Andrew Bidlack


"Andrew Bidlack brought youthful energy and a sweet, smooth, well-placed tenor to the role of Tonio, with just the right lovely, French timbre."

Judith Malafronte, Opera News

"His powerfully exuberant and technically impressive performance was spot-on."

Katie Womack, The Dallas Observer

"A fine, easy lyric tenor one hopes to hear more of."

John Yohalem, Opera Today

"Bidlack manages to look and sound valiant as Tamino..., with a smooth legato and heroic top notes. His manner and tone perfectly matched the youthful, but determined prince..."

David Fleshler, South Florida Classical Review

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Featured by Opera News as one of their ‘top 25 brilliant young artists’ (October 2015), tenor Andrew Bidlack begins the 2017-18 Season at Lyric Opera of Kansas City as he recreates the role of Rob Hall Everest. He returns to the Metropolitan Opera in the role of Beppe I Pagliacci before he travels to Opera Santa Barbara appearing as Almaviva Il barbiere di Siviglia followed by Arcadio Florencia en el Amazonas at Florida Grand Opera.

Last season at Dallas Opera the artist prepared two new roles:  Lensky (c) Eugene Onegin and Greenhorn/Ishmael Moby-Dick in their much celebrated original production revival of Jake Heggie’s opera. He developed the role of Christopher Morcom in The Life and Death(s) of Alan Turning (by Justine Chen and David Simpatico) for American Lyric Theatre, and travelled to Madison Opera for the role of Tamino Die Zauberflote. Also in Madison he performed with Madison Symphony Orchestra Principal Organist in a program of favourite arias and overtures from Handel’s Messiah and Mendelssohn’s Elijah. Getry’s rarely heard opera Zemire et Azor took the artist to Saratoga Opera in the title role to finish the season.

Recent highlights include his European and UK debut in the challenging role of Private John Ball in Welsh National Opera’s world-premiere by composer Iain Bell, In Parenthesis, directed by David Pountney and conducted by Carlo Rizzi with performances at the Royal Opera House Covent Garden; and his Metropolitan Opera of New York debut as Beppe I Pagliacci, and the role of the Lamplighter (cover Edmondo) Manon Lescaut for which he won critical accolades. At Arizona Opera he joined the production of Florencia en el Amazonas as Arcadio.

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Zémire et Azor, Saratoga Opera

July 2017

He’s named Azor and looks something like a cross between a frog and a crab, only about 100 times larger. When he’s angry all four puppeteers shout in unison. Otherwise, his singing voice comes from the marvellous tenor Andrew Bidlack. It’s no wonder that the young maiden Zémire falls for the beast, given Bidlack’s gentle and cuddly voice.

Joseph Dalton, Times Union, 3 July 2017

The real discovery was the Azor, Andrew Bidlack, an artist I’d previously heard only in contemporary music. His tenor coped easily with the role’s high tessitura, as well as the light ornamentation and dynamic contrast that Grétry requests, and he phrased with distinction and feeling. Bidlack, who seems a natural for the haute-contre roles of Rameau and Gluck, also made a credibly handsome Prince after the transformation wrought by Zémire’s love. 

David Shengold, Opera News, 14 July 2017

The Magic Flute, Madison Opera

April 2017

And the singing was, for the most part, first-rate.  Special mention should be made of Andrew Bidlack as a consistently arresting Tamino and Amanda Woodbury as a crystalline Pamina. Their first act duet was perfection.” 

Jacob Stockinger, The well-Tempered Ear, April 25 2017

In Parenthesis, Welsh National Opera

May 2016

Two things emerge: the extraordinary vision that is Jones’s legacy in art and literature; and the talent of tenor Andrew Bidlack who, as Private Ball, sings heroically.

Rian Evans, The Guardian, 15 May 2016

Andrew Bidlack puts his grateful, bel canto tenor to tireless use.

Peter Quantrill, Gramophone, September 2016

There’s endearing singing and acting from the American tenor Andrew Bidlack as the hapless but inspired Private Ball.

Rupert Christiansen, The Telegraph, 14 May 2016

Andrew Bidlack … excelled as Ball…

Steph Power, The Independent, 14 May 2016

…the gloriously voiced American bel canto tenor Andrew Bidlack who sings the troubled Private John Ball…

Mike Smith, Wales Online, 15 May 2016

Andrew Bidlack, as Private John Ball, scaled magnificently what must be one of the most ambitious leading operatic roles in recent times, his flexible tenor encompassing not only the character’s bumbling attempts at soldiering but the ecstasy of his inner vision… Bidlack, magnificent in the challenging lead role...

Peter Reynolds, Opera Now July 2016

And there is much lovely individual writing, especially for Ball himself, eloquently sung by the American bel canto tenor Andrew Bidlack…

Stephen Walsh, The Arts Desk, 14 May 2016

Bell puts his tenor protagonist under huge pressure by treating him as a vocal high-wire acrobat, and the American Andrew Bidlack, making his European debut, made a very strong impression as the innocent, fresh-faced Ball, agile of technique, absolutely secure and sweet-toned in the lyrical moments when wandering into his own imagination...

Rian Evans, Opera Magazine, July 2016

Andrew Bidlack, as Private John Ball, scaled magnificently what must be one of the most ambitious leading operatic roles in recent times, his flexible tenor encompassing not only the character’s bumbling attempts at soldiering but the ecstasy of his inner vision...Bidlack, magnificent in the challenging lead role

Peter Reynolds, Opera Now July/August 2016

Pagliacci, Metropolitan Opera

February 2016

Andrew Bidlack did a nice job with Harlequin’s serenade...

Opera Magazine June 2016, George Loomis

Metropolitan Opera, Manon Lescaut

February 2016

The real stand-outs of the supporting characters were the nameless ones: Andrew Bidlack, showing a bright, easy tone as the street sweeper...

Eric C. Simpson, New York Classical Review, 13 February

Florencia en el Amazonas, Arizona Opera

November 2015

... the opening-night stars all give strong performances ... especially, Susannah Biller and Andrew Bidlack as the reluctant young lovers.

Kerry Lengel, The Republic (14 Nov 2015)

Biller’s silvery tones acquired a luminous quality when her character fell in love with the Captain’s nephew, Arcadio, sung by the robust-voiced Andrew Bidlack. His ringing, lyrical tones blended beautifully with the clarity of Biller’s notes.

Maria Nockin, Opera Today (30 Nov 2016)

Iolanta, Dallas Opera

April 2015

Andrew Bidlack is a bright-toned Alméric.

Scott Cantrell, Dallas News

Everest, Dallas Opera

January/February 2015

Tenor Andrew Bidlack is sympathetic as Rob Hall, trapped between his sense of duty and impending fatherhood. His clear and versatile lyric tenor voice sails through his range-challenging music, with great nobility of spirit alternating with grim determination.

Gregory Sullivan Isaacs, Theater Jones

An extremely strong cast throughout helped to tell this harrowing tale. Tenor Andrew Bidlack (Rob Hall)’s clear and resonate tenor cut through moments of apprehension and tension in order to bring false hope to the audience that maybe he would make it back to the tents with Craig Verm (Doug Hansen). His scenes with the fabulous Sasha Cooke (Jan Arnold – Rob Hall’s pregnant wife) were positively gut-wrenching.

David Weuste, Opera Pulse

... Rob, played by tenor Andrew Bidlack, responds in a crystalline tenor voice that floats across the opera house and nearly destroys you with its message and tone. “Doug can hear you,” he cries.
Andrew Bidlack is, for me, the star of the entire production. His voice is clear, bright, pristine, and subtly strong. When he stands on Everest’s summit and sings about being on top of the world, you want to join him. His duets with his wife, Jan, played by the powerful Sasha Cooke, are charming. ... Both Cooke and Bidlack, by the way, are dealt a difficult hand in this piece in terms of range, but they find and execute a slew of extremely high notes with precision.

Catherine Womack, D Magazine

Andrew Bidlack’s sweet-voiced tenor expressed Hall’s hopes and fears poignantly.

George Loomis, Financial Times

The excellent cast made fine work of Mr. Talbot’s expressive vocal writing. Andrew Bidlack’s sweet tenor brought a touching vulnerability to Rob. The opera’s most devastating passage was his final telephone conversation with Jan, the powerful Sasha Cooke, as he is dying on the mountain, when the two let go of their anguish to simply comfort each other.

Heidi Waleson, Wall Street Journal

Bidlack’s performance as Rob Hall is achingly adept, and his duets with mezzo Sasha Cooke as his wife Jan are tender and and heartfelt. They are the standouts.

Arnold Wayne Jones, Dallas Voice

One of the highlights was the duet between Bidlack’s gorgeous tenor and Cooke. Taking place before Hall knows his fate for certain, it’s hopeful and big in a way most of the opera is not, to its credit.

Jennifer Smart, Arts+Culture Texas

The singers were uniformly convincing, both musically and dramatically. The most prominent were the tenor Andrew Bidlack as the leader of the climb...

Olin Chism, Opera Magazine

The Student Prince, Utah Festival Opera

July/August 2014

...sumptuous vocals, especially from golden-throated tenor Andrew Bidlack

Robert Coleman, The Salt Lake Tribune

Vanessa, Utah Festival Opera

July 2014

The cast assembled for this production is stellar. Tenor Andrew Bidlack as Anatol held his own remarkably well. With two such powerful females voices it would be easy to get lost, but Bidlack commanded the stage when he was present and blended wonderfully in ensembles with Thiele and Light. He possesses a forceful high tenor that is perfect for this role, since Anatol is required to sing in the high register frequently.

Edward Reichel

As the opportunistic Anatol, Andrew Bidlack was almost too good to be true. His honeyed tenor was capable of unctuous sweetness, but also had ample reserves for the more spinto romantic urgings. The high soaring phrases held absolutely no terror for him. In addition to his persuasive vocalizing, Mr. Bidlack is handsome as all get-out, and he looks instantly believable as the cad that is young enough to be Vanessa’s former lover’s son. He communicated a calculated electricity with his conquests and one could accept that he might prompt an object of his attention to act against her own best interests.

James Sohre, Opera Today

La Cenerentola, Opera Omaha

April 2014

Tenor Andrew Bidlack was Ramiro, Cinderella's earnest, besotted and thoroughly charming Prince Charming. This is the first time Bidlack has played the role, and he did so with wonderful romantic ease, making it easy to see why Cinderella remains smitten with this handsome swain rather than falling for the man she believes to be the prince.
Bidlack has a strong, firm, practically impeccable legato, especially evident in Act II's “Si, ritrovarla io guiro” (“Yes, I swear I will find you”), the prince's turning point when he decides to cast away his disguise to go forth and find his true love. It's a swoon-worthy moment, and Bidlack makes the most of it, hitting his high registers with clarion-like aplomb.

Kim Carpenter, Omaha World Herald

Die Zauberflote, Florida Grand Opera

December 2013

Andrew Bidlack is an exceptionally confident Tamino. And the sound he makes for some of Mozart's most beautiful tenor arias is simply stunning: tender and never forced.

Jeff Haller, ConcertoNet

Bidlack manages to look and sound valiant as Tamino while singing Dies Bildnis in striped pajamas, with a smooth legato and heroic top notes. His manner and tone perfectly matched the youthful, but determined prince who is willing to meet any danger to rescue the Queen’s beautiful daughter, Pamina.

David Fleshler, SouthFlorida Review

Andrew Bidlack’s Opera Repertoire


Vanessa (Anatol)


In Parenthesis (John Ball*)


La sonnambula (Elvino)


Béatrice et Bénédict (Bénédict)


Candide (Candide)
West Side Story (Tony)


Les pêcheurs des perles (Nadir)


Florencia en el Amazonas (Arcadio)


La fille du régiment (Tonio)
L'elisir d'amore (Nemorino)
Lucia di Lammermoor (Edgardo, Arturo)
Lucrezia Borgia (Gennaro)
Rita (Beppe)


Morning Star (Irving Tashman*)


Acis and Galatea (Damon)
Alcina (Oronte)
Partenope (Emilio)


Moby-Dick (Greenhorn)


Die tote Stadt (Graf Albert)


I pagliacci (Beppe)


The Lighthouse (Sandy)


Bastien and Bastienna (Bastien)
Così fan tutte (Ferrando)
Die Entführung aus dem Serail (Belmonte)
Die Zauberflöte (Tamino)
Don Giovanni (Don Ottavio)
Zaide (Gomatz)


Boris Godunov (Simpleton)


The Inspector (Tancredi)


La belle Hélène (Paris)


The Hotel Casablanca (Charles Carter*)


The Little Prince (Lamplighter/Drunkard/Quartet)


A Streetcar Named Desire (Young Collector)


Gianni Schicchi (Rinuccio)
Manon Lescaut (Edmondo)


L'heure espagnol (Gonsalve)


Prince Karl Franz (The Student Prince)


La cenerentola (Ramiro)
Otello (Rodrigo)
Il barbiere di Siviglia (Almaviva)


Die Fledermaus (Alfred)


Ariadne auf Naxos (Brighella)
Capriccio (Flamand)
Intermezzo (Baron Lummer)


The Rake's Progress (Tom Rakewell)


Everest (Rob Hall*)


Iolanta (Almeric)


Eugene Onegin (Lensky)


Falstaff (Fenton)
La traviata (Alfredo)

* denotes roles created

Andrew Bidlack’s Concert Repertoire




London’s Fatal Fire


The Messiah


The Creation






Carmina Burana


Stabat Mater

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