Scott Hendricks

Baritone

"He may bring a muscular line to any ensemble, but [Hendricks] holds his own on stage equally through sheer musical intelligence and varied colouring of his voice."

Opera

"Scott Hendricks was multi-dimensional… Thanks to the intense timbres he gives his singing and the incalculable, demonic appearance he has on stage, he gives a role debut of continuous perfection."

Place de l'Opera

"Pride of place, perhaps inevitably, went to US baritone Scott Hendricks, for his beautifully judged Boccanegra, his funny – if troubled – Ford, and a corrosive Iago who was genuinely disturbing"

Guardian

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Texan Scott Hendricks has emerged as one of today's most compelling and versatile baritones. From Monteverdi to Schreker, Mozart to Debussy and Puccini to modern-day composers, Hendricks has always maintained a diverse operatic diary and is now establishing himself as an important artist in the operas of Verdi, Puccini and Wagner.


Engagements in the 2017-18 season include returns to Opernhaus Zurich (Jack Rance La Fanciulla del West) and La Monnaie (Tonio I Pagliacci); and his role debut as Ruprecht The Fiery Angel (Teatr Wielki, Warsaw and Aix-en-Provence).

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Hamlet III, Die Hamletmaschine

Zurich Opera, January 2016

Scott Hendricks in the role of Hamlet III gets everything out of his baritone voice. He negotiates the massive role, which pushes the boundaries of any singer’s voice, with overwhelming expression – from the almost impossibly low notes up to the heights of his falsetto. A deeply impressive and forceful performance!

Oper Aktuell

Title role of Eugene Onegin

Houston Grand Opera, October 2015

His smoky, dark baritone... Hendricks's Onegin first appeared as self-possessed, restrained, and formal, if also arrogant and condescending; he was brought by his eventual feelings of love to a state of ardor, wild animation, and even giddiness.

Opera News

Title role in Verdi Macbeth, cond. Marc Albrecht, dir. Andrea Breth

Dutch National Opera, April 2015

In the title role, baritone Scott Hendricks was gripping throughout.

Bachtrack

…the vocally powerful presentation by Scott Hendricks

Neue Zürcher Zeitung

Scarpia Tosca, cond. Paolo Carignani, dir. Paco Azorín

Gran Teatre del Liceu, March 2014

Hendricks gives a fantastic performance as Scarpia. A great interpretation due both to his attention to text, which is always very clear and meaningful, and also to his dramatic capacity (it was a pleasure to see what a man can do with a cane in his hand).

Mundo Clasica

Jack Rance La fanciulla del West, cond. Marco Armiliato, dir. Barrie Kosky

Zurich Opera, June 2014

Vocally this Sheriff is also a complex figure. In addition to the hardness and warmth in Hendricks’ baritone, there is loneliness and despair.

Basler Zeitung

In terms of text interpretation, the more subtle vocal rendition of Scott Hendricks was multi-dimensional…Thanks to the intense timbres he gives his singing and the incalculable, demonic appearance he has on stage, he gives a role debut of continuous perfection

Place de l'Opera

Sharpless Madama Butterfly, cond. Marco Armiliato, dir. Anthony Minghella

Metropolitan Opera, January 2014

Scott Hendricks made a felicitous house debut as Sharpless, bringing a warm, generous baritone to the role of the decent but impotent American consul.

New York Times

Verdi bicentenary concert, Halle cond. Mark Elder

Bridgewater Hall, November 2013

Pride of place, perhaps inevitably, went to US baritone Scott Hendricks, for his beautifully judged Boccanegra, his funny – if troubled – Ford, and a corrosive Iago who was genuinely disturbing in his manipulation of Peter Auty's agonised Otello.

Guardian

Death in Venice, cond. Bruno Bartoletti, dir. Pier Luigi Pizzi

Teatro La Fenice, November 2013

I very much liked Scott Hendricks as well, in his multiple nemesis roles. His burly, Verdian voice works well with his quite literally hands-on physicality.

Opera News

Amonastro in Verdi Aida, cond. Antonino Fogliani, dir. José Maria Condemi

Houston Grand Opera, October 2013

American baritone Scott Hendricks gave Amonasro, King of Ethiopia and Aida's father, a noble bearing.

Houston Press

Scarpia Tosca, cond. Daniel Oren, dir. Jonathan Kent

Royal Opera House, July 2013

The American baritone Scott Hendricks, making his house debut as Scarpia, was…gripping and credible here, with lots of the requisite snap and snarl in his voice, and a suitably venal stage presence.

Guardian

Feature article: Opera

May 2013

He may bring a muscular line to any ensemble, but [Hendricks] holds his own on stage equally through sheer musical intelligence and varied colouring of his voice.

Opera

Il trittico, cond. Will Humburg, dir. Sabine Hartmannshenn, Gabriele Rech & Eva-Maria Höckmayr

Cologne Opera, May 2013

After this evening I think we will hear much more from this singer. In Gianni Schicchi, it is again, the enthusiastic Scott Hendricks as the title character that impressed the audience.

Opernnetz

Scott Hendricks, a great baritone, gives his character, Michele, a theatrically convincing performance of an inwardly torn man who is desperately fighting for his wife’s love.

Online Musik Magazin

Germont in Verdi La Traviata, cond. Ádám Fischer, dir. Andrea Breth

La Monnaie, December 2012

Baritone Scott Hendricks’s presence is a guarantee of the highest standards, and he excels both dramatically and musically as Germont’s father. His song of praise to heavenly Provence is an ideological description of a dream world, sung with a seductive gloss, yet seen through a critical eye.

Deutschlandradio Kultur

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