Acclaim (For Reviews by opera role, see Repertoire)
Steven Osgood conducted a cast that included Michael Hendrick as the adult Judah; Chris Pedro Trakas as Manfred; Tanvir Gopal as young Julek; Leena Chopra as Julek's sister, Lala; Lori Phillips and Michael Zegarski as his parents; and Benjamin Sosland as Ludwig, Lala's boyfriend. Read More...
Allan Kozinn, The New York Times

as Paul in Die Tote Stadt @ Opéra National de Lorraine à Nancy

C’est une forte mais audacieuse idée de donner Die Tote Stadt (La Ville morte) sans entracte, 2 heures 20 d’une continuité souvent paroxystique : il faut seulement que Paul, protagoniste ténor, constamment dans une tessiture crucifiante, s’y prête. Le jeune américain Michael Hendrick le fait, capable encore d’une ligne piano qui tire des larmes à la reprise finale, comme remémorée dedans, du lied Glück das mir verblieb.

English: It is a strong but bold idea to give Die Tote Stadt (The Dead City) without intermission, 2:20 of continuity, often furious : requires only that Paul, the tenor protagonist, lends himself constantly to a crucifying tessitura. The young American Michael Hendrick does, still capable of a piano line that draws tears at the final reprise, as remembered in, the song Glück das mir verblieb.

André Tubeuf,

as Bacchus in Ariadne auf Naxos @ Festival Amazonas de Ópera (Manaus, Brazil):

... a remarkable Bacchus (American Michael Hendrick)

Richard Martet, Opéra Magazine (France)

as Menelas in Die Ägyptische Helena @The Metropolitan Opera

Newcomer Michael Hendrick assaulted the stratosphere with steely stamina.

Martin Bernheimer, The Financial Times

as Menelas in Strauss' Die Ägyptische Helena @ The Metropolitan Opera

He was replaced by Michael Hendrick, who had sung the dress rehearsal on Monday and was all set to go. Making your Met debut in such tense circumstances has to be intimidating. Still, Mr. Hendrick saved the day, singing with husky sound and energy.

Anthony Tommasini, The New York Times

Michael Hendrick prend son rôle très au sérieux, comme il l'avait fait dans le prologue. Son Bacchus, dont les aigus sont sûrs et bien projetés, gagne en beauté vocale ce qu'il perd en caractérisation. Ces réserves tombent toutefois lorsque, dans l'extatique duo final, Shaguch et Hendrick atteignent une justesse et une sincérité d'interprétation qui montrent bien la profondeur de la métamorphose, nouveau départ qui redonne vie à la vie.

English: "Michael Hendrick takes his role very seriously, as he did in the prologue. His Bacchus, whose high notes are secure and well projected, gains in beauty what it loses in vocal characterization. These reserves, however, fall when, in the ecstatic final duet, Hendrick and Shaguch reach a precise and sincere interpretation which shows the depth of metamorphosis, new beginning that gives life to life."

Réal Boucher, Forum Opera

as Zhivny in Osud (Janácek)

Bard Summerscape 2003

From the opening of Act II Zhivny dominates the stage, beginning gently and happily, singing quite tenderly as he recalls a loving letter he wrote to Mila and progressing to enraged self-reproach before the catastrophic closing moments. It might seem that there was nothing left to top the melodrama of that closing, but Janácek contrives an even stronger climax at the end of Act III, with Zhivny’s final convulsive outpouring. It's a solo scene lasting well over six minutes, and it takes everything a tenor's got to give. The tenor of the occasion handled it wonderfully: Michael Hendrick, a veteran of Lyric Opera of Chicago, Washington Opera, and New York City Opera, commanded both power and pathos, and in addition revealed, in earlier scenes and calmer moments, a marked sweetness of tone.

Shirley Fleming,

... replaced very competently by Michael Hendrick.

Richard Covello, Opera Canada
Michael Hendrick and (Felicity) Palmer gave the audience a great, dramatic power, a total kind of expression in Verdi's duet "Ai nostri monti" from Act IV of his Il trovatore. Read More...
Earl Calloway, Chicago Defender

as Samson in Samson et Dalila @ Kentucky Symphony Orchestra

Internationally renowned tenor Michael Hendrick... a very sympathetic, deeply emotional, finely characterized hero. His voice is one of great strength, distinctly lyrical. For his big scene, Hendrick spewed forth power, frustration and heart-breaking misery. He stunned the audience with a thunderous high B-flat as Samson brought down the temple.

Critic Charles H. Parsons caught the imagery brilliantly in his review of the Kentucky Symphony Orchestra's concert performance of Saint-Saëns' "Samson et Dalila" Jan. 20 at Florence Baptist Church at Mount Zion in Florence, Kentucky. With mezzo-soprano Stacey Rishoi singing Dalila, Samson "didn't have a snow ball's chance in the Negev." KSO music director led the "sizzling" performance, with tenor Michael Hendrick as Samson, singers from University of Kentucky Opera Theatre and the KSO Chorale.


Charles H. Parsons,

as Paul in Die Tote Stadt @ Opéra National de Nancy et de Lorraine

The Paul of Michael Hendrick... demonstrates his amazing strength to carry to the end and without intermission the terrible writing of the role. His relative awkwardness perfectly suits the character as a neurotic recluse who lives only in memory of his lost past.

Michel Thomé, ResMusica

as Paul in Die Tote Stadt @ Opéra National de Nancy et de Lorraine

Michael Hendrick embodies a Paul fragile and poignant. His expressive range and timbre of valour are those of a Heldentenor.

Sebastien Foucart,

The American tenor Michael Hendrick, an experienced Bacchus, took over.

As it turned out, Mr. Hendrick was grappling with a cold as well. He went on, but he requested the audience’s understanding, a Met spokesman announced from the stage.

Bacchus is a relatively short yet notoriously punishing heldentenor role. Clearly struggling, Mr. Hendrick dropped some phrases and skipped some top notes. Still, the basic components of his burly voice came through, and he survived the big final duet with Ariadne.

Anthony Tommasini, The New York Times

as The Stranger in Korngold's Das Wunder der Heliane

London Philharmonic Orchestra

At the opposite extreme was a young and immensely promising heldentenor in Michael Hendrick. He rode the often inhuman tessitura of the Stranger with courage and belief, singing and phrasing with real beauty, not just brawn.

Edward Seckerson, The Independent

as Menelas in Die Ägyptische Helena @ The Metropolitan Opera

Despite Strauss's often-cited appeals to keep the orchestration transparent, conductor Fabio Luisi favors the Elektra approach. Such bombast may be suited to Voigt's huge high fortissimos, but it robbed her, as well as those with more mortal timbres, of most opportunities for Straussian lyricism. Tenor Michael Hendrick stepped in for the ailing Torsten Kerl as Menelas (as he had also done halfway through the premiere, on March 15) and demonstrated musical sensitivity whenever the orchestral volume relented.

David J. Baker, Opera News

as Pinkerton in Madama Butterfly @ Syracuse Opera

A pair of stellar singing and acting performances by the two principal roles helped Syracuse Opera's production of "Madama Butterfly" pack an emotional wallop. I only wish I owned the Kleenex tissue concession in the lobby.

Hendrick has a powerful voice that loses no steam in its high register and that can soar well above Puccini’s sizable orchestral accompaniment, as in his "Dovunque al mondo" of Act 1 and the "Love Duet" with Lim.

David Abrams, The Syracuse Post-Standard
Michael Hendrick performed Bacchus with a noble bearing and a trumpet tone. Read More...
Arthur Kaptainis, Opera Canada

Tenors Michael Hendrick as Laca and Robert Breault as Steva are both wonderful. Hendrick's portrayal is dynamic and poignant as he struggles with his jealousy and hatred of Steva and his passion for Jenufa.

Edward Reichel, Deseret News

The cast was uniformly fine, though Michael Hendrick must be singled out for both expressive singing and simple stamina in the daunting lead role of the composer Zivny. Osud will always be a bit of a clumsy opera, but with treatment like this, it more than works--it carries you away.

Gerald Hannon, Opera Canada

as Levko in Rimsky-Korsakov's May Night

Sarasota Opera

As Levko, Michael Hendrick displayed a gorgeous tenor voice, capable of those dulcet pianissimi that melt the heart, as well as ringing, unforced tones in the upper register. He brought down the house in Act III with the tender serenade just before the water sprites emerge from the lake.

Sarasota Herald-Tribune
Lori Ann Philips, as Patience, and Elaine Valby, as Sarah, created their characters effectively and sang powerfully. Michael Hendrick, as Patience's brother Edward, and Barton Green, as Peel, made strong contributions. Read More...
Allan Kozinn, The New York Times

as Menelas in Die Ägyptische Helena The Metropolitan Opera (MET Debut)

In Menelaus, we were impressed by the concentration and the absolute accuracy of intonation of the young tenor Michael Hendrick, in a most inhuman tessitura.

David Shengold, Opéra Magazine (France)

as Zhivny in Jánácek's Osud (Bard Summerscape Festival)

Michael Hendrick’s Zhivny was dominating and very moving.

Le Monde

Opera offers perfect match. The key interplay between Lennie and George is just right, and Rod Nelman and Michael Hendrick are unusually well-matched vocally, and Nelman is unusually melodic and supple for a bass. Nelman also looks the part of the road-weary wanderer who tries to protect his sidekick, the simple minded Lennie Small.

Richmond Times-Dispatch

As Aroldo in Verdi's Aroldo

Opera de la ABAO (Asociación Bilbaina de Amigos de la Ópera)

Bilbao, Spain

To cast Aroldo himself brings up the immediate problem that the big names are not willing to add this opera to their repertoire, knowing that they will probably never have the chance to sing it again. In this case, the protagonist Aroldo was played by American tenor Michael Hendrick, who made a very good impression as Laca in Jenufa some six years ago. He gave a worthy performance, singing with great honesty and commitment.


Jose M. Irurzun, Music-Web International

as Menelas in Die Ägyptische Helena The Metropolitan Opera (MET debut)

Michael Hendrick has a huge yet expressive voice. He pumped incredible volume and energy into the second act.

Manuela Hoelterhoff, Bloomberg

as Tenor Soloist in Messa da Requiem (Verdi) @ Syracuse Symphony Orchestra

Tenor Michael Hendrick has at his disposal a powerful voice easily capable of navigating Verdi's sometimes torturous soaring lines. His vocal color is pleasantly warm and, given its somewhat baritone-ish warmth, has surprising strength in the upper register. When it came time for the grand conclusion of this main tenor solo, he nailed it in a decisive and thrilling fashion.

Chuck Klaus, The Syracuse Post-Standard

as Bacchus in Ariadne auf Naxos (Pittsburgh Opera)

Michael Hendrick's Tenor was funny throwing hissy fits in the Prologue, but even funnier as an overly dramatic Bacchus in the opera. His booming voice was a sure fit with Eaglen's.

Andrew Druckenbrod, The Pittsburgh Post-Gazette

as Bacchus in Ariadne auf Naxos (Pittsburgh Opera)

The leading male roles are also magnificently performed. Tenor Michael Hendrick as Bacchus steps up to match Eaglen's soaring melodic lines at the end of the opera.

Mark Kanny, The Pittsburgh Tribune-Review

as the Tenor Soloist in Beethoven's Symphony No. 9 @ The Baltimore Symphony

Soprano Indra Thomas, mezzo Barbara Rearick, tenor Michael Hendrick and bass Morris Robinson formed a foursome that scaled Beethoven's almost insurmountable vocal heights with mellifluous beauty, their voices nicely blended and well balanced. Read More...
Cecelia Porter, The Washington Post
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