"How fitting, though, that the most beautiful voice in the cast belonged to tenor Andrew Bidlack, who as the everyman Greenhorn stands as the story’s conscience and its most humane and vulnerable persona. By opera’s end, we believe that he has preserved at least a shred of the innocence that Ahab and this narrative otherwise have taken from him. "
Howard Reich, Chicago Tribune, 27 April 2019
"Andrew Bidlack was an aptly youthful naif as Greenhorn…Bidlack sang with vibrancy and sweet tone in his spotlit moments."
Lawrence A. Johnson, Chicago Classical Review, 26 April 2019
"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
"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
Featured by Opera News as one of their ‘top 25 brilliant young artists’ (October 2015), tenor Andrew Bidlack begins the 2019-20 season at Liepāja Symphony Orchestra, Latvia in the role of Tony West Side Story before travelling to Intermountain Opera for Ricky Ian Gordon's "27" appearing as Pablo Picasso. The artist returns to Chicago Opera Theater for the double bill of Everest, reprising the role of Rob Hall and in the role of Young Gypsy Aleko. He sings further performances of Rob Hall with Austin Opera and BBC Symphony Orchestra in London, and with Atlanta Symphony he returns for performances of Carmina Burana conducted by Donald Runnicles.
Last season the artist made his role debut as Tony at Lyric Opera of Kansas City before travelling to Atlanta Opera to reprise the role. At Calgary Opera he sang the role of Rob Hall, a debut he originally made at Dallas Opera in 2015 and later at Lyric Opera of Kansas City. At Arizona Opera he appeared as Nikolaus Sprink Silent Night, and the role of Greenhorn Moby Dick took the artist to Chicago Opera Theatre. At New York City Opera, Andrew sang the role of Andy in the world premiere of Iain Bell’s opera Stonewall.
Recent highlights include the role of Beppe I Pagliacci at the Metropolitan Opera reviving the great success he had in the role in a previous season. At Opera Santa Barbara he appeared as Almaviva Il barbiere di Siviglia and as Arcadio Florencia en el Amazonas at Florida Grand Opera. At Des Moines Metro Opera he sang highly lauded performances in the role of Bill Flight.
Past roles include Lensky Eugene Onegin and Greenhorn/Ishmael (c) at Dallas 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 at Madison Opera sang the role of Tamino Die Zauberflote. At Saratorga Opera he sang in the title role of Getry’s rarely heard opera Zemire et Azor.
This biography is for information only and should not be reproduced.
New York City Opera, Stonewall
Andrew Bidlack (Andy) and Jessica Fishenfeld (as the "lipstick" lesbian Leah) triumphed with daunting leaps to difficult high notes.
Broadway World, BWW News Desk, 24 June 2019
Andy (spectacularly voiced by tenor Andrew Bidlack)...
The Broadway Blog, Bobby McGuire, 23 June 2019
Bidlack and Beutel committed wonderfully to their characters...
Opera News, Oussama Zahr, 21 June 2019
Exuding a cat-like coolness, Andrew Bidlack, as Andy, saunters around a bench area in Christopher Park and playfully eyes a man across the way that looks interested...Bidlack, convincingly told the story of a kid looking for love, who finds it on the Stonewall dance floor.
Opera Wire, Jennifer Pyron, 24 June 2019
Chicago Opera Theater, Moby-Dick
How fitting, though, that the most beautiful voice in the cast belonged to tenor Andrew Bidlack, who as the everyman Greenhorn stands as the story’s conscience and its most humane and vulnerable persona. By opera’s end, we believe that he has preserved at least a shred of the innocence that Ahab and this narrative otherwise have taken from him.
Howard Reich, Chicago Tribune, 27 April 2019
In Heggie’s Moby-Dick, Melville’s young protagonist is simply named Greenhorn (a terrific Andrew Bidlack) for that is what he is when we first meet him as he prepares to ship out on the Pequod: Greenhorn is unformed, inchoate, a self-proclaimed “no one from nowhere.”
June Sawyer, Third Coast Review, 30 April 2019
Sweet-voiced tenor Andrew Bidlack is winning as the naive youngster, Greenhorn (aka Ishmael)…
Deanna Isaacs, Chicago Reader, 26 April 2019
With his light and airy tenor voice, Andrew Bidlack touchingly conveys the purity and goodness of Greenhorn.
Kyle MacMillan, Chicago Sun Times, 26 April 2019
And then there is Greenhorn… who is played by Andrew Bidlack, a boyish, sweet-voiced baritone (sic).
Hedy Weiss, WTTW.com, 26 April 2019
You have to wait until the very end of MOBY-DICK to hear the ever so famous opener of Herman Melville’s novel, “Call me Ishmael”. That it comes in Chicago Opera Theater’s (COT) production from the sweet tenor voice of Andrew Bidlack as Greenhorn, makes it tingle the air all the more.
Amy Muncie, Picture-This-Post, 29 April 2019
Andrew Bidlack was an aptly youthful naif as Greenhorn…Bidlack sang with vibrancy and sweet tone in his spotlit moments.”
Lawrence A. Johnson, Chicago Classical Review, 26 April 2019
Arizona Opera, Silent Night
A lyric tenor, Bidlack sang with fluidity and flexibility.
Opera Wire, Maria Nockin, 12 March 2019
Everest, Calgary Opera
However, given the context of the virtually unrelieved tension in the drama, much of the writing lies quite high in the voices, especially for Hall (Bidlack) and his wife Jan Arnold (Sarah Larsen). Both singers manage the challenge remarkably well in this production, vividly characterizing the immediacy of the threat.
Calgary Herald, Kenneth Delong, 8 February 2019
Singing from the top of the set into the void and down to his distant, waiting wife at stage level, Bidlack conveyed the emotional range of both dutiful leader coaxing his exhausted, expiring client Doug down the mountain and wistful husband bidding his wife goodbye.
Classical Voice North America, Bill Rankin, 7 February 2019
West Side Story, Lyric Opera of Kansas City
Tony, a Polish boy, (sung by the excellent tenor Andrew Bidlack).
Broadway World, Alan Portner, 23 September 2018
Andrew Bidlack’s Tony, a lilting tenor, leading the way...Becerra and Bidlack exude beautiful chemistry.
Perform ink Kansas City, Bec Pennington, 25 September 2018
Tony (tenor-extraordinaire Andrew Bidlack)...But Tony, oh Tony. What a voice. Everyone will want to change their name to Maria, just to have Bidlack sing to them. It’s exactly the kind of voice that makes a girl fall in love with her big brother’s sworn enemy.
In Kansas City, Lonita Cook & Michael Mackie, 25 September 2018
Andrew Bidlack was elegantly operatic in the higher registers as Tony...
Bachtrack, Hilary Stroh, 23 September 2018
He [Bidlack] undoubtedly possesses a remarkable tenor, both slender and capable of dark shading. Agility and beauty were evident throughout, especially in upper-register pianissimi and at various moments of ripped emotion...he did summon hot-blooded passion and moments of extraordinary tenderness in his excellent duets with Maria.
Operawire, Freddy Dominguez, 23 September 2018
Flight, Des Moines Metro Opera
Mr. Bidlack has an effortlessly produced, honeyed lyric tenor who brings Rossinian grace and fluidity to his rangy vocal lines.
Opera Today, James Sohre, 10 July 2018
There was particularly impressive work from Andrew Bidlack as Bill...
Opera News, Mark Thomas Ketterson, July 2018
Florencia en el Amazonas, Florida Grand Opera
Surprisingly effective is Andrew Bidlack, a Pennsylvania tenor, whose part as the disillusioned deckhand could have been boringly predictable, but he invests the young man with a yearning that audience members could relate to as he describes his dream of being able to fly.
Florida Theater On Stage, Bill Hirschman, 29 April 2018
Andrew Bidlack, who has been seen several times in major roles at FGO, was a very good Arcadio, an actor who knows how to take command of a scene and get the audience to home in. He has a virile and exciting tenor that was a pleasure to hear, and he was excellent in duet with López.
Palm Beach Arts Paper, Greg Stepanich, 2 May 2018
A harp ascended deliciously as did Bidlack’s satisfying tenor, painting pictures to Rosalba as he shared his dreams of becoming an airplane pilot.
Miamiartszine, Steve Gladstone, 1 May 2018
The Barber of Seville, Opera Santa Barbara
Lyric tenor Andrew Bidlack sang Almaviva with flexible tones and even decorated some of his lines. His "Ecco ridente in cielo" ("There is laughing in the sky") was a triumphant vocal showpiece and his character's multiple identity changes made this a fascinating portrayal to watch. Most outstanding was his substitute music teacher performed in drag as the well-endowed "Donna Alonsa." The audience shrieked with laughter when Bartolo tore "her" wig off.
Broadway World, Maria Nockin, March 3 2018
Pagliacci, Metropolitan Opera
Young Andrew Bidlack as Beppe...exhibited a fine tenor instrument...
Bachtrack, Robert Levine, 9 January 2018
Rihab Chaieb has a resiny cameo as Lola in “Cav,” Andrew Bidlack a charming one as Beppe in “Pag.”
The New York Times, Zachary Woolfe, 9 January 2018
Andrew Bidlack, meanwhile, was an excellent Beppe, singing his cavatina “O, Colombina” with light tone and flowing phrases.
New York Classical Review, Eric C. Simpson, 9 January 2018
Andrew Bidlack brought a promising tenor to the role of Peppe, singing with tenderness.
Opera Wire, Francisco Salazar, 9 January 2018
Andrew Bidlack charmed in Beppe’s sweet serenade.
Parterre, Christopher Corwin, 9 January 2018
Zémire et Azor, Saratoga Opera
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
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
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
Andrew Bidlack did a nice job with Harlequin’s serenade...
Opera Magazine June 2016, George Loomis
Metropolitan Opera, Manon Lescaut
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
... 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
Andrew Bidlack is a bright-toned Alméric.
Scott Cantrell, Dallas News
Everest, Dallas Opera
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
...sumptuous vocals, especially from golden-throated tenor Andrew Bidlack
Robert Coleman, The Salt Lake Tribune
Vanessa, Utah Festival Opera
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.
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
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
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
In Parenthesis (John Ball*)
La sonnambula (Elvino)
Béatrice et Bénédict (Bénédict)
Les pêcheurs des perles (Nadir)
Florencia en el Amazonas (Arcadio)
La fille du régiment (Tonio)
Morning Star (Irving Tashman*)
Acis and Galatea (Damon)
Die tote Stadt (Graf Albert)
I pagliacci (Beppe)
The Lighthouse (Sandy)
Bastien and Bastienna (Bastien)
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)
L'heure espagnol (Gonsalve)
Prince Karl Franz (The Student Prince)
La cenerentola (Ramiro)
Die Fledermaus (Alfred)
Ariadne auf Naxos (Brighella)
The Rake's Progress (Tom Rakewell)
Everest (Rob Hall*)
Eugene Onegin (Lensky)
* denotes roles created
Andrew Bidlack’s Concert Repertoire
London’s Fatal Fire