Andrew Bidlack is represented by Rayfield Allied worldwide.
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A fine, easy lyric tenor one hopes to hear more of.John Yohalem, Opera Today
Tenor Andrew Bidlack, a graduate of San Francisco Opera’s prestigious Adler Fellowship, begins the 2014-15 Season with his return to San Francisco Opera, where his engagements include Emilio (cover) Partenope and Don Ramiro (cover) La Cenerentola. The New Year finds him in Texas where he sings the principal tenor role of Rob Hall in Everest, Dallas Opera’s new commission by British composer Joby Talbot, about the tragic events that unfolded on Mount Everest in 1996. An invitation from Greensboro Symphony takes him to North Carolina for Haydn’s Creation and he continues to Palm Beach Opera to sing the challenging role of Tonio La Fille du Regiment.
Andrew returns to Dallas Opera in the Spring to sing the role of Almerich Iolanta with an international cast of renown, and later goes to Bozeman to join Intermountain Opera for the role of Rinuccio Gianni Schicchi; Cincinnati Opera beckons in the early summer: here he will create the role of Irving Tashman in Ricky Ian Gordon’s new composition Morning Star premiering in July 2015.
Recent successes include the role of Count Albert Die Tote Stadt at Dallas Opera, and Don Ramiro La Cenerentola at Opera Omaha, a role he also sang at Intermountain Opera Bozeman. His recital appearance alongside soprano Ava Pine at the Dallas Museum of Art was well-received by public and critics alike, and his performances as Prince Karl Franz Student Prince and Anatol Vanessa at Utah Festival Opera were met with great enthusiasm.
He made his role debut as Rodrigo Rossini’s Otello at Opera Southwest 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; his Carnegie Hall debut singing the solos in Bach’s Weihnachts-Oratorium and the tenor soloist in Carmina Burana with the Milwaukee Symphony Orchestra under the baton of Andreas Delfs.
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 Student Prince, Utah Festival Opera
...sumptuous vocals, especially from golden-throated tenor Andrew BidlackRobert 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.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
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