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Michael Hendrick presents a vocally powerful, characteristically defined and gross, decadent Herodes. Review will be made in English. Salome verliert den Kopf Die neue Salome der Wuppertaler Oper bietet zwar keine Sensationen, bringt aber angesichts der soliden Inszenierung und der hohen musikalischen Qualität ein wenig Ruhe in die verfahrene Situation des Hauses. Zugleich ergeben sich aufschlussreiche […]

Michael Hendrick is the lustful, delightfully greasy Herod. Na geht doch! English translation to come! SALOME Premiere am 17.04.2015 geht doch… Lieber Opernfreund-Freund, nach der öden „Tosca“ im Herbst wollte ich eigentlich nicht mehr so bald an die Wupper gefahren sein, zumal die Anfahrt aus Köln gerade an einem Freitag zum Feierabend alles andere als Spaß

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

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

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. There’s a problem with the music of Richard Wagner. People seem to either love it or hate it, and sometimes not because of the music,

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

It’s hard to imagine these two outcasts portrayed any better… As the hulking, childlike Lennie, Michael 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

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

It’s hard to imagine these iconic outcasts portrayed any better…. As the hulking Lennie, Michael Hendrick combines child-like tenderness and scary violence in superbly nuanced singing. SARASOTA — It’s a man’s world. In Carlisle Floyd’s Of Mice and Men, all the characters are men, except for one, and she doesn’t have a name, but is

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. BY JOHN WIRT, Music critic February 23, 2013 Thursday’s Baton Rouge Symphony Orchestra Masterworks Series