Scott Hendricks | Photo by Simon Van Rompay

Scott Hendricks | Photo by Simon Van Rompay

Biography

Celebrated by Opera News for his “rich baritone and energetic stage presence,” Texan Scott Hendricks is one of opera’s most compelling and versatile performers. From Puccini to Schreker, Verdi to Britten, and Debussy to modern-day composers, Hendricks has always maintained a diverse operatic diary. 

In the 2019-20 season, he returns to Polish National Opera to reprise Ruprecht in The Fiery Angel, Opernhaus Zürich for his first performances of Jaroslav Prus in The Makropulos Case, and both Opéra national di Rhin and Oper Köln for Conte di Luna in Il trovatore. Last season he returned to La Monnaie to create the title role in the world premiere of Mark Grey’s Frankenstein and as Barnaba in La Gioconda; San Francisco Opera as Scarpia in Tosca; and the Bregenzer Festspiele as title role of Rigoletto. He also created the role of the Murderer in the world premiere of M - Eine Stadt sucht einen Mörder at the Komische Oper Berlin. 

An enthusiastic proponent and celebrated interpreter of contemporary repertoire, Mr. Hendricks created the title role of Battistelli’s Richard III in a production directed by Robert Carsen at Opera Vlaandaren. His other triumphs in modern works include Hamlet III in Rihm’s Die Hamletmaschine at the Opernhaus Zürich, The Captain in Adams’ Death of Klinghoffer with Nieuw Luxor Rotterdam, the title role of Adams’ Nixon in China and Prince Dimitri in Machover’s Resurrection with Houston Grand Opera, and the Traveller in Death in Venice at the Gran Teatre del Liceu and Teatro La Fenice. He also enjoys older rarities of the repertoire and has been heralded for his performances of the title role of Krol Roger at the Bregenzer Festspiele and Gran Teatre del Liceu, Ruprecht in The Fiery Angel at the Festival d’Aix-en-Provence and Polish National Opera, Tamare in Die Gezeichneten with Dutch National Opera and Teatro Massimo di Palermo, Roderick in The Fall of the House of Usher at the Bregenzer Festspiele; the Forrester in The Cunning Little Vixen at Opéra national du Rhin, and Vladislav in Dalibor at the Theater an der Wien.

In the realm of Puccini and Verdi, he has equal success, having sung Scarpia in Tosca in debuts at the Royal Opera House at Covent Garden and Opéra national de Paris as well as Bregenzer Festspiele, Washington National Opera, Bayerische Staatsoper, Oper Stuttgart, and New Israeli Opera; the title role of Macbeth with Dutch National Opera and at La Monnaie, the latter of which receive Opernwelt’s award for Production of the Year; Jack Rance in La fanciulla del West at Opernhaus Zürich; Sharpless in Madama Butterfly with the Metropolitan Opera, Houston Grand Opera, and Washington National Opera; Michele in Il tabarro and the title role of Gianni Schicchi in a new production of Il trittico at Oper Köln; Renato in Un ballo in Maschera at La Monnaie; Conte di Lune in Il trovatore at the Mikhailovsky Theatre, Bregenzer Festspiele, and La Monnaie; Iago in Otello with Canadian Opera Company; Posa in Don Carlo with Houston Grand Opera, Welsh National Opera, Oper Köln, and Canadian Opera Company; the title role of Rigoletto with Houston Grand Opera; Germont in La traviata at La Monnaie and Opéra de Lille; Amonasro in Aida with Houston Grand Opera and Canadian Opera Company; and Ford in Falstaff with Santa Fe Opera.

The baritone has also sung Tonio in Pagliacci at La Monnaie, the title role of Eugene Onegin with Ópera de Bilbao and Houston Grand Opera, and Yeletsky in Pique Dame at the Saito Kinen Festival. His concert performances include a program of Aarong Copland with Herbert Blomstedt conducting the Gewandhaus Orchester, songs of Gustav Mahler with Daniel Klajner and the Orchestra Symphonique de Mulhouse, and operatic arias with Osmo Vänkä leading the Minnesota Orchestra.

For inquiries outside of the Americas: Boris Orlob Management

Raves

“Scott Hendricks’s Nixon clearly and satisfyingly reflected a close study of the President’s distinctive movements (that clumsy wave) and expressions (that forced smile), and his soaring baritone captured Nixon’s intellectual brilliance dogged by persistent insecurity.”

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