Andrew Bidlack is represented by Rayfield Allied worldwide.
Associate Artist Manager:
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
Tenor Andrew Bidlack, a graduate of San Francisco Opera’s prestigious Adler Fellowship, begins the 2013-14 Season with a special appearance with the New York Opera Society in a gala evening of mixed repertoire that highlights the artist’s strengths in Rossini, Mozart and belcanto roles. He joins the cast of Die Tote Stadt as Count Albert at Dallas Opera, and sings the role of Don Ramiro La Cenerentola at Opera Omaha. He repeats the role at Intermountain Opera Bozeman, and returns to Dallas for a recital appearance alongside soprano Ava Pine and pianist Kate Stevens at the Dallas Museum of Art. The artist rounds up the season with performances of Prince Karl Franz Student Prince and Anatol Vanessa at Utah Festival Opera.
Recent successes include his role debut as Rodrigo Rossini’s Otello at Opera Southwest, the tenor solos in Händel’s Messiah with Lexington Philharmonic and Tamino Die Zauberflöte at Florida Grand Opera. He appeared at Carnegie Hall for his debut with Lyric Opera of Chicago as The Young Collector in their production of A Streetcar Named Desire with Renée Fleming, a role he also sang in Chicago, and later appeared at Rochester Lyric Opera as Beppe in Donizetti’s Rita.
The artist also appeared as Tonio La fille du régiment with PORTopera, and Damon Acis and Galatea at the Macau International Music Festival. He appeared at Lyric Opera of Chicago in their production of Ariadne auf Naxos, and was featured as the tenor soloist in Carmina Burana with the Milwaukee Symphony Orchestra under the baton of Andreas Delfs. He finished the season with performances of Sandy The Lighthouse at Dallas Opera for the inception of their Chamber Opera Series.
Highlights of previous seasons include his New York City Opera debut as Baron Lummer Intermezzo, followed by his return to Florida Grand Opera as Don Ottavio Don Giovanni. He sang Count Almaviva Il barbiere di Siviglia at Florida Grand Opera, covers of Emilio Partenope at New York City Opera, Nemorino L’elisir d’amore with Empire State Lyric Theater. In 2010 he made his South American debut as Oronte Alcina at Teatro Municipal de Santiago in Chile. At the Spoleto Festival in Italy, he appeared as A Guest The Saint of Bleecker Street, which was recorded and released under the Chandos label.
A 2007 Merola Opera Program participant, Mr. Bidlack created the role of Charles Carter in the world premiere of Thomas Pasatieri’s The Hotel Casablanca. Later as an Adler Fellow, Mr. Bidlack made his San Francisco Opera debut in The Little Prince and went on to appear as Odoardo Ariodante, Arturo Lucia di Lammermoor, Count Albert Die Tote Stadt, Simpleton Boris Godunov, Pedrillo Die Entführung aus dem Serail, Gastone La traviata, and Ruiz Il trovatore.
Other roles include Rodolfo La bohème, Tamino The Magic Flute, Rolla I masnadieri, the title role Candide,Tom Snout A Midsummer Night’s Dream, Gomatz Zaide, Ferrando (cover) Cosi fan tutte; Bastien in Mozart’s Bastien and Bastienne and Tom Rakewell (cover) The Rake’s Progress. A frequent interpreter of contemporary works by some of today’s most significant composers, Mr. Bidlack sang Ishmael in the workshop production of Jake Heggie’s Moby Dick, and later workshopped the role of Tancredi in John Musto’s new opera The Inspector at Wolf Trap.
Concert performances include the tenor solos in Handel’s Messiah, Mendelssohn’s Elijah, and Mozart’s Requiem; he made his Carnegie Hall debut singing the solos in Bach’s Weihnachts Oratorium.
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.Edward Reichel
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 Tote Stadt, Dallas Opera
A standout is Andrew Bidlack’s Albert, with a bright, beautiful tenor of considerable power.Scott Cantrell, Dallas News
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