, New York

Michael Hendrick as Edward White gave a noteworthy performance. The diction was superb. Every word was distinct and understandable. How often can one say that about opera performances, particularly those in English?
~ Metrobeat: Opera Diary

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Detroit Symphony OrchestraGennady Rozhdestvensky, cond.

In tenor Michael Hendrick and the Choral Union of Ann Arbor's University Musical Society, (Gennady) Rozhdestvensky enjoyed a vocal force that matched the DSO's glistening effort in all its discipline and all its splendid color.
~ The Detroit News

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London Philharmonic Orchestra

"At the opposite extreme was a young and immensely promising heldentenor in Michael Hendrick. He rode the often inhuman tessitura of the Stranger with courage and belief, singing and phrasing with real beauty, not just brawn."
~ The Independent, Edward Seckerson

"Michael Hendrick’s valiant Stranger came good where it really counted, when he implausibly came back to life and blasted the King off his throne."
~ The Times (London), Neil Fisher

"Michael Hendrick, a lyric rather than a heroic tenor, delivered a sensitive account of the Stranger’s role, coming into his own when the orchestra was more restrained in the final act."
~ Evening Standard, Barry Millington

"Strauss’s strenuous tenor parts such as Bacchus, the Kaiser, and Apollo, also came to mind when considering the part of the Stranger. Its one of those long and high-lying parts that requires its singer to be heroic, romantic and lyrical all at the same time whilst singing at the extreme reaches of the voice. Pitched against some pretty lush orchestration it’s a beast of a part, and not as well paced as some of the Strauss roles either – Act one is almost continuous for the singer. Michael Hendrick managed pretty well under the pressure, and even if he sounded pretty strained in some of the more ecstatic moments he certainly managed as well as most tenors singing the aforementioned Strauss parts."
~ ClassicalSource.com, Alexander Campbell

"... Patricia Racette engaged with the title role, Michael Hendrick threw himself at the demanding tenor role of the Stranger, and Willard White poured out his authoritative tone as the Porter."
~ The Stage (U.K.), George Hall

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Opéra national de Lorraine à Nancy (France)

"...intelligent command of his voice in the lead role, showing Paul ideally sickly here, Michael Hendrick is hardly economic in the tender, plentiful and demanding score of Korngold."
~ Anaclase, Bertrand Bolognesi, May 10, 2010

"Two vocal performances, not to mention the feats of strength, is what is required of Korngold's interpreters in Die Tote Stadt, and the first challenge that the National Opera of Lorraine, beyond expectations. Without a Heldentenor there is no salvation for Paul, unless we sacrifice an artist too docile in his unconsciousness. Without doubt, Michael Hendrick has the stature, content, and the timbre of a dark brilliance."
~ Altamusica, Mehdi Mahdavi, May 12, 2010

"The two main roles deserve the warmest praise. Michael Hendrick, embodies a Paul fragile and poignant : His expressive range and timbre of valour are those of a heldentenor."
~ Concertonet, Sebastien Foucart, May 14, 2010

"It is a strong but daring idea of giving Die Tote Stadt (The Dead City) without intermission, 2:20 of continuity, often furious, requires only that Paul, the tenor protagonist, constantly in a tessitura crucifying, lend oneself. The young American Michael Hendrick does, still capable of a piano line that draws tears at the final reprise, as remembered within, the song Glück das mir verblieb."
~ André Tubeuf, May 19, 2010

"The public greeted with a burst of applause, the dramatic vocal work of Michael Hendrick, whose generous and powerful program was a sign of vitality of the poor widower whose timbre, somewhat dark, was able to express the character's distress."
~ Webthea, Jaime Estapà i Argemí, May 21, 2010

"The Paul of Michael Hendrick... demonstrates his amazing strength to carry to the end and without intermission the terrible writing of the role. His relative awkwardness perfectly suits the character as a neurotic recluse who lives only in memory of his lost past."
~ ResMusica, Michel Thomé, May 12, 2010

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Sarasota Opera - Sarasota, Florida (USA)

The Sarasota Opera production is gorgeously designed and movingly acted and sung. There are no weak links in the large cast – which includes members of the Sarasota Youth Opera as part of the chorus – but standouts include Michael Robert Hendrick as Canio (who becomes Pagliaccio in the play) and Marco Nistico as Tonio, the hunchback.
~ Marty Clear, The Bradenton Herald

Michael Robert Hendrick took on the tragic role of Canio . . . You’ll remember him as the brilliant acting-singer whose portrayal of Lennie in the operatic setting of Steinbeck’s “Of Mice and Men” at Sarasota Opera a few years ago, brought us all to tears. This time, he brought a depth of character seldom seen in this role. Rather than riding on the gleaming quality of his voice, as most tenors do in “Pagliacci,” Hendrick added his profound ability to embody a role, making his Canio more than just a striking voice.
~ June LeBell, The Observer Group

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Revised (two-movement) version:
2010: Orquestra Nacional de España, Madrid (España)

Original (three-movement) version:
2009: Rotterdams Philharmonisch Orquest, Rotterdam (The Netherlands)
2009: The Philadelphia Orchestra, Philadelphia, Pennsylvania (USA)
2007: London Philharmonic Orchestra, London (U.K.)

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Pensacola Symphony Orchestra - Pensacola, Florida (USA)

Guest tenor Michael Hendrick delivered his lines with sound musicianship, character and gusto. From the first bars of the opening number, 'The Drinking Song of the Earth's Misery', he established the appropriate sweet and sour mood for the rest of the symphony... The very brief third song, 'Of Youth', is the most positive in the cycle. Here the orchestra and the tenor attuned their instruments to establish an atmosphere of delight where a party of beautifully dressed young friends drink and chat in a porcelain pavilion. The tenor line lies again in the high range, but Hendrick's vocal abilities and demeanor conveyed to the audience a clear picture of this charming scene; the soloist and orchestra ending quietly like a whisper... The twist of mood in the cycle started with another drinking song, 'The Drunkard in Spring,' where the carefree messenger utters 'If life is but a dream, why then trouble and care?' This scherzo, where the tempos are pulled back and pushed constantly, was excellent.
~ PensacolaNewsJournal.com

Chautauqua Symphony Orchestra - Chautauqua, New York (USA)

Hendrick has a large and brilliant voice.
~ The Chautauquan Daily

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In the event, the tenor was replaced by Michael Hendrick, who acquitted himself more than satisfactorily... the queen's new paramour is her former slave Spakos, sung by Hendrick, who displayed a mellifluous, expressive tone that remained pleasant throughout his range, with none of the pushing so common among current tenors.
~ Opera News, October 1997

Tenor Michael Hendrick, the Spakos, has a bright voice.
~ The New York Times, June 28, 1997

The rest of the large cast was well-prepared and strong-voiced, led by tenor Michael Hendrick as Spakos.
~ New York Post, June 28, 1997

The singers were uniformly quite strong. My favorite was tenor Michael Hendrick as Spakos, Cleopatra’s other strong love interest besides Mark Antony. Hendrick brought passion to his role and supported it with a clear, well-focused tone. He also evoked sympathy by exploring the full range of his character’s feelings.
~ Gannett Newspapers, June 15, 1997

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2002: Lyric Opera of Chicago - Chicago, Illinois (USA)
1999: New York City Opera - New York, New York (USA)
1998: Santa Fe Opera, Santa Fe, New Mexico (USA)
1993: Dayton Opera, Dayton, Ohio (USA)

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2002: Lyric Opera of Chicago, Chicago, Illinois (USA)
1997: Opera at Florham, Madison, New Jersey (USA)

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2000: National Symphony Orchestra - The Kennedy Center - Washington, D.C.

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