Scott Hendricks is represented by Rayfield Allied Worldwide.

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Scott Hendricks

Baritone

  • 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
  • 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
  • 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
  • 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 2016-17 season include the title role of Verdi’s Macbeth (La Monnaie, Brussels), a return to the Royal Opera House for Sharpless Madama Butterfly, Forester The Cunning Little Vixen (Cologne Opera), the title role of Nixon in China (Houston Grand Opera), and Escamillo Carmen (Bregenz Festival). 

    • 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
  • Photos