Opéra national de Lorraine à Nancy (France)

“…intelligent command of his voice in the lead role, showing Paul ideally sickly here, Michael Hendrick is hardly economic in the tender, plentiful and demanding score of Korngold.”
~ Anaclase, Bertrand Bolognesi, May 10, 2010

“Two vocal performances, not to mention the feats of strength, is what is required of Korngold’s interpreters in Die Tote Stadt, and the first challenge that the National Opera of Lorraine, beyond expectations. Without a Heldentenor there is no salvation for Paul, unless we sacrifice an artist too docile in his unconsciousness. Without doubt, Michael Hendrick has the stature, content, and the timbre of a dark brilliance.”
~ Altamusica, Mehdi Mahdavi, May 12, 2010

“The two main roles deserve the warmest praise. Michael Hendrick, embodies a Paul fragile and poignant : His expressive range and timbre of valour are those of a heldentenor.”
~ Concertonet, Sebastien Foucart, May 14, 2010

“It is a strong but daring idea of giving Die Tote Stadt (The Dead City) without intermission, 2:20 of continuity, often furious, requires only that Paul, the tenor protagonist, constantly in a tessitura crucifying, lend oneself. The young American Michael Hendrick does, still capable of a piano line that draws tears at the final reprise, as remembered within, the song Glück das mir verblieb.”
~ André Tubeuf, May 19, 2010

“The public greeted with a burst of applause, the dramatic vocal work of Michael Hendrick, whose generous and powerful program was a sign of vitality of the poor widower whose timbre, somewhat dark, was able to express the character’s distress.”
~ Webthea, Jaime Estapà i Argemí, May 21, 2010

“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.”
~ ResMusica, Michel Thomé, May 12, 2010