Reviews

as Zhivny in Osud (Janácek)

Bard Summerscape 2003

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 Lyric Opera of Chicago, 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.

... replaced very competently by Michael Hendrick.

as Samson in Samson et Dalila @ Kentucky Symphony Orchestra

Internationally renowned tenor Michael Hendrick... a very sympathetic, deeply emotional, finely characterized hero. His voice is one of great strength, distinctly lyrical. For his big scene, Hendrick spewed forth power, frustration and heart-breaking misery. He stunned the audience with a thunderous high B-flat as Samson brought down the temple.

Critic Charles H. Parsons caught the imagery brilliantly in his review of the Kentucky Symphony Orchestra's concert performance of Saint-Saëns' "Samson et Dalila" Jan. 20 at Florence Baptist Church at Mount Zion in Florence, Kentucky. With mezzo-soprano Stacey Rishoi singing Dalila, Samson "didn't have a snow ball's chance in the Negev." KSO music director led the "sizzling" performance, with tenor Michael Hendrick as Samson, singers from University of Kentucky Opera Theatre and the KSO Chorale.

as Paul in Die Tote Stadt @ Opéra National de Nancy et de Lorraine

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.

as Paul in Die Tote Stadt @ Opéra National de Nancy et de Lorraine

Michael Hendrick embodies a Paul fragile and poignant. His expressive range and timbre of valour are those of a Heldentenor.

The American tenor Michael Hendrick, an experienced Bacchus, took over.

As it turned out, Mr. Hendrick was grappling with a cold as well. He went on, but he requested the audience’s understanding, a Met spokesman announced from the stage.

Bacchus is a relatively short yet notoriously punishing heldentenor role. Clearly struggling, Mr. Hendrick dropped some phrases and skipped some top notes. Still, the basic components of his burly voice came through, and he survived the big final duet with Ariadne.

as The Stranger in Korngold's Das Wunder der Heliane

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.

as Menelas in Die Ägyptische Helena @ The Metropolitan Opera

Despite Strauss's often-cited appeals to keep the orchestration transparent, conductor Fabio Luisi favors the Elektra approach. Such bombast may be suited to Voigt's huge high fortissimos, but it robbed her, as well as those with more mortal timbres, of most opportunities for Straussian lyricism. Tenor Michael Hendrick stepped in for the ailing Torsten Kerl as Menelas (as he had also done halfway through the premiere, on March 15) and demonstrated musical sensitivity whenever the orchestral volume relented.

as Pinkerton in Madama Butterfly @ Syracuse Opera

A pair of stellar singing and acting performances by the two principal roles helped Syracuse Opera's production of "Madama Butterfly" pack an emotional wallop. I only wish I owned the Kleenex tissue concession in the lobby.

Hendrick has a powerful voice that loses no steam in its high register and that can soar well above Puccini’s sizable orchestral accompaniment, as in his "Dovunque al mondo" of Act 1 and the "Love Duet" with Lim.

Tenors Michael Hendrick as Laca and Robert Breault as Steva are both wonderful. Hendrick's portrayal is dynamic and poignant as he struggles with his jealousy and hatred of Steva and his passion for Jenufa.

The cast was uniformly fine, though Michael Hendrick must be singled out for both expressive singing and simple stamina in the daunting lead role of the composer Zivny. Osud will always be a bit of a clumsy opera, but with treatment like this, it more than works--it carries you away.

as Levko in Rimsky-Korsakov's May Night

Sarasota Opera

As Levko, Michael Hendrick displayed a gorgeous tenor voice, capable of those dulcet pianissimi that melt the heart, as well as ringing, unforced tones in the upper register. He brought down the house in Act III with the tender serenade just before the water sprites emerge from the lake.

as Menelas in Die Ägyptische Helena The Metropolitan Opera (MET Debut)

In Menelaus, we were impressed by the concentration and the absolute accuracy of intonation of the young tenor Michael Hendrick, in a most inhuman tessitura.

As Aroldo in Verdi's Aroldo

Opera de la ABAO (Asociación Bilbaina de Amigos de la Ópera)

Bilbao, Spain

To cast Aroldo himself brings up the immediate problem that the big names are not willing to add this opera to their repertoire, knowing that they will probably never have the chance to sing it again. In this case, the protagonist Aroldo was played by American tenor Michael Hendrick, who made a very good impression as Laca in Jenufa some six years ago. He gave a worthy performance, singing with great honesty and commitment.

as Menelas in Die Ägyptische Helena The Metropolitan Opera (MET debut)

Michael Hendrick has a huge yet expressive voice. He pumped incredible volume and energy into the second act.