Andrew Bidlack is represented by Rayfield Allied worldwide.

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Andrew Bidlack


  • 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
  • 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
  • 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
  • Featured by Opera News as one of their ‘top 25 brilliant young artists’ (October 2015), tenor Andrew Bidlack begins the 2016-17 Season at Dallas Opera where he prepares 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 develops 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 travels to Madison Opera for the role of Tamino Die Zauberflote. Also in Madison he performs with Madison Symphony Orchestra Principal Organist in a program of favourite arias and overtures from Handel’s Messiah, Mendelssohn’s Elijah, and other opera favourites. Getry’s rarely heard opera Zemire et Azor makes great use of the artist’s flexible coloratura when he sings the title role at Saratoga Opera. Dallas Opera welcomes him again in the spring for a concert performance of Joby Talbot’s Everest.

    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.

    Andrew Bidlack is a frequent interpreter of contemporary music; he created the roles of Irving Tashman in Ricky Ian Gordon’s Morning Star at Cincinnati Opera and that of Rob Hall in Joby Talbot’s Everest at Dallas Opera. He workshopped Greenhorn/Ishmael in the developmental production of Moby-Dick at San Francisco Opera while he was an Adler Fellow; he inaugurated Tancredi The Inspector (John Musto) at Wolf Trap. As a Merolini, he created the role of Charles Carter in Thomas Pasatieri’s The Hotel Casablanca.  Making his debut with Lyric Opera of Chicago, he appeared at Carnegie Hall as The Young Collector in their production of A Streetcar Named Desire with Renée Fleming, a role he also sang in Chicago, and in the role of Sandy The Lighthouse at Dallas Opera for the inception of their Chamber Opera Series.

    With a large number of Rossini/Mozart and bel canto roles also to his credit, Andrew has appeared as Tamino Die Zauberflote, Don Ottavio Don Giovanni, Almaviva Il barbiere di Siviglia and Ferrando (c) Cosi fan tutte at Florida Grand Opera; Rodrigo Otello at Opera Southwest; Almaviva and Don Ramiro La Cenerentola at Opera Omaha; Pedrillo Die Entführung aus dem Serail and Arturo Lucia di Lammermoor at San Francisco Opera; Bastien Bastien et Bastienne at Des Moines Metro Opera, Nemorino L’elisir d’amore at Empire State Lyric Theater; Tonio La Fille du Regiment at Palm Beach Opera and for PORTopera.

    • 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)
    • Il Barbiere di Siviglia, Opera Omaha
      October 2015

      Andrew Bidlack does a fine turn as Count Almaviva. ... Bidlack has a winningly agile and tender tenor, one that conveys dreamy ardor particularly well. When he serenades Rosina in “Ecco ridente in cielo,” his honeyed aria beautifully conveys both his hope and frustration, and “Se il mio nome” has a touching, subtly passionate quality to it.
      Kim Carpenter, Omaha World Herald (15 Oct 2015)
      Andrew Bidlack as Count Almaviva is an ideal romantic lead with dreamy good looks. He shines as a comedic actor, and his voice is impressive.
      Katrina Markel, The Daily Nonpareil (16 Oct 2015)
    • Morning Star, Cincinnati Opera
      June/July 2015

      Andrew Bidlack sings the title song with great style.
      Anne Arenstein, City Beat (1 July 2015)
      With his expressive tenor, Andrew Bidlack was a perfect match as her aspiring songwriter-husband, Irving Tashman.
      Janelle Gelfand, Cincinnati Enquirer (1 July 2015)
    • 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 Tote Stadt, Dallas Opera
      March 2014

      A standout is Andrew Bidlack’s Albert, with a bright, beautiful tenor of considerable power.
      Scott Cantrell, Dallas News
    • 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 Concert Repertoire

    BACH, J.S.
    • Weihnachtsoratorium
    • London’s Fatal Fire
    • The Messiah
    • The Creation
    • Elijah
    • Requiem
    • Carmina Burana
    • Stabat Mater

    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
  • Photos