"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."
"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"
Texan Scott Hendricks has emerged as one of today's most compelling and versatile baritones. From Monteverdi to Schreker, Mozart to Britten and Debussy to modern-day composers, Hendricks has always maintained a diverse operatic diary and has now established himself as an important interpreter of Verdi, Puccini and Wagner.
Highlights of the 2018-19 season include returns to La Monnaie (Barnaba La Gioconda and the role of Victor Frankenstein in the world premiere of Mark Grey’s Frankenstein); San Francisco Opera (Scarpia Tosca) and the Bregenzer Festspiele (title role Rigoletto). He also sings the role of the murderer in the world premiere of M - Eine Stadt sucht einen Mörder (Komische Oper Berlin).
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Scarpia (Tosca), San Francisco Opera
San Francisco Opera, October 2018
Energetic baritone Scott Hendricks provided rich vocal potency and poured dramatic fuel onto the fire as Scarpia, the feared police chief of Rome and arbiter of Tosca and Mario’s fates. He imbued unbridled virility into the role, a poster boy of the patriarchy who selfishly and cruelly gets his way. When Tosca asks Scarpia in Act 2 what price must be paid to spare Mario, Hendricks’ Scarpia answers with chilling resonance in his powerful “Gia mi dicon venal.
James Ambroff-Tahan, San Francisco Examiner, October 2018
Scott Hendricks completely embodied Scarpia, he was slick and repulsive, his voice sounded suitably powerful.
Charlise Tiee, The Opera Tattler, October 2018
Texas baritone Scott Hendricks played Scarpia as an aberrant villain who had confidence in his own ability to charm women into granting him sexual favors, but who preferred the use of force and violence to subdue them. I have admired Hendricks’ performances of such roles as Posa in Verdi’s “Don Carlos”, Amonasro in Verdi’s “Aida” and the title role of Tchaikovsky’s “Eugene Onegin” at the Houston Grand Opera. Hendricks’ Scarpia was a chilling portrait of incarnate evil
Opera Warhorses, October 2018
Ruprecht in Prokofiev's The Fiery Angel, Festival d'Aix-en-Provence
Festival d'Aix-en-Provence, July 2018
the equally confident and versatile baritone of Scott Hendricks as Ruprecht
David Karlin, Bachtrack, July 2018
Title role of Nixon in China, Houston Grand Opera
Houston Grand Opera, January 2017
HGO’s cast, headed by baritone Scott Hendricks in his role debut as the former president, stands up confidently against the waves of orchestral sound and the murderously high vocal lines.
Nixon’s first-scene soliloquy on TV exposure goes right to the point Robinson’s production makes, and Hendricks launched into it with a ring, security and vigor that made Nixon’s excitement about China palpable. From his first, stiff wave at the top of the airplane’s stairs, Hendricks’ gestures — crisp but cramped — also conjured up the real president’s awkwardness. As Nixon met with Mao and offered toasts at a banquet, Hendricks delivered Nixon’s proclamations with gusto, little daunted by the music’s high range. When the orchestra fleetingly throttled back and gave him leeway, he lent more wistful touches to Nixon’s reminiscences of happy times serving burgers to his fellow soldiers during World War II.
Steven Brown, Classical Review, January 2017
Iago in Verdi's Otello, New Zealand Opera
New Zealand Opera, August 2016
With a voice able to flick effortlessly from oil to ice, Scott Hendricks' Iago was the embodiment of evil, seducing James Egglestone's affable Cassio into his scheming, as a spider might a fly.
William Dart, New Zealand Herald, August 2016
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!
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.
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.
…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).
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.
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.
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.
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.
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.
Feature article: Opera
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.
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.
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.