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 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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Title role in Mark Grey's Frankenstein

La Monnaie, March 2019

Creator more contemptible than his creature, Doctor Frankenstein, portrayed by the lyrical baritone Scott Hendricks, impresses the audience with a powerful voice ... His bass profound, his breath long, and with apparent simplicity, his voice unfurls with precise diction, determined and noble.

Soline Heurtebise, Olyrix, 10 March 2019

Frankenstein: a spectacular world premiere at La Monnaie De Munt in Brussels... Among the singers Scott Hendricks as Frankenstein with his powerful baritone stood out particularly...


Hans Reul, BRF Nachrichten, 9 March 2019

Conductor Bassem Akiki defends the score with great commitment. Two soloists really rise above the material: Scott Hendricks as Frankenstein and Topi Lehtipuu as Creature, the monster.

Stephan Moens, De Morgen, 11 March 2019

...a virile and fantastic singer/actor Scott Hendricks as the Frankenstein who ends up in an emotional rollercoaster...


Sylvia Broeckaert, Klara.be, 9 March 2019

The role of Frankenstein is tailor-made for the robust baritone of Scott Hendricks

gopera.com, 13 March 2019

The baritone Scott Hendricks, a regular guest at La Monnaie, in splendid voice and with total commitment, embodies Victor Frankenstein, a man devastated by his own creation and mortified by the extent of the disaster.

Benedict Hévry, Resmusica, 17 March 2019

Scarpia in Tosca

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, 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, 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, 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 in 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's Macbeth

Dutch National Opera, April 2015, cond. Marc Albrecht, dir. Andrea Breth

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

Bachtrack

…the vocally powerful presentation by Scott Hendricks

Neue Zürcher Zeitung

Scarpia in Tosca

Gran Teatre del Liceu, March 2014, cond. Paolo Carignani, dir. Paco Azorín

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 in La fanciulla del West

Zurich Opera, June 2014, cond. Marco Armiliato, dir. Barrie Kosky

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 in Madama Butterfly

Metropolitan Opera, January 2014, cond. Marco Armiliato, dir. Anthony Minghella

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

Traveller in Death in Venice

Teatro La Fenice, November 2013, cond. Bruno Bartoletti, dir. Pier Luigi Pizzi

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

Houston Grand Opera, October 2013, cond. Antonino Fogliani, dir. José Maria Condemi

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

Houston Press

Scarpia in Tosca

Royal Opera House, July 2013, cond. Daniel Oren, dir. Jonathan Kent

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

Cologne Opera, May 2013, cond. Will Humburg, dir. Sabine Hartmannshenn, Gabriele Rech & Eva-Maria Höckmayr

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 La traviata

La Monnaie, December 2012 , cond. Ádám Fischer, dir. Andrea Breth

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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