A Rarity From Massenet's Last Days
as Spakos in Cléopâtre (Massenet)
Alice Tully Hall, Lincoln Center, New York City
@ Opera Manhattan
Tenor Michael Hendrick, the Spakos, has a bright voice.
Anthony TommasiniThe New York Times
Cléopâtre - Spakos
Alice Tully Hall, New York City
Opera Manhattan
“The rest of the large cast was well-prepared and strong-voiced, led by tenor Michael Hendrick as Spakos.”
New York Post
as Spakos in Cléopâtre (Massenet)
@ Opera Manhattan
Sarah Lawrence College, Bronxville, NY
“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
as Soliman in Zaïde (Mozart)
University of Cincinnati College-Conservatory of Music
“The cast heard... one vocal standout- tenor Michael Hendrick in the role of Soliman the tyrannical sultan. Splendidly outfitted, he more than lived up to his garb with singing that was vibrant, tonally lush and well-projected.”
The Indianapolis Star
as Lysander in A Midsummer Night’s Dream (Britten)
@ University of Cincinnati College-Conservatory of Music
“Michael Hendrick was sterling as Soliman.”
The Cincinnati Post
@ The Baltimore Symphony
“ The tenor soloist, Michael Hendrick, got the job done.”
The Baltimore Sun
Damato Pizzi and dispel doubts
"Por lo que se refiere al tenor Michael Hendrick... De todos modos y dada la dificultad del papel, se puede decir que cubrió bien su cometido y contribuyó al equilibrio de la representación en general."
English: "As regards the tenor Michael Hendrick...given the difficulty of the role (Aroldo) one can say that he handled his role well and contributed to the general equilibrium of representation."
NINO DenticiEl Correo
Das Wunder der Heliane
"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."