Reviews (For Reviews by opera role, see Repertoire)
Welcome to my Reviews page!
July 4, 2017
Hello everyone, greetings from Zagreb, Croatia!
I am currently singing as the Prince in Prokofiev's "Love for Three Oranges", sung in Croatian, at Croatian National Theatre in Zagreb.
On this page I list reviews from my career. To read them easier, I have also included my reviews organized by operatic role. To read them this way, select here: Organized by Operatic Role, or select "Repertoire" from the main menu.
Thank you for visiting my website! Please sign my Guestbook if you have time! ~Michael Robert Hendrick
— Michael Robert Hendrick,
The tenor Michael Robert Hendrick shone in 'Masada', no less moved and delivered, where the heroism of the people besieged in the Rock of Masada, Israel, is narrated, and when they are lost, they decide to commit suicide before they fall as slaves of Roman power. The longest of the whole work, inspired by the Jewish funerary chants known as Kaddish, this part demands a lot from the singer, but the tenor passed the arduous test with triumphant colors that ripped the audience's applause the first movement of that part with stentorous " Amen". Read More...
— Daniel Hernández,
The New Herald
"The role of the Prince was performed by the American tenor Michael Robert Hendrick, the only international guest, who thrilled us not only with his correct interpretation and vision of a spoiled hypochondriac and yet pompous Prince, but also with his excellent pronunciation of Croatian language, on which the opera is performed.” Read More...
— Zrinka Matić,
"U ulozi Princa nastupio je američki tenor Michael Robert Hendrick, jedini inozemni gost, koji je oduševio ne samo točnim i u izrazu pogođenim tumačenjem hipohondričnog, razmaženog, a opet pompoznog Princa, nego i odličnim izgovorom hrvatskog jezika, na kojemu se predstava izvodi." Read More...
— Zrinka Matić,
Michael Robert Hendrick sang the Bacchus-esque role of Waldemar with a strong upper register and admirable dramatic insight. Although the lower register could occasionally have been more resonant, this was a heartfelt and powerful performance. Lyrical sections such as “Mit Toves Stimme flüstert der Wald” were especially well phrased. The terrifying monologue when Waldemar confronts God as an equal was electrifying. A clarion top B flat on “Hofnarrn tragen” would have intimidated even the Almighty. Read More...
— Jonathan Sutherland,
HISTORICAL EVENT IN LISINSKI
With the orchestra and choirs of the Croatian National Theatre,Croatian radiotelevision,and the Academy of music,among the soloist,especially were brilliant Michael Robert Hendrick and Dubravka Šeparović Mušović.
Aside from her beautiful singing of a big role of Tova by soprano Adela Golac Rilović,and good (solid) "episode" tenor Stjepan Franetović (Fool Klaus),bas Siniša Štork (pesant) and Ozren Bilušić as narrator who takes us into a magnificent finale,the singers who stood out especially with their singing craft and dramaticly sugestive interpretation of the text,were the german tenor guest Michael Robert Hendrick and our opera champion,mezzosoprano Dubravka Šeparović Mušović Read More...
— Branimir Pofuk,
POVIJESNI DOGAĐAJ U LISINSKOM
Uz orkestre i zborove HRT-a, Opere zagrebačkog HNK i Muzičke akademije, među solistima su briljirali Michael Robert Hendrick i Dubravka Šeparović Mušović
Uz lijepo ispjevanu veliku rolu sopranistice Adele Golac Rilović u ulozi Tove, te solidne "epizodiste" tenora Stjepana Franetovića (Luda Klaus), basa Sinišu Štorka (Seljak) i Ozrena Bilušića kao pripovjedača koji nas uvodi u zanosni finale, pjevačkim umijećem i dramatično sugestivnim tumačenjem teksta osobito su se istaknuli gostujući njemački tenor Michael Robert Hendrick i naša operna prvakinja mezzosopranistica Dubravka Šeparović Mušović. Read More...
— Branimir Pofuk,
Spot-on 'Fidelio' offers a change of pace
Michael Robert Hendrick as Florestan, the prisoner and husband of Leonora, had strong moments of acting and singing... Hendrick was dramatically excellent.
— June LeBell,
"Salome is an adolescent girl showing her erotic charisma to stepfather Herod (excellent with cutting character tenor Michael Hendrick) specifically in the veil dance, not only to the entire court."
Deutsch: "Salome ist ein heranwachsendes Mädchen, die ihre erotisierende Ausstrahlung auf Stiefvater Herodes (exzellent mit schneidendem Charaktertenor: Michael Hendrick) und den gesamten Hofstaat nicht nur im Schleiertanz gezielt einsetzt." Read More...
— Stefan Schmöe,
"Michael Hendrick with his radiant tenor plays Herod's instinctive desire and, later, the horror of Salome's handling of Johanaan's head, superbly."
Deutsch: "Michael Hendrick mit seinem strahlenden Tenor spielt Herodes’ triebhafte Verlangen und später das Entsetzen über Salomes Umgang mit Jochanaans Kopf ausgesprochen souverän." Read More...
— Hartmut Sassenhausen,
Westdeutsche Zeitung (WZ) [North Rhine-Westphalia, Germany]
"The Herodes and Herodias team was also excellent. Michael Hendrick's tenor's gamut ranges from the buffoonesque to the fully powerful and dramatic."
Deutsch: "Hervorragend auch das Gespann Herodes und Herodias. Tenor Michael Hendrick verfügt über buffonesk leichte bis kraftvoll-dramatische Stimmlagen." Read More...
— Daniel Diekhans,
"Michael Hendrick presents a vocally powerful, characteristically defined and gross, decadent Herodes."
Deutsch: "Das Umfeld steht ihr in nichts nach. Michael Hendrick präsentiert einen stimmgewaltigen, profiliert charakterisierenden und feist dekadenten Herodes." Read More...
— Pedro Obiera,
SALOME: WUPPERTAL Michael Hendrick and Dubravka Husovic excelled as a quarrelsome couple Herod and Herodias.
Deutsch: Michael Hendrick und Dubravka Musovic brillierten als zerstrittenes Ehepaar Herodes und Herodias.
— Fritz Gerwinn,
Deianira das Kulturportal
"Michael Hendrick is the lustful, delightfully greasy Herod."
Deutsch: "Michael Hendrick gibt den lüsternen Herodes herrlich schmierig." Read More...
— Jochen Rüth,
Der Opern Freund
"Herodes and Herodias are also of the highest caliber with Michael Hendrick and Dubravka Musović... Hendrick is King Herod with (his) extroverted acting and, in the top register, scintillant tenor. His portrayal of his sexual attraction to his step daughter is absolutely believable. Equally convincing is his portrayal of consternation at the end with which he orders the execution of Salome."
Deutsch: "Herodes und Herodias sind mit Michael Hendrick und Dubravka Mušović ebenfalls hochkarätig besetzt. Mušović stattet die Herodias mit einem dramatischen Mezzo aus und macht darstellerisch deutlich, wie zerrüttet das Verhältnis zu ihrem Mann aufgrund ihrer ganzen Vorgeschichte ist und wie sehr sie das Verhalten ihrer Tochter während des Tanzes missbilligt. Hendrick gibt den König Herodes mit extrovertiertem Spiel und in den Höhen funkelndem Tenor. Die Hörigkeit seiner Stieftochter gegenüber setzt er dabei absolut glaubwürdig um. Ebenso überzeugend gelingt ihm die Fassungslosigkeit am Ende, mit der er dann die Hinrichtung Salomes anordnet." Read More...
— Thomas Molke,
OMM - Online Musik Magazin
MUSIC REVIEW: Sarasota Opera -- PAGLIACCI (November 2, 2014)
"Michael Robert Hendrick took on the tragic role of Canio . . . You’ll remember him as the brilliant acting-singer whose portrayal of Lennie in the operatic setting of Steinbeck’s “Of Mice and Men” at Sarasota Opera a few years ago, brought us all to tears. This time, he brought a depth of character seldom seen in this role. Rather than riding on the gleaming quality of his voice, as most tenors do in “Pagliacci,” Hendrick added his profound ability to embody a role, making his Canio more than just a striking voice."
— June LeBell,
The Observer Group
Michael Robert Hendrick
as Erik, the hunter and Senta's former lover, delivered many moments of a true ringing heldentenor. Spurned and indignant he kept an admirable focus in tone and character. Read More...
— Gayle Williams,
This is a cast of such compelling, powerful singers, it’s impossible not to be drawn into their persuasive story. Top among them is Michael Robert Hendrick
, the tenor who played such a convincing Lennie last season in Sarasota Opera’s production of “Of Mice and Men.” There, it was his powerful acting and vocal prowess that made us believers. As Erik in this Wagnerian epic, his formidable dramatic tenor takes over, making him a confused, passionate, despairing lover, deserving but spurned. Read More...
— June LeBell,
The Observer Group
LOST CHILDHOOD OPERA AND MEMOIR ARE LIFE CHANGING, TUGS ON HEARTSTRINGS: It was virtually impossible to hold back the tears during Janice Hamer and Mary Azrael’s Lost Childhood, an opera that played to a packed house at the Music Center at Strathmore, for one day only, on Nov. 9. Read More...
— Tracey Gold Bennett, Special to The Sentinel,
The Sentinel Newspapers
The Strathmore performance, conducted by Piotr Gajewski and starring Michael Hendrick
and Christopher Trakas as Judah and Manfred, took place on Saturday night, the 75th anniversary of Kristallnacht, the “night of broken glass,” when Nazis systematically attacked Jewish-owned businesses and buildings throughout German and Austria. Read More...
— Anne Midgette,
The Washington Post
Tenor Michael Hendrick and baritone Sean Anderson starred as Lennie Small and George Milton, respectively, in the Sarasota Opera production, and it's hard to imagine these two outcasts portrayed any better... As the hulking, childlike Lennie, Hendrick gave a performance that contained both scary violence and tenderness, as in his superbly nuanced Act III soliloquy in which, having just killed Curley's Wife, he waited in the dark woods for his protector once again to save him: "Hurry up, George, an' find me/ I'm so cold." Read More...
~ John Fleming, Opera News
— John Fleming,
The vocal cast is mostly composed of Brazilians and Mexicans, reinforced by American tenor Michael Hendrick as Parsifal and Russian soprano Olga Sergeeva as Kundry. Read More...
— Juan Ángel Vela del Campo,
El País (Madrid)
In the final tragic moments of Carlisle Floyd’s Of Mice and Men, a handsome, well-dressed woman began quietly weeping, continuing without letup until the end of the opera. “I’m sorry,” she said after the house lights came up. “I knew what was coming but I couldn’t help myself. It was just so powerful.”... Floyd’s 1970 adaptation of John Steinbeck’s tragic tale of George, his retarded friend Lennie and their thwarted American dream received a deeply moving and emotionally harrowing performance Sunday afternoon, presented by Sarasota Opera. The production was not only the high point of the company’s American Classics Series, but one of its finest efforts over the last decade... Michael Hendrick came in at the 11th hour to save the production. The veteran tenor sang with a mellow tone and sweet top notes. Dramatically, Hendrick conveyed the endearing vulnerability of the handicapped man who likes to stroke soft things as well as his propensity to sudden, fearful reactive violence. Read More...
— Lawrence A. Johnson,
The Classical Review
Hendrick, a last-minute replacement for the tenor originally slated to sing Lennie, has made this role his own by slipping into the skin of this lovable but dangerous galoot with such a tight fit, vocally and emotionally, it’s hard to think of him as anyone else. Hendrick, who’s sung everything from Bacchus in “Ariadne” at the Met to Parsifal with the Lyric Opera of Chicago, has a soaring tenor voice that seems endless in range, color and depth. Yet, his acting is so skilled, his characterization so complete, you forget he’s singing; with remarkable enunciation and body language, he totally personifies Lennie. Read More...
~ June LeBell, The Observer Group
— June LeBell,
The Observer Group
Tenor Michael Hendrick and baritone Sean Anderson star as Lennie Small and George Milton, respectively, in the Sarasota Opera production that opened Saturday night, and it's hard to imagine these iconic outcasts portrayed any better.... As the hulking Lennie, Hendrick combines child-like tenderness and scary violence in superbly nuanced singing. Read More...
— John Fleming,
Tampa Bay Times
"Their final scene is tragically gripping and bestows the finality this strange work demands. On Saturday evening, that reward was greatly appreciated by a hushed audience as the impressive protagonists (Michael Hendrick as Lennie and Sean Anderson as George) and the superb orchestra, under the direction of David Neely, brought the opera to its inevitable close." Read More...
— Richard Storm, Herald-Tribune,
February 21, 2013... a quartet of soloists gathered on stage for a wholly successful performance of Wolfgang Amadeus Mozart’s legendary "Requiem in D minor". Among the soloists, Michael Hendrick
particularly poured on the emotion, something heard all the more because of his bright tenor tone. Read More...
— John Wirt,
The Advocate (Baton Rouge)
The tenor Michael Hendrick assumed the title role and awakend many mixed feelings; like the character of his wife, Mina, who was played Adriana Damato and put them on my nerves.And let's not forget Vladimir Stoyanov! The strong baritone in of Verdi always shakes score. In short, an evening worthwhile.To the health of Verdi!
El tenor Michael Hendrick asumirá el rol titular y despertará muchos sentimientos encontrados; como el personaje de su mujer, Mina, que encarnará Adriana Damato y les pondrá de los nervios. Read More...
— Isabel Urrutia,
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. Read More...
— André Tubeuf,