Reviews

as Paul in Die Tote Stadt

Opéra National de Lorraine à Nancy

LE VISAGE DE LA VILLE
"Deux performances vocales, pour ne pas dire des tours de force, voilà ce qu’exige Korngold des interprètes de la Ville morte, et le premier défi que relève l’Opéra national de Lorraine, au-delà des espérances. Hors d’un Heldentenor, point de salut pour Paul, à moins d’y sacrifier un artiste trop docile dans son inconscience. Incontestablement, Michael Hendrick en a la carrure, cubique, ainsi que le timbre, d’un sombre éclat.

"Dès le premier monologue, il donne tout, c’est-à-dire trop, trop tôt, pour tenir la tessiture sur la distance, et surtout par-dessus l’orchestre, magmatique. L’aigu se serre alors, et vacille, mais l’Américain se reprend, trouve le juste équilibre entre engagement et prudence, et chante, oui chante, et nuance, jusqu’au bout. Avec cette présence certes massive, mais touchante, et naïve, presque adolescente."
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English: THE FACE OF THE CITY
"Two vocal performances, if not feats of strength, is what is required by Korngold's interpreters in Die tote Stadt, and the first challenge that of the Opéra National de Lorraine, beyond expectations. Without a Heldentenor there is no salvation for Paul, unless we sacrifice an artist too docile in his unconsciousness. Unquestioningly, Michael Hendrick has the middle, height, and timbre of a dark brilliance.

"From the first monologue, he gives everything, that is to say too much too soon, to take the tessitura the distance, especially over the magmatic orchestra. The acute tightens then, and wavers, but the American recovers, finds the right balance between commitment and prudence, and sings, yes sings, and with nuance, to the end. With this massive presence indeed, but touching, and naive, almost adolescent."

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

"...conduite intelligente de la voix dans le rôle principal, Paul montré ici idéalement maladif, de Michael Hendrick qui ne s’économise guère dans la partition tendue, copieuse et exigeante de Korngold.

"...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."

as Aroldo in Verdi's Aroldo

@ A.B.A.O., 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 Aroldo in Verdi's Aroldo

@ Opera Bilbao, ABAO - Palacio Euscaldunes

“Considering the devilish writing that Verdi made for the main character Aroldo, it is not surprising that few tenors want to get into such severe adventures. On this occasion the American tenor Hendrick was successful, with significant values in the technique.”

London Philharmonic Orchestra

"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."

as The Stranger in Das Wunder der Heliane (Korngold)

London Philharmonic Orchestra

"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."

as Lennie Small in Of Mice and Men (Carlisle Floyd)

@ Utah Opera

“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.”

as Laca in Jenufa

@ Utah Opera

“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."

as Don José in Carmen (New York City Opera)

Michael Hendrick sang with a sturdy voice and ample ardor.

as Zhivny in Osud (Jánácek)

Bard Summerscape 2003

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.

as Živny in Janáček's OSUD

Bard Summerscape 2003

Michael Hendrick, as Živny, the composer, gained steam throughout the play to deliver a shattering closing aria.

as the Male Chorus in The Rape of Lucretia (Britten)

@ The New York City Opera

Michael Hendrick, a bright-voiced tenor.

as Levko in Rimsky-Korsakov's May Night

Sarasota Opera

Michael Hendrick brought a big voice and lots of style to the role of Levko, the villager who must compete with his own father for a charming maiden.