A native of San Antonio, Texas, Scott Hendricks has emerged as one of today's most compelling singing actors.
Rodrigo / Don Carlos / Houston Grand Opera
“Scott Hendricks from San Antonio, wrenched emotional approval from the audience with his clean, smooth baritone voice and good acting”
Dr Melvyn H Schreiber, Galvestondailynews.com, May 2012
“Hendricks relishes the impassioned heart within Rodrigue, and his last aria, literally, is terribly affecting“.
D.L Groover, Houston Press, April 2012
“Scott Hendricks' virile baritone and stalwart stage presence make him the perfect Rodrigue - eloquent championing lost causes, gallant facing his own martyrdom.”
Everett Evans, Chron.com, April 2012
Salome / La Monnaie
Cond. Carlo Rizzi / Dir. Guy Joosten
“Scott Hendricks played the role…with charismatic power and an all-too human ambiguity.”
Le Soir, January 2012
“Scott Hendricks sang the role of Jochanaan with vocal candour and grandiloquent declamation, the very emobidment of a man who is sure of himself and of his prophecies. His exchanges with Salome were not delusional, but have certain sincerity and spontaneity, for which we would later discover the motivation.”
Avant-Scène Opèra, Febraury 2012
Scarpia / Puccini's Tosca / Washington National Opera
Cond. Israel Gursky / dir. David Kneuss
“Scott Hendricks'… phrasing was alert and vital. He also had the theatrical chops for the assignment, oozing smarm with particular effectiveness in the second act.”
Tim Smith, The Baltimore Sun, September 2011
Charles Gérard / Umberto Giordano‘s André Chénier / Bregenz
Dir. Keith Warner
‘Scott Hendricks, a regular at the Opéra National de Paris and on the major international stages, sang Carlo Gérard with a voice that was at once strong and musical, without caricature or going overboard; he was a driving force throughout the performance.’
Jean-Marcel Humbert, Forum Opera, August 2011
Enrico in Donizetti’s Lucia Di Lammermoor
Houston Grand Opera January-February 2011
cond. Antonino Fogliani / dir. John Doyle
"Scott Hendricks' understated Enrico is not so much the obvious villain, yet nonetheless forceful, the growling power of his singing proclaiming this controlling brother's anger and determination"
Everett Evans, chron.com, February 2011
"Baritone Scott Hendricks could not be better as Lord Enrico Ashton, Lord of Lammermoor, Lucia's brother."
Buzz Belmont, chron.Commons, January 2011
Canadian Opera Company / Aida
“The vocal and dramatic sparks really flew when Aida’s father, gloriously sung by baritone Scott Hendricks, offered his daughter a stark choice between country and love.”
John Terauds, Toronto Star, October 2010
'”American baritone Scott Hendricks has previously appeared as Rodrigo and Iago with the COC. An exciting singer who gives his all, Hendricks sang Amonasro with burnished tone and a strong sense of drama.”
Joseph So, La Scena Musicale, October 2010
“Aida's father, the Ethiopian king Amonasro, was sung by American baritone Scott Hendricks...he gave a persuasive performance, filling the house with vigorous, virile sound.”
Mike Silverman, Associated Press, October 2010
“Baritone Scott Hendricks applied a vivid tone and chilling stage style to Amonasro...”
Arthur Kaptainis, National Post, October 2010
“Baritone Scott Hendricks made an outsized impression as Amonasro...”
Robert Everett-Green, The Globe and Mail, October 2010
Théâtre Royal de la Monnaie / Macbeth
“Allen voran der erstklassige Macbeth von Scott Hendricks.“
Joachim Lange, Kultiversum, 2010
“...énergie indomptable du Macbeth, noir, mordant mais poignant de Scott Hendricks...“
Serge Martin, Lesoir, 2010
“Scott Hendricks färbt als Macbeth seinen kräftigen Bariton eindrücklich mit allen erforderlichen Schattierungen der Verzweiflung und des Monströsen ein.“
Julia Spinola, Frankfurter Allgemeine Zeitung, 2010
“...Scott Hendricks is THE Macbeth for this show. If there was any other singer/actor instead of him, the show would have been modified as to include that other singer/actor so that he feels at ease and can give the best of him... Scott Hendricks makes his debut as Macbeth in Brussels and what a superb debut that was! The role is vocally tough and very long, and even in a shabby "park & bark" kind of production it would be hard. To sing it in a Warlikowski's production is XX-hard: you have to be scenically exceptionally good because it's you who carry most of the show on your shoulders. And he did it wonderfully!”
Opera Cake, 2010
“Et quelle équipe vocale! Scott Hendricks est époustouflant d'intensité en Macbeth façon Apocalypse Now...”
Renaud Machart, Le Monde, 2010
“Afin de répondre aux exigences de Krzysztof Warlikowski, un baryton d’exception s’imposait pour Macbeth: les débuts époustouflants, à tous points de vue, de Scott Hendrickx constituent le maillon fort d’un plateau...”
Sébastien Foucart, ConcertoNet, 2010
“Der amerikanische Bariton Scott Hendricks zeigt als Macbeth sein großes Operntalent, stimmlich und schauspielerisch.“
Christoph Schmitz, Deutschland Radio, 2010
“Et Scott Hendricks est un Macbeth passionné, qui traduit la déchéance progressive du personnage (est-ce dans son imagination que, dès le lever de rideau, les sorcières se manifestent ?) autant par son chant que par son jeu. Du grand art, et un spectacle dont on ne sort pas indemne.”
Michel Parouty, Diapason, 2010
“Le baryton texan Scott Hendricks qui, dans le rôle de Richard III de Battistelli fut à Strasbourg « un phénomène de démesure maîtrisée ici chef de guerre déboussolé par les guerres, renouvelle son exploit avec une rage hallucinée, une articulation tracée au couteau, un timbre de nuit noire...”
Bernd Uhlig, Webthea, 2010
Canadian Opera Company / Iago Otello
“The truly complete performance came from Scott Hendricks, a brutally intelligent Iago who sounded big when he had to (the pledge of vengeance with Otello was electrifying) and textured when his expressive needs ran to subterfuge and irony. One can believe this American baritone pursues a sideline in Schubert. He was a burly figure, mind you, and physical, slapping his fellow Cypriot officers on the side with false conviviality. What a villain!”
Arthur Kaptainis, National Post, 2010
“American baritone Scott Hendricks stole the show as the evil Iago, who deceives Otello into believing that Cassio and Desdemona are lovers. Chillingly charismatic, Hendricks' soliloquy was scheming, his sotto voce gripping — he was the perfect villain.”
L.H. Tiffany Hsieh, Classissima La Scena Musicale, 2010
“Baritone Scott Hendricks’s Iago dominates this production, carrying out his Machiavellian machinations with the demonic glee of a death metal rocker, stopping just short of giving us the devil horns sign while planting his insinuations and celebrating his victories. His is the most effective performance...”
Glenn Sumi, Now Toronto, 2010
“The true star of the show was American baritone Scott Hendricks, who sang Iago’s part. His performance was so central and enthralling that I felt the production should have been titled Verdi’s Iago rather than Verdi’s Otello.”
Elias Cristante, The Varsity, 2010
“Fellow American, baritone Scott Hendricks, is the ideal Iago – scheming and plotting his way toward an inevitable tragedy that will leave no one in the trio untouched.”
John Terauds, Toronto Star, 2010
“Scott Hendricks makes a superior Iago, glorying at every success of his evil plot.”
Christopher Hoile, Eye Weekly, 2010
“...as Iago’s plot expanded, so did Hendricks’s use of his vocal resources, including a beguiling sotto voce that became the most dangerous sound in the opera.”
Robert Everett-Green, The Globe and Mail, 2010
“...and both Forbis and Hendricks embrace it with convincing swagger and strong vocal skills.”
John Coulbourn, Toronto Sun, 2010
“Scott Hendricks played the good guy (Rodrigue) in Don Carlos in 2007, and now plays the villain with full gleeful malice - and excellent singing, too, displaying a full expressive range.”
Michael Johnson, ConcertoNet, 2010
“Scott Hendricks is diabolical and enticing as the evil Iago... Hendricks owns the role...”
Roselyn Kelada-Sedra, Plank Magazine, 2010
Bregenzer Festspiele, Liceu Barcelona, Opèra National de Paris / Krol Roger
“...a aussi récompensé à juste titre la performance faite de bruit et de furie de son partenaire Scott Hendricks, le roi Roger.”
Jaime Estapà, Webthea, 2009
“We had a strong cast of men. Indeed, they all made themselves heard over the row from the pit, and I doubt they could have been better... Scott Hendricks was a very powerful high baritone”
NPW Opera & Concert Reviews, 2009
“American baritone Scott Hendricks was a good interpreter of King Roger, with a decidedly lyrical voice, pleasant and homogeneous, besides his being a good actor.”
José M Irurzun, Seen & Heard International, 2009
“...Scott Hendricks' spans the palette of Roger's development with apparent ease - his burnished baritone effortlessly riding the testing score.”
Moore Parker, The Opera Critic, 2009
“Scott Hendricks trumpft als Roger mit einem wahrlich königlichen Bariton auf...“
Frederik Hanssen, Der Tagesspiegel, 2009
“Scott Hendricks is gripping in the title role...”
Shirley Apthorp, Financial Times, 2009
“Die stimmige Sängerbesetzung, allen voran der machtvoll um letzte Fragen ringende Roger von Scott Hendricks...“
Christian Wildhagen, Frankfurter Allgemeine Zeitung, 2009
“...vokal und darstellerisch souverän: Scott Hendricks...“
Werner Müller-Grimmel, Stuttgarter Zeitung, 2009
“In drei Akten durchlebt Scott Hendricks in der Titelrolle einen rauschhaften Trip, die Macht wilder Sinnlichkeit und schliesslich eine überraschende Läuterung. Sein Bariton zeichnet die feinsten Erschütterungen, die geringsten Frontverschiebungen im inneren Kampf nach; und genauso setzt er den Körper der kargen Bühnenlandschaft aus: zuweilen kopfunter, immer rückhaltlos.“
Bettina Kugler, St. Galler Tagblatt, 2009
“Und auf der Bühne ist mit Scott Hendriks ein formidabler König Roger zur Stelle.“
Elisabeth Schwind, Suedkurier, 2009
“Neben den hervorragenden Sängern Scott Hendricks (Roger), Olga Pasichnyk (Königin Roksana), John Graham-Hall (Edrisi) und Will Hartmann (Hirte) ist es vor allem das Orchester, das die Aufführung mit nie nachlassender Intensität trägt.“
Daniel Ender, Der Standard, 2009
“Erfreulich auch die Protagonisten: Da ist Scott Hendricks nicht nur ein gestisch zerrissener Roger – auch in seiner Stimme scheinen rohe Urkräfte mit herrschaftlicher Contenance zu ringen.“
Christoph Irrgeher, Wiener Zeitung, 2009
“Bariton Scott Hendricks gab dem König seine ausdrucksstarke Stimme und darstellerische Einfühlung, er zeigte eine durchweg beeindruckende Leistung, ausgefeilt und ergreifend.“
Midou Grossmann, Klassik, 2009
“Am Ende gab es für das Team ebenso starken Premieren-Applaus und Bravo-Rufe wie für die Protagonisten Scott Hendricks...“
Die Presse, 2009
“Scott Hendricks steht die mörderische Titelpartie kraftvoll und tonschön durch... ein klug und nuanciert gestaltend und immer auf die musikalische Linie bedacht.“
Stefan Schmöe, Online Musik Magazin, 2009
Opèra National du Rhin / Richard III
“...on assiste à une véritable démonstration du baryton Scott Hendricks. Son Richard III, déjà rodé à l’opéra de Flandres il y a quatre ans, oscille entre le calcul, la froideur et la folie furieuse. Sous le masque blanc, un « Joker » à la Jack Nicholson fabuleux, brillant et redoutable. Un rôle magnifique pour ce chanteur qui porte, sans effort apparent, tout l’opéra.”
Anne Suply, L'Alsace, 2009
“...Scott Hendricks, Richard hallucinant, timbre percutant, comédien pugnace.”
Michel Parouty, Les Echos, 2009
“L’équipe musicale rassemble certains des créateurs de l’ouvrage en 2005 à commencer par le stupéfiant Scott Hendricks qui incarne magistralement le rôle titre. La voix est superbe et solide tandis que l’acteur est confondant : on en arrive presque à ressentir un certain attachement pour le personnage. On est totalement admiratif devant cette performance tant musicale que scénique.”
Pierre-Emmanuel Lephay, Forum Opéra, 2009
“Deux qualités à ajouter à celle du chanteur et comédien hors norme qu’est Scott Hendricks. Apparition hallucinée, hallucinante: il bondit comme un lapin, contrefait le bossu boiteux et massacre avec la même hystérie vorace. Un phénomène de démesure parfaitement maîtrisée!”
Caroline Alexander, Webthea, 2009
“Dans le rôle-titre, le baryton américain Scott Hendricks prête admirablement son timbre sombre et pénétrant au personnage machiavélique et réalise une performance scénique époustouflante.”
Michèle Tosi, ResMusica, 2009
“ll fallait pour le rôle un interprète à la hauteur. Scott Hendricks l’est au-delà de toute espérance. Vocalement héroïque, le baryton irradie chaque scène de sa présence, de sa folie habitée. Il faut le voir, dès les premières scènes, dévaler les gradins de l’arène qui tient lieu de décor unique : par sa démarche à la fois autoritaire et balourde, par ses mimiques, il incarne le monstre, l’humanité déchue.”
Jean-Guillaume Lebrun, ConcertClassic, 2009
Houston Grand Opera / Rigoletto
“The role of Rigoletto is often considered one of the most challenging opera roles, but Hendricks performs the role of the hunchbacked jester flawlessly. Hendricks lets the audience feel Rigoletto's pain as he blends the notes he sings with the jester's tragic emotions.”
Jasmine Harrison, The Daily Cougar, 2009
“His forceful baritone takes hold in solo reveries: nursing his wounds, brooding over the curse, anxious for Gilda or exploding in vengeful wrath. The more aggrieved or wrathful, the more powerfully Hendricks registers. In lovely duets with Gilda, showing his tender and protective side, he is at his most sympathetic.”
Everett Evans, Houston Chronicle, 2009
“Scott Hendricks created an eerie, neurotic Rigoletto, always reserving a hint of innocence in his portrayal... he is a thoroughly compelling actor-singer. The staging of "Pari siamo!" was simple but effective, with singing that expressed Rigoletto's knowledge of what this encounter would lead to. By the end of the opera, we had witnessed an excellently conceived character arc as the jester tried to come to terms with the unfortunate situation he was put in.”
Marcus Karl Maroney, ConcertoNet, 2009
“The San Antonio native has the range, heft, and legato for the role... His "Cortigiani" showed great pathos...”
Paul Wooley, Opera Today, 2009
“With searing intensity, baritone Scott Hendricks gives the unlucky jester a father's big heart...”
D.L. Groover, Houston Press, 2009