Intermusica Artists' Management



Intermusica represents Scott Hendricks worldwide

Simon Goldstone

Associate Manager, Vocal & Opera:
Olivia Marshall

Scott Hendricks


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 2013-14 season included Hendricks’ Metropolitan Opera debut as Sharpless Madama Butterfly; Amonasro Aida (Houston Grand Opera); and Jack Rance La fanciulla del West (Opernhaus Zürich). Other recent highlights include his Royal Opera House debut as Scarpia Tosca; Germont La traviata (La Monnaie, in a new production by Andrea Breth); role debuts as Michele Il tabarro and Gianni Schicchi in a new production of Puccini’s Il trittico (Oper Köln); Forester The Cunning Little Vixen (Opéra National du Rhin); the title role of Rigoletto and Enrico Lucia di Lammermoor (Houston Grand Opera); Scarpia Tosca (Opéra National de Paris, Washington National Opera and Bayerische Staatsoper, Munich); Sharpless Madama Butterfly (Washington National Opera with Plàcido Domingo); Jochanaan Salome (La Monnaie, Brussels); Amonasro Aida and Iago Otello (Canadian Opera Company); Conte di Luna Il trovatore (La Monnaie); Marcello La bohème (San Francisco Opera); the title role of Macbeth (La Monnaie), which received Opernwelt’s Production of the Year award; the title role of Król Roger (Gran Teatre de Liceu and Opéra National de Paris); The Traveller Death in Venice (Teatro La Fenice and Gran Teatre de Liceu); Tamare Die Gezeichneten (De Nederlandse Opera); Ford Falstaff and the title role of Eugene Onegin (Santa Fe Opera); Posa Don Carlos (Houston Grand Opera and Oper der Stadt Köln); critically acclaimed performances of Roderick The Fall of the House of Usher and Carlo Gérard Andrea Chénier (both Bregenzer Festspiele); and an internationally critically acclaimed portrayal of the title role in the world première of Giorgio Battistelli's Richard III with De Vlaamse Opera, under the direction of Robert Carsen.

Engagements this season include Conte di Luna Il trovatore at the Mikhailovsky Theatre in St Petersburg, Jack Rance La fanciulla del West (Opernhaus Zürich), Sharpless Madama Butterfly (Houston Grand Opera), the title role of Macbeth for Netherlands Opera, Renato Un ballo in maschera at La Monnaie, and Scarpia Tosca for Israeli Opera.

Scott Hendricks is represented by Intermusica.
September 2014 / 365 words. Not to be altered without permission. Please destroy all previous biographical material.

Enemy Slayer – A Navajo Oratorio
Phoenix Symphony Orchestra & Chorus / cond. Michael Christie

Naxos 8559604 2009
The Fall of the House of Usher (DVD)
Vienna State Opera / cond. Lawrence Foster
Capriccio 93517 2006
Houston Grand Opera & chorus / cond. Patrick Summers

Albany Records B000060ON5 2002 
King Roger (DVD)
Wiener Symphoniker / cond. Sir Mark Elder
C Major B003T68VHG 2010
Vaughan Williams
An Oxford Elegy etc.
Chorus Civitas & Chorus Civitas Chamber Orchestra / cond. Robert Taylor
Centaur 2299 1996

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Jack Rance La Fanciulla del West / Oper Zurich
Cond. Marco Armiliato / dir. Barrie Kosky

“Auch vokal ist dieser Sheriff eine vielschichtige Figur, neben der Härte ist Wärme in Hendricks’ Bariton, Einsamkeit, Verzweiflung”

“Vocally this Sheriff is also a complex figure. In addition to the hardness and warmth in Hendricks’ baritone, there is loneliness and despair.”
Susanne Kübler, Basler Zeitung, June 2014

“Und sein Widerpart Scott Hendricks gab dem Jack Rance mit stimmlich abwechslungsreichen Mitteln vielschichtige Züge.”

“And his counterpart Scott Hendricks gave Jack Rance complex traits using vocally varied means.”
Reinmar Wagner, Musik und Theater, June 2014

“Vocaal subtieler en qua tekstinterpretatie driedimensionaler is de vertolking van Scott Hendricks. De jonge bariton uit Texas lijkt in de wieg gelegd te zijn voor de rol van sheriff Jack Rance. Dankzij de intensieve klankkleuren die hij zijn partij geeft en de onberekenbare, demonische uitstraling die hij op de bühne heeft, geeft ook hij een roldebuut van ononderbroken perfectie.”

“In terms of text interpretation, the more subtle vocal rendition of Scott Hendricks was multi-dimensional. The young baritone from Texas seems to be born for the role of the sheriff Jack Rance. 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.”
Alessandro Anghinoni, Place de l'Opera, June 2014

Scarpia Tosca / Gran Teatre del Liceu
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).”

“Hendricks ha sido un Scarpia fantástico en lo escénico. De sus mejores interpretaciones conserva la atención por la palabra (siempre inteligible, siempre cargada de intención) y su capacidad actoral (fue un gusto ver qué se puede hacer con un bastón en la mano).”
Jorge Binaghi, Mundo Clasica, March 2014

Sharpless Madama Butterfly / Metropolitan Opera, New York
Cond. Marco Armiliato Dir. Anthony Minghella

“Scott Hendricks sang impressively as Sharpless, the diplomatic role that rarely seems to emerge in much relief.”
Paul du Quenoy, Concerto Net, 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."
Corinna da Fonseca-Wollheim, New York Times, January 2014

Death in Venice / Teatro La Fenice
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.”
Patrick Dillon, Opera News, November 2013

Verdi bicentenary concert / Bridgewater Hall, Manchester
Cond. Mark Elder

“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.”
Tim Ashley, Guardian, November 2013

Amonastro / Aida / Houston Grand Opera
"Aida`s father was a formidable figure even as an Egyptian captive, thanks to Scott Hendricks vigorous, sometimes ferocious singing."
Steven Brown, Houston Chronicle, October 2013

"Scott Hendricks, always reliable, is the standout, and one wishes he had more to sing."
Marcus Karl Maroney, ConcertoNet, October 2013

American baritone Scott Hendricks gave Amonasro, King of Ethiopia and Aida's father, a noble bearing..."
D.L. Groover, Houston Press, October 2013

Scarpia Tosca / ROH [Big Screen Broadcast, Belfast City Hall / Trafalgar Square]
“Texan baritone Scott Hendricks sings the part firmly and resonantly...”
Culture Northern Ireland, July 2013

“Scott Hendricks’s baritone is suitably rich for the chief of police…”
The Upcoming, July 2013

Scarpia Tosca / ROH
Dir. Jonathan Kent Cond. Daniel Oren

“Scott Hendricks as Scarpia has a dark baritone that sounds evil…”
The Express, 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, July 2013

Il trittico / Cologne Opera
cond. Will Humburg / dir. Sabine Hartmannshenn, Gabriele Rech & Eva-Maria Höckmayr
“Scott Hendricks in the title role deserves great recognition.”
Regine Muller, RP Online, 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.”
Michael S. Zerban, Opernnetz, May 2013

“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, May 2013

Eugene Onegin / DVD / Bilbao (Asociación Bilbaina de Amigos de la Ópera)
“American baritone Scott Hendricks… a scintillating Onegin”
Rafael Banus, El Cultural, May 2013

Feature article in Opera May 2013
“He may bring a muscular line to any ensemble, but holds his own on stage equally through sheer musical intelligence and varied colouring of his voice. These things should stand him in good stead for his two role debuts this month, as Michele (Il tabarro) and Gianni Schicchi in Cologne’s new Trittico.”
John Allison, Opera, May 2013

Germont in Verdi La Traviata / La Monnaie
La Monnaie Symphony Orchestra & Chorus / 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”.

„Ein Garant für höchste Qualität ist der Bariton Scott Hendricks, der als Vater Germont schauspielerisch wie musikalisch überzeugt. Sein Loblied auf die paradiesische Provence ist die ideologische Beschwörung einer Traumwelt, mit verführerischem Schmelz vorgetragen und zugleich kritisch hinterfragt“.
Stefan Keim, Deutschlandradio Kultur, December 2012

Riccardo in Bellini I puritani / DVD OA1091D
Netherlands Philharmonic Orchestra / cond. Giuliano Carella
“Scott Hendricks as the rejected lover sings nobly…”
Richard Lawrence, Gramophone, March 2013

“a sound performer, he plays his role with effect”.
John T. Hughes, International Record Review, November 2012

Carlo Gérard in Giordano André Chénier
Bregenzer Festspiele / cond. Ulf Schirmer / dir. Keith Warner
“fantastic cast... [André Chénier‘s] opponent was sung convincingly by the compelling Scott Hendricks...”
Christoph Wurzel, OnlineMusikMagazin, August 2012

Luna in Verdi Il Trovatore / La Monnaie
cond. Marc Minkowski / dir. Dmitri Tcherniakov

“Scott Hendricks‘ voice is rich and agile, and as an actor he has an incredible presence.”
Eleonore Büning, Frankfurter Allgemeine Zeitung, June 2012

“Scott Hendricks’ Count Luna is a marvel of cynical darkness. He perfectly embodies his development into the abyss of bestiality…”
Philippe Dewolf, RTBF, June 2012

“… baritone Scott Hendricks is convincing as Conte di Luna. He sings and plays the role from the first to the last minute in a breathtaking way. The way he develops controlled anger into destructive fury is wonderful art.”
Hans Reul, BRF, June 2012

“Dazzling… Texan Scott Hendricks was superior while sliding from controlled anger into blinded violence.”
Martine D. Mergeay,, June 2012

“Hendricks is a forceful, obsessed Count and a fine actor.”
Jim Ruane, Bloomberg Businessweek, June 2012

“La Monnaie found highly enthusiastic and invested singers... Scott Hendricks, who gave a memorable performance of Verdi’s Macbeth last season, embodies an impulsive and violent Count Luna, whose singing betrays his mental instability.”
Philippe Venturini, Les Echos, June 2012

“The impressive baritone Scott Hendricks embarks on a fascinating journey of the decay and self-destruction of a great character...”
Joachim Lange, Online Musik Magazin, June 2012

“Baritone Scott Hendricks is a strong Count Luna who is slowly losing his reasoning...”
Emmanuelle Giulinai and Bruno Serrou, La Croix, June 2012

The Traveller in Britten Death in Venice / Teatro La Fenice
cond. Bruno Bartoletti / dir. Pier Luigi Pizzi
Dynamic DVD (2010)

“The singers, dancers, and actor are all excellent, and even the Italian English seems somehow fitting in some of the characters. The best role is probably that of Scott Hendricks, who must play a variety of roles with very different personalities, and he does a superb job.”
Steven Ritter, Audiophile Audition, June 2012

Rodrigo in Verdi 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,, May 2012

“Scott Hendricks’s rich baritone and energetic stage presence helped the performance to cohere around its political plotline and move forward through this vast five-act opera.”
Gregory Barnett, Opera News, July 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,, April 2012

Jochanaan in Salome in Strauss / 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 in Puccini 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 in Umberto Giordano 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 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,, 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

Amonasro in Verdi Aida / Canadian Opera Company
“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

Title role in Verdi Macbeth / Théâtre Royal de la Monnaie 
“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, Concerto Net, 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

Iago in Verdi Otello / Canadian Opera Company 
“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

“ 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

King Roger in Szymanowski Krol Roger / Bregenzer Festspiele, Liceu Barcelona & Opèra National de Paris 
“...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, 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

Title role in Battistelli Richard III / Opèra National du Rhin 
“...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, Concert Classic, 2009

Title role in Verdi Rigoletto / Houston Grand Opera 
“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, Concerto Net, 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


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