User:Vlmills2/Michael Hendrick (tenor)
Michael Hendrick (tenor) (born July 30, 1966, LaGrange, Georgia, USA) is an American operatic tenor.
Vocal Training
Mr. Hendrick was educated at Berry College and at the University of Cincinnati College-Conservatory of Music. He began his voice training under Harry Musselwhite at Berry College, where he earned the Bachelor of Music Education in 1989, followed by studies with Andrew White at the University of Cincinnati College-Conservatory of Music, where he earned the Master of Music in Voice in 1991 and the Artist Diploma in Opera Performance in 1993. Mr. Hendrick continued his voice studies with Andrew White until Mr. White's death in 1998. Two years earlier, in 1996, Mr. Hendrick began voice studies with Richard Hughes in New York City, until Mr. Hughes' death in 2000. Soon after, Mr. Hendrick began voice study with Leyna Gabriele in New York City and with Arthur Levy, also in New York, and continues with both until the present.
On March 15, 2007, Hendrick made his Metropolitan Opera debut as the role of Menelas in Richard Strauss’ Die Ägyptische Helena. He appeared again in the same role four days later, on March 19, 2007 which was broadcast live around the world on Sirius Satellite's Metropolitan Opera Radio. He has since appeared at the Metropolitan Opera on February 3, 2010 as Bacchus in Strauss’ Ariadne auf Naxos. Also at the Metropolitan Opera, he covered the title role in Benjamin Britten’s Peter Grimes in 2008. In 2011 at the Met, Hendrick covered the role of Chairman Mao in John Adams’ Nixon in China, the Tambour-Major (Drum Major) in Alban Berg’s Wozzeck, and as Bacchus in Ariadne auf Naxos.
Academic Performing Experience
As an undergraduate voice student at Berry College (1984 - 1989), Michael Hendrick's first operatic role was in the role of Brack Weaver in Kurt Weill's Down in the Valley. He was a featured soloist with the Berry College Concert Choir and the Berry Singers in Mozart's Requiem, Gilbert & Sullivan's Trial By Jury and Victor Herbert's The Fortune Teller.
As a summer student at the Brevard Music Center in 1988, Mr. Hendrick performed in the chorus of Verdi's Il Trovatore, Offenbach's Les Contes d'Hoffmann and Donizetti's L'elisir d'amore, Wright & Forest's Kismet, and Fidder on the Roof. He sang the role of the Messenger in Il Trovatore, the First Muezzin in Kismet, and the Russian soloist in Fiddler on the Roof.
In graduate school at the University of Cincinnati College-Conservatory of Music (1989 - 1993): Puccini's La Rondine, Massenet's Louise, Don Jose in Bizet's Carmen, Lysander in Britten's A Midsummer Night's Dream, Lucano in Monteverdi's L'incoronazione di Poppea, and Moteverdi's Il Combattimento di Tancredi e Clorinda, Scaramuccio in Strauss' Ariadne auf Naxos, the Frog in.. / covered Pylades in Gluck's Iphegenie en Tauride
Choral works at CCM: Les Noces, Bach's St. Matthew Passion, ...
Also works with Wyoming Presbyterian, Knox Presbyterian and Hyde Park United Methodist.. And Vocal Arts Ensemble...
In the summers of 1990 - 1992, in between graduate school years, Mr. Hendrick sang with the Cincinnati Opera Chorus. In 1990: Donizetti's Lucia di Lammermoor, Gounod's Faust, Mozart's Don Giovanni, and Verdi's Aida In 1991: Rossini's Barber of Seville, Bizet's Carmen, Puccini's Manon Lescaut, and Verdi's Un Ballo in Maschera In 1992: Mozart's Die Entführung aus dem Serail, Offenbach's Les Contes d'Hoffmann, Puccini's Madama Butterfly and Verdi's Rigoletto.
Biography (Seasonal) 1993 - 2011
1992-93 season: Upon completion of graduate school in Cincinnati in 1993, Mr. Hendrick's professional role debut was as the role of Maintop in Britten's Billy Budd with Opera Theatre of St. Louis, directed by Colin Graham and conducted by Robert Spano. During the same period, he covered his first leading tenor role, as Lorimond in David Carlson's The Midnight Angel. At the Aspen Opera Theatre that summer, he sang Don Jose in Bizet's Carmen, and as the tenor soloist in the aria "God is Good" in Leonard Bernstein's Mass.
1993-94 season: Mr. Hendrick returned to Opera Theatre of St. Louis to sing the role of Dr. Caius in Verdi's Falstaff, conducted by Andrew Litton. Also at Opera Theatre of St. Louis, he sang the role of the Schoolmaster in Conrad Susa's Black River. Returning to the Aspen Opera Theatre that summer, he sang the role of Rodolfo in Verdi's La bohème, presented the speaking role of the Pasha Selim in Mozart's Die Entführung aus dem Serail, and sang in the solo quartet in Weill's Seven Deadly Sins, conducted by Götz Friedrich.
1994-95 season: Jacquino in Fidelio, Sarasota Opera / Opera Concert with Sarasota Opera in Venice, FL, Don Carlo/ chorus of Nabucco / covered the role of Hoffmann in Offenbach's Les Contes d'Hoffmann / covered Leander in Neilson's Maskarade (in the Danish language)
1995-96 season: Trabucco in La Forza del Destino, Sarasota Opera / covered Don Alvaro in La Forza del Destino with Sarasota Opera / Tinca in Puccini's Il Tabarro, Sarasota Opera / With American Opera Projects, he performed the role of Edward in a workshop performance of Paula Kimper’s Patience and Sarah, participated in a concert of experimental electonic and video, and enjoyed summer concerts at Herald Square.
1996-97 season: Mr. Hendrick sang the leading tenor role of Spakos in Massenet’s Cléopâtre with Opera Manhattan at Alice Tully Hall; In his New York City debut, audiences heard him as Hoffmann in Dicapo Opera Theatre’s production of Les Contes d’Hoffmann. Other engagements included performances of the role of Guillot in Massenet’s Manon, the Tailor in Humperdinck’s Königskinder, and as the soloist for Verdi’s Hymn of the Nations, all with Sarasota Opera. Mr. Hendrick sang the role of Judge Danforth in Robert Ward’s The Crucible at the Trinity Church on Wall Street in New York City.
1997-98 season: Mr. Hendrick returned to Sarasota Opera to sing his first performances of the role of Laca Klemen in Janacek’s “Jenufa” in the Czech language; with the Santa Fe Opera, Mr. Hendrick was featured as the First Armed Guard in Mozart’s The Magic Flute, and in the American premiere of Ingvar Lidholm’s “A Dream Play” as the Dean of Theology and the Schoolmaster; he sang Prince Shuisky in Moussorgsky’s “Boris Godunov” in the Russian language with the Milwaukee Symphony Orchestra; made his New York City Opera debut in Benjamin Britten’s “Paul Bunyan”, a Live from Lincoln Center national telecast; and sang Count Vaudemont in Tchaikovsky’s “Iolanta” in the Russian language with Dicapo Opera Theatre in New York. Mr. Hendrick was a 1997 recipient of the Sullivan Foundation Career Grant.
1998-99 season: Mr. Hendrick performed Lennie Small in “Of Mice and Men” with Utah Opera; Levko in Rimsky-Korsakov’s May Night (in the Russian language) with Sarasota Opera; Kodaly’s Psalmus Hungaricus (in the Hungarian language) with the Detroit Symphony Orchestra; Sam Polk in Susannah with Opera North (U.S.); to the Newport Music Festival for recitals of Rachmaninoff songs (in the Russian language); Tamino in Mozart’s Die Zauberflöte at Opera at Florham, in New Jersey; Beethoven’s Symphony No. 9 with the Virginia Waterfront International Arts Festival, for the 50th Anniversary gala celebration of the founding of NATO; Symphony No. 9 with the Tucson Symphony Orchestra as well as with the Kentucky Symphony Orchestra.
1999-2000 season: Michael Hendrick sang Don Jose in Bizet’s Carmen with New York City Opera; the title role of Tito Vespasian in Mozart’s La clemenza di Tito with National Symphony Orchestra at the Kennedy Center; with the Santa Fe Opera as Dr. Caius in Verdi’s Falstaff; Merkur in Richard Strauss’ Die Liebe der Danae with American Symphony Orchestra at Avery Fisher Hall; Lennie Small in Carlisle Floyd’s Of Mice and Men with Arizona Opera; an opera concert with the Berkshire Choral Festival, which included scenes from Rossini’s Guillaume Tell in the role of Arnoldo, and Verdi’s Aida in the role of Radames; Beethoven’s Symphony No. 9 with Pacific Symphony Orchestra; and both Handel’s Messiah and Beethoven’s Symphony No. 9 with Virginia Symphony Orchestra.
2000-01 season: Mr. Hendrick debuted with Lyric Opera of Chicago at the annual Stars of the Lyric Opera concert in Grant Park, as Manrico in Verdi's Il Trovatore, followed by appearances in Tchaikovsky’s Pikovaya Dama (The Queen of Spades) while covering the role of Ghermann; and with Opera Pacific in Orange County, California as Don Jose in Bizet’s Carmen. During the rest of the season he sang Sam Polk in Carlisle Floyd’s Susannah with both Opera Carolina and Toledo Opera; as Catullus in Orff’s Catulli Carmina and as Corifeo in Orff’s Trionfo di Afrodite, with the American Symphony Orchestra at Avery Fisher Hall in New York; .
2001-02 season: Mr. Hendrick was honored by the Washington National Opera Guild at the Kennedy Center, as Washington National Opera’s Artist of the Year for his portrayal of Lennie Small in Carlisle Floyd’s Of Mice and Men. Mr. Hendrick returned to the Lyric Opera of Chicago where he performed the title role in Wagner’s Parsifal as well as Tamino in Die Zauberflöte and covered the role of Boris in Janacek's Katya Kabanova at San Francisco Opera.
2002-03 season: Mr. Hendrick made his European debut in the Netherlands at the Concertgebouw in Amsterdam, as Midas in Strauss’s Die Liebe der Danae with the Radio Filharmonisch Orkest Holland (VARA Radio) conducted by Edo de Waart. Among other engagements, with the Eos Orchestra in New York, he performed Mahler’s Das Lied von der Erde, in a staged version by Christopher Alden, then returned to the New York City Opera as the Male Chorus in The Rape of Lucretia by Benjamin Britten. He also appeared as the composer Zivny in the North American premiere of Janacek's Osud in the Czech language at the Bard Summerscape Festival. He also appeared as the tenor soloist in Janacek's Glagolitic Mass at the Bard Music Festival.
2003-04 season: Mr. Hendrick returned to the New York City Opera to sing more performances of Don Jose in Bizet’s Carmen; debuted with the Asociacion Bilbaina de Amigos de la Opera (A.B.A.O.) in Bilbao, Spain as Laca in Janacek’s Jenufa, directed by David Pountney and conducted by Czech conductor Jiri Kout; sang his first performances as Bacchus in Ariadne auf Naxos in his debut appearance with Seattle Opera; appeared in Lizst’s A Faust Symphony with the Spokane Symphony Orchestra; and performed with Brevard Symphony Orchestra in Florida in Beethoven’s Symphony No. 9. In the summer of 2004, Mr. Hendrick debuted with the Chautauqua Symphony Orchestra as the soloist in Mahler's Das Lied von der Erde.
2004-05 season: Mr. Hendrick sang his first performances of Pinkerton in Puccini’s Madama Butterfly with Syracuse Opera; returned to the role of Bacchus in Ariadne auf Naxos with L’Opera de Montréal; and returned to the role of Laca in Janacek’s Jenufa with Utah Opera. Mr. Hendrick spent the summer of 2005 trying out the title role of Gounod’s Faust, and appeared with the Baltimore Symphony Orchestra as tenor soloist in Beethoven’s Symphony No. 9. Also during the 2004-05 season, at the Jewish Cultural Center in New York City, Mr. Hendrick took part in the first full reading of a new opera, Lost Childhood, that is in long-term development with the sponsorship of American Opera Projects. Lost Childhood, composed by Janice Hamer and with libretto by Mary Azrael, is based on the memoirs of Yehuda Nir, who survived the holocaust as a Polish Jew in World War II. In addition, Mr. Hendrick was the tenor soloist in Beethoven’s Symphony No. 9 with the Fort Wayne Symphony in Fort Wayne, Indiana; and appeared in concert as the tenor soloist in L’enfance du Christ by Hector Berlioz, with Dicapo Opera Theatre in New York City.
2005-06 season: Mr. Hendrick scored more critical success with his debut with Pittsburgh Opera for appearances as Bacchus in Ariadne auf Naxos; sang Beethoven's Symphony No. 9 with the Utah Symphony Orchestra and the Florida Orchestra; performed Das Lied von der Erde with the Greater Pensacola Symphony; appeared as soloist in Verdi's Requiem with the Syracuse Symphony Orchestra and the Huntsville Symphony Orchestra; and performed and recorded with the Slovak Radio Symphony Orchestra in Bratislava, Republic of Slovakia, as the tenor soloist in Shacharit, based on the Jewish morning worship service, composed by Meira Warshauer. Mr. Hendrick returned to the Bard Music Festival in upstate New York for Schubert's Die Allmacht, Op. 79/2, D852, Liszt's A Faust Symphony from Christus, Berlioz' L'enfance du Christ and Liszt's Missa Solemnis.
2006-07 season: Mr. Hendrick appeared in La Coruña, (province of Galicia), followed by Santander, (province of Cantabria), as Don José in Bizet's Carmen. He appeared with the National Philharmonic Orchestra in Bethesda, Maryland as the tenor soloist in Verdi's Messa di Requiem, and with the Rotterdams Philharmisch Orkest, as the tenor soloist in the original, three-part version of Das Klagende Lied by Gustav Mahler, performing in the cities of Rotterdam and Utrecht, in The Netherlands. Following these appearances, he debuted at the Metropolitan Opera in New York, as Menelaus in Richard Strauss' Die Ägyptische Helena.
2007-08 season: Mr. Hendrick appeared with the London Philharmonic in Mahler’s Das Klagende Lied (available on DVD on the London Philharmonic label) and as the Stranger in Korngold’s Das Wunder der Heliane, both conducted by music director Vladimir Jurowski. In 2008 he appeared as Florestan in Fidelio with Palm Beach Opera; and at the Festival Amazonas de Ópera in Manaus, Brazil, appeared as Bacchus in Strauss' Ariadne auf Naxos, in Mahler's Das Lied von der Erde and in Verdi’s Requiem. Mr. Hendrick appeared in concert recital, accompanied by pianist Louis Wendt, at Berry College in Mt. Berry, in celebration of the college’s 100th anniversary. At the Teatro Municipal in Rio de Janeiro, he appeared in the title role of Kurt Weill’s Das Lindbergh Flug (The Flight of Lindbergh), with music director Robert Minczuk.
2008-09 season: Mr. Hendrick appeared at the Brevard Music Festival in Brevard, North Carolina as tenor soloist in Mahler’s Das Lied von der Erde, conducted by music director Keith Lockhart. In 2009 he debuted in the title role of Wagner’s Lohengrin with the Kobolov Novaya Theatre in Moscow, Russia, conducted by Jan Latham Koenig. In Philadelphia, he debuted with the Philadelphia Orchestra in Mahler’s Das Klagende Lied, conducted by Vladimir Jurowski, followed by appearances in the title role of Verdi’s Aroldo in Bilbao, Spain. He scored a great success in his debut as Samson in Samson et Dalila in a new production directed and produced by Emilio Sagi and conducted by Artistic Director Luiz Fernando Malheiro, at the Festival Amazonas de Ópera in Manaus, Brazil. Following appearances in Málaga, Spain as Laca in Janáček’s Jenůfa, he returned to South America and to the Festival Amazonas de Ópera, for his debut as Enée in Berlioz’ epic Les Troyens.
2009-10 season: Michael Hendrick debuted in September 2009 at the Beyerische Staatsoper (Bavarian State Opera) in Munich, Germany as Bacchus in Strauss' Ariadne auf Naxos; in Louisville with Kentucky Opera as Lennie Small in Carlisle Floyd’s Of Mice and Men directed by Michael Cavanaugh and conducted by Joey Mechavich. In 2010 at the Metropolitan Opera, Mr. Hendrick appeared as Bacchus in Ariadne auf Naxos directed by Laurie Feldman. He appeared to great critical and audience success at the Opéra national de Lorraine in Nancy, France as Paul in Korngold’s Die Tote Stadt in a new production by Phillipp Himmelmann and conducted by Daniel Klajner; and with the Orchestre Symphonique de Mulhouse in Mulhouse, France in Mahler’s Das Lied von der Erde also conducted by Daniel Klajner.
The 2010-11 season began for Michael Hendrick with appearances with Opera Boston in October as Florestan in Beethoven’s Fidelio directed by Thaddeus Strassberger and conducted by Gil Rose; in November in Madrid with the Orquestra Nacional de España in Mahler’s Das Klagende Lied, conducted by Andreas Spering; and in 2011, a return to the Metropolitan Opera to cover the role of Chairman Mao Tse-tung in the new production of John Adams’ Nixon in China, directed by Peter Sellars and conducted by the composer. Following an appearance in Beethoven’s Symphony No. 9 with Baton Rouge Symphony Orchestra, he returned to the Metropolitan Opera and is currently covering the role of the Tambour-Major (the Drum Major) in Berg’s Wozzeck, and remains at the MET to cover Bacchus in Strauss‘ Ariadne auf Naxos.
In September 2011, Michael Hendrick debuts at the Teatro Colón in Buenos Aires in the title role of Wagner’s Lohengrin. In other upcoming engagements, Mr. Hendrick will present the title role in Wagner’s Parsifal and the title role in Carlos Gomes’ Condor with the Festival Amazonas de Ópera in Manaus, Brazil, followed by appearances in France with the Orchestre Symphonique de Mulhouse, as Siegmund in Die Walküre (Act One) and Walther’s “Prize Song” from Die Meistersinger von Nürnberg.
Michael Hendrick has appeared as Don José in Carmen, with LIV Festival Ópera in La Coruña (Galicia, Spain) at the Palacio de la Ópera, and in Santander (Cantabria, Spain) at the Palacio de Festivales de Cantabria, New York City Opera and Opera Pacific (U.S.); as Bacchus in Strauss' Ariadne auf Naxos with Pittsburgh Opera, L'Opera de Montréal and Seattle Opera; as the title role in Parsifal with Lyric Opera of Chicago; as Lennie Small in Carlisle Floyd’s Of Mice and Men with Washington National Opera; and as Don José in Bizet's Carmen and Male Chorus in Britten's The Rape of Lucretia with New York City Opera; Mr. Hendrick has appeared at Amsterdam’s Concertgebouw as Midas in Strauss' Die Liebe der Danae with Radio Filharmonisch Orkest in Holland and music director Edo de Waart, and at Washington’s Kennedy Center as the title role in La clemenza di Tito with the National Symphony Orchestra with music director Christopher Hogwood. (This to be double-checked into seasonal biographical information... or added as a "spotlight" at the top)
Michael Hendrick made is Metropolitan Opera debut in 2007 as Menelas in Strauss’ Die Ägyptische Helena (The Egyptian Helena) conducted by Fabio Luisi. In the same season, he appeared in Verdi's Requiem with National Philharmonic Orchestra, in Mahler's Das Klagende Lied with the Rotterdam Philharmonic Orchestra, and with the Los Angeles Philharmonic and music director Esa-Pekka Salonen, as Sergei in the “Love Scene” from Shostakovich’s Lady Macbeth of the Mtsensk District and Ivan’s aria from Shostakovich’s The Nose, recorded live and available on Deutsche Grammophon. (This to be double-checked into seasonal biographical information... or added as a "spotlight" at the top)
His Czech repertoire includes appearances as Laca in Janáček’s Jenůfa with Asociacion Bilbaina de Amigos de la Opera in Bilbao, Spain, and as Živny in Janáček's Osud and Glagolitic Mass with the Bard Music Festival. In Russian opera, he has appeared as Count Vodémon in Tchaikovsky’s Iolanta in New York, as Levko in Rimsky-Korsakov’s May Night with Sarasota Opera, and as Shuisky in Boris Godunov with Milwaukee Symphony, conducted by music director Andreas Delfs. He has appeared in Dvořak’s Psalmus Hungaricus with Detroit Symphony Orchestra, conducted by Gennady Rozhdestvensky and performed in Hungarian. (This to be double-checked into seasonal bio information... Or added as a "spotlight" at the top)
Michael Hendrick has sung with the following conductors (in alphabetical order): Antonello Allemandi, Bruno Bartoletti, Steuart Bedford, Daniel Beckwith, Randall Behr, Richard Benedum, Louis Berkot, Leon Botstein, Glenn Burdette, Christopher Confessore, Anton Coppola, John Crosby, Robert Cross, Sir Andrew Davis, John DeMain, Victor DeRenzi, Andreas Delfs, Edo DeWaart, Stan Engebretson, JoAnn Falletta, Mark Flint, Lawrence Foster, Hal France, Alan Gilbert, Neal Hamlin, George Hanson, Daniel Hege, Christopher Hogwood, John Jennings, Jim Johnson, Vladimir Jurowski, Jeffrey Kahane, John Keene, Karen Keltner, Gerard Korsten, Jiri Kout, Jacques Lacombe, Timothy Lindberg, Andrew Litton, Fabio Luisi, Luiz Malheiro, George Manahan, John Mauceri, Fabio Mechetti, Teri Murai, Kirk Muspratt, Harry Musselwhite, Steven Osgood, James Paul, Esa Pekka-Salonen, Earl Rivers, Stewart Robertson, Gennady Rozhdestvensky, Peter Rubardt, Donald Runnicles, Valery Ryvkin, Louis Salemno, Gerhard Samuel, Stefan Sanderling, Gerard Schwartz, Uriel Segal, Murray Sidlin, Stanislaw Skrowaczewski, Johannes Somary, Robert Spano, Carl St. Clair, Edward Tchivzhel, Elmer Thomas, Kirk Trevor, Robert Tweeten, Neil Varron, Emmanuel Villaume, Gary Thor Wedow, Charles Wendelken-Wilson, Steven White and Ransom Wilson. (last update 2007)
Mr. Hendrick has collaborated with the following stage directors (in alphabetical order): Christopher Alden, Christopher Alexander, John Basil, Edward Berkeley, Pamela Berlin, Linda Brovsky, Michael Capasso, Ron Daniels, James de Blasis, John Doyle, Mary Duncan, Johnathan Eaton, Cynthia Edwards, Michael Ehrmann, Rosalind Elias, David Fielding, Malcolm Fraser, Colin Graham, John Hoomes, Amy Hutchison, Neil-Peter Jampolis, Michael La Tour, Matthew Lata, Nicholas Lehnhoff, Rhoda Levine, David Lloyd, Francisco Lopez, Ronald Luchsinger, David McCarty, Johnathan Miller, John Pascoe, David Pountney, Michael Scarola, Albert Sherman, Thor Steingraber, Albert Takazauckas, Darko Tresnak, Jacque Trussel, Graham Vick, Claudia Zahn and Francesca Zambello. (last update 2007)
Reviews
The Cincinnati Post, Friday, February 14, 1992 Zaïde, Cincinnati College-Conservatory of Music, Cincinnati, OH “Tenor Michael Hendrick was sterling as Soliman...”
Indianapolis Star, Saturday, February 15, 1992 Zaïde, Cincinnati College-Conservatory of Music, Cincinnati, OH “The cast heard is a well-trained group with one vocal standout-tenor Michael Hendrick in the role of Soliman the tyrannical sultan. Splendidly outfitted, he more than lived up to his garb with singing that was vibrant, tonally lush and well-projected.”
The New York Times, June 23, 1994 Falstaff, Opera Theatre of St. Louis, St. Louis, MO “...and Michael Hendrick (Dr. Caius) rounded out Falstaff's court superbly.”
Opera News, July 1993 A Midsummer Night's Dream, Cincinnati College-Conservatory of Music, OH “This Dream was populated by casts overflowing with vocal splendor. A particularly impressive rendering of Lysander by Michael Hendrick”
The Kansas City Star, July 3, 1994 Falstaff, Opera Theatre of St. Louis, St. Louis, MO “There were fine contributions, too, from Michael Hendrick's Dr. Caius...”
The Aspen Times, Saturday-Sunday, July 23-24, 1994 La bohème, Aspen Opera Theatre Center, Aspen Music Festival, Aspen, CO “Particularly good was Michael Hendrick who sang the role of the star-crossed poet Rodolfo. Hendrick's voice was strong and in the arias where he expresses his love of Mimi, passionate.”
The Village Voice, New York, September 13, 1994 Falstaff, Opera Theatre of St. Louis, St. Louis, MO “At last, a Caius who can sing!”
Opera Canada, 1995 Fidelio, Sarasota Opera, Sarasota, FL “Michael Hendrick, a nebbishly Jaquino of good voice...”
Das Opernglas, (Germany), 1995 Fidelio, Sarasota Opera, Sarasota, FL “The Jaquino of Michael Hendrick was well sung.”
L’Opera, (Italy), March 1995 Fidelio, Sarasota Opera, Sarasota, FL “Michael Hendrick a doltish Jaquino of good voice.”
Sarasota Herald-Tribune, March 4, 1995 TENOR ENTHRALLS CULTURAL CENTER CROWD “Out of the commonplace, into the rare. A golden-voiced tenor, Michael Hendrick, enthralled the crowd and transported them far from the mundane. Thanks to him, the future… looks bright. It was Hendrick’s sure command of his high notes and lyrical tone of his voice that captured center stage. He is further along, it would seem, in his artistic maturation and a convincing singer. Simply grand.”
Opera News, July 1995 Fidelio, Sarasota Opera, Sarasota, FL, Performed in German “Michael Hendrick (Jaquino) sang neatly.”
L'Opera, Italy, July/August 1995 Fidelio, Sarasota Opera, Sarasota, FL “Michael Hendrick, a Jaquino of good voice...”
American Record Guide, September/October 1995 Fidelio, Sarasota Opera, Sarasota, FL “Michael Hendrick was effective as the frustrated Jaquino.”
Venice Gondolier, February 17-18, 1996 La Forza del Destino, Sarasota Opera, Sarasota, FL “A gem of vocal and histrionic artistry… as Trabucco, is tenor Michael Hendrick.”
Longboat Observer, February 22, 1996 La Forza del Destino, Sarasota Opera, Sarasota, FL “Outstanding contributions from… especially, Michael Hendrick.”
Sarasota Herald-Tribune, March 12, 1996 Il Tabarro, Sarasota Opera, Sarasota, FL “Michael Hendrick was amusing as the hard-drinking stevedore, Tinca.”
Sarasota Herald-Tribune, March 26, 1996 La Forza del Destino, Sarasota Opera, Sarasota, FL “Another comic talent surfaced clearly, with tenor Michael Hendrick in the role of the Muleteer Trabuco in Act II, and as the trinket peddler in Act III.”
The New York Times, July 2, 1996 Patience and Sarah, American Opera Projects, New York, NY “Michael Hendrick, as Patience’s brother Edward, made a strong contribution.”
Metrobeat: Opera Diary, July 11, 1996 Patience and Sarah, American Opera Projects, New York, NY “Michael Hendrick as Edward White gave a noteworthy performance. The diction was superb. Every word was distinct and understandable. How often can one say that about opera performances, particularly those in English?”
Opera News, 1997 Iolanta, Dicapo Opera Theatre, New York, NY, Performed in Russian “Tenor Michael Hendrick was an ardent Vodemont, whose love is the restorative tonic.”
Venice Gondolier, March 1997 Manon, Sarasota Opera, Sarasota, FL
A “marvelous performance in (a) smaller but vitally important role was given by tenor
Michael Hendrick.”
Longboat Observer, March 6, 1997 Manon, Sarasota Opera, Sarasota, FL “Michael Hendrick made important contributions.... Michael Hendrick as Guillot is convincing both as a fool and in revenge.”
Sarasota Herald-Tribune, March 26, 1997 Verdi Concert, Sarasota Opera, Sarasota, FL “The program ended with a rousing rendition of Hymn of the Nations, Verdi’s unabashed tribute to patriotism, incorporating national anthems from Italy, France, and England. The difficult tenor recitative and descant was performed with style and confidence by Michael Hendrick, substituting for an indisposed colleague. (One never would have guessed that Hendrick learned the work in less than 24 hours!)”
Financial Times, London, March 27, 1997 Verdi Concert, Sarasota Opera, Sarasota, FL “About noon the Sarasota Opera learned that the tenor scheduled to sing that evening’s concert of Verdi rarities had begged off. In another company this defection might have caused severe dismay. So Michael Hendrick sat down with a score of Verdi’s Hymn of the Nations and, a few hours later, could perform it with clarion panache."
OperaWeb, April 15, 1997 Manon, Sarasota Opera, Sarasota, FL “A special mention to Michael Hendrick, a young dramatic tenor quite promising, who impersonated an imposing, threatening and appalling Guillot de Morfontaine: not quite the peevish old man of tradition.”
Gannett Newspapers, June 15, 1997 Cléopâtre, Opera Manhattan, Sarah Lawrence College, Bronxville, NY “The singers were uniformly quite strong. My favorite was tenor Michael Hendrick as Spakos, Cleopatra’s other strong love interest besides Mark Antony. Hendrick brought passion to his role and supported it with a clear, well-focused tone. He also evoked sympathy by exploring the full range of his character’s feelings.”
The New York Times, June 28, 1997 Cléopâtre, Alice Tully Hall, Opera Manhattan, New York, NY “Tenor Michael Hendrick, the Spakos, has a bright voice.”
New York Post, June 28, 1997 Cléopâtre, Alice Tully Hall, Opera Manhattan, New York, NY “The rest of the large cast was well-prepared and strong-voiced, led by tenor Michael Hendrick as Spakos.”
Opera News, July 1997 Manon, Sarasota Opera, Sarasota, FL “Michael Hendrick made an amusing, vibrant-voiced Guillot.”
Opera News, July 1997 Verdi Concert, Sarasota Opera, Sarasota, FL “On the final Saturday, when the tenor who was to sing Verdi’s Hymn of the Nations announced he was indisposed, Michael Hendrick was able to learn the score in a matter of hours and, with the orchestra and chorus, give a totally convincing account of a rarely heard work.”
Opera, August 1997 Manon, Sarasota Opera, Sarasota, FL “Michael Hendrick’s prissy, amusing take on Guillot was balanced by colourful singing.”
Opera News, October 1997 Cléopâtre, Alice Tully Hall, Opera Manhattan, New York, NY, Performed in French “In the event, the tenor was replaced by Michael Hendrick, who acquitted himself more than satisfactorily... the queen's new paramour is her former slave Spakos, sung by Hendrick, who displayed a mellifluous, expressive tone that remained pleasant throughout his range, with none of the pushing so common among current tenors.”
The New York Times, December 22, 1997 Iolanta, Dicapo Opera Theatre, New York, NY “In particular… Michael Hendrick, as the prince himself, came through to an excellent lyrical sweetness in the love duet, and his high notes rang sure.”
Sarasota Herald-Tribune, March 10, 1998 Jenufa, Sarasota Opera, Sarasota, FL “Tenor Michael Hendrick made a believable Laca, sulking and spiteful in Act I as he voices his resentment of his step-grandmother’s unloving treatment of him and cutting Jenufa’s cheek with his whittling knife after she repels his advances. Returning as a reformed human being in Act II and Act III, he shows his true character as a loyal, steadfast person ready to forgive all and marry the shamed Jenufa.”
The Advertiser, March 14-15, 1998 Jenufa, Sarasota Opera, Sarasota, FL “Tenor Michael Hendrick, as Laca, so good in previous seasons, tackles this demanding and dramatic role with strength and superior talent. He is superb. Bravo.”
Opera News, June 1998 Jenufa, Sarasota Opera, Sarasota, FL, Performed in Czech “Michael Hendrick (Laca) brought plenty of vocal stamina, expressive weight and persuasive characterization to the production.”
Opera News, 1999 Of Mice and Men, Utah Opera Company, Salt Lake City, UT “Michael Hendrick played Lennie as ‘just a big kid,’ in keeping with the composer’s stated intentions. His steady, secure tenor captured the young man’s physical power as well as his innocence, most affectingly in the barn scene with Curley’s Wife, his large stature and boyish face adding to his believability.”
Opera News, 1999 May Night, Sarasota Opera, Sarasota, FL “As the love-struck villager Levko, tenor Michael Hendrick mixed a malleable blend of steel and velvet.”
Salt Lake Tribune, January 18, 1999 Of Mice and Men, Utah Opera Company, Salt Lake City, UT “Michael Hendrick played Lennie as ‘just a big kid,’ in keeping with the composer’s stated intentions. His steady, secure tenor captured the young man’s physical power as well as his innocence, most affectingly in the barn scene with Curley’s Wife, his large stature and boyish face adding to his believability.”
Deseret News, January 18-19, 1999 Of Mice and Men, Utah Opera Company, Salt Lake City, UT “Tenor Michael Hendrick was awe-inspiring as the half-wit Lennie. He brought the pathetic, gentile giant to life on the stage, and presented his struggle honestly and nobly. His clear, pure voice rang with guileless pathos, and he appeared to be about nine feet tall.”
Venice Gondolier, March 1999
May Night, Sarasota Opera, Sarasota, FL
“The cast is headed by tenor Michael Hendrick. Levko is a personal triumph for Hendrick. His Act III "Serenade", filled with soaring head tones that demonstrated his strong vocal technique, received well-deserved bravos and prolonged applause.”
Newhouse News Service, March 1999 May Night, Sarasota Opera, Sarasota, FL “Singers made the opera memorable- especially the powerful but lyric tenor of Michael Hendrick- surely destined for stardom.
Sarasota Herald-Tribune, March 16, 1999 May Night, Sarasota Opera, Sarasota, FL “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 spirits emerge from the lake.”
The East County Observer, March 25, 1999 May Night, Sarasota Opera, Sarasota, FL “May Night was a special treat for opera lovers, proving that opera definitely can be fun. Accolades must go to Michael Hendrick, whose rich tenor in the role of Levko, the mayor's son, dominated the production. He was by turn silly and sensitive at the appropriate moment and was completely captivating.”
The Longboat Observer, April 8, 1999 May Night, Sarasota Opera, Sarasota, FL “Michael Hendrick's tenor voice was strong and pure cream.”
This Month on Stage, Spring/Summer 1999 May Night, Sarasota Opera, Sarasota, FL “Michael Hendrick brings a tender tenor to Levko’s role.”
Opera News, May 1999 Of Mice and Men, Utah Opera, Salt Lake City, UT “Cast members were uniformly well-suited to their roles, musically and physically, and clear enunciation minimized dependence on projected titles. Michael Hendrick played Lennie as ‘just a big kid,’ in keeping with the composer’s stated intentions. His steady, secure tenor captured the young man’s physical power as well as his innocence, most affectingly in the barn scene with Curley’s Wife, his large stature and boyish face adding to his believability.”
L’Opera, Italy, May 1999 May Night, Sarasota Opera, Sarasota, FL “As Levko, tenor Michael Hendrick showed a powerful, even voice with ringing high notes and a great sense of style... It was a triumph.”
Detroit News, May 11, 1999 May Night, Sarasota Opera, Sarasota, FL “In tenor Michael Hendrick and the Choral Union of Ann Arbor's University Musical Society, prepared by Thomas Sheets, Rozhdestvensky enjoyed a vocal force that matched the DSO's glistening effort in all its discipline and all its splendid color.”
Opera Canada, Summer 1999 May Night, Sarasota Opera, Sarasota, FL “In the pivotal role of Levko, tenor Michael Hendrick was outstanding, impressive for both his attractive, ample sound and convincing Slavic style.”
Opera, London, August 1999 May Night, Sarasota Opera, Sarasota, FL “Michael Hendrick brought a big voice and lots of style to the role of Levko... a winsome performance.”
The Arizona Republic, 2000 Of Mice and Men, Arizona Opera Company, Phoenix, AZ “Heading a powerful, unforgettable cast is tenor Michael Hendrick as Lennie Small. Hendrick projects an indefatigably naive figure, a character of kitten-like sanguiness capable of transformation into pantherish fury. Floyd gives him music equal to the sensibility, simply constructed but all over the range and very exposed. The score frequently calls for Lennie to pull high notes out of the blue, which Hendrick does with impeccable taste.”
The Arizona Citizen, 2000 Of Mice and Men, Arizona Opera Company, Tucson, AZ “The Tucson Convention Center Music Hall crowd of 1,600 thundered its approval of the work, saving its most enthusiastic applause for tenor Michael Hendrick, who played the lumbering innocent Lennie. There were many great performances last night, chief among them Hendrick. Hendrick’s Lennie captured in the fullest sense the childlike innocence of this hulk of a man. In the opening scene, when George tells Lennie that despite the trouble he causes, George will stick by him, Hendrick dances around like a four-year-old with a balloon. When the puppy that Lennie too vigorously strokes dies, Hendrick throws its lifeless corpse to the ground like a spoiled child. And when George tells Lennie at the close to look across the river and see the farm they’ll someday have, Hendrick’s fidgeting feet tell a tale of uncluttered, childlike joy. Vocally, Hendrick was impressive, sporting a big, warm sound from top to bottom, handily projected to the cheap seats.”
The Arizona Daily Star, February 12, 2000 Of Mice and Men, Arizona Opera Company, Phoenix, AZ “Stellar vocal and dramatic performance by Michael Hendrick.”
The New York Times, January 18, 2000 Die Liebe der Danae, American Symphony Orchestra, Avery Fisher Hall, New York, NY “The young tenor Michael Hendrick as Merkur did solid work.”
Intermission, 2001 Of Mice and Men, The Washington Opera, Washington, DC “The loudest (ovation) was justly granted to tenor Michael Hendrick’s endearing portrayal of the childish giant Lennie, who loves to stroke soft, furry things but never comprehends why they die under his unknowingly brutal caresses. Brilliant, subtle facial expression, clumsy walk and self-conscious hand gestures lent credibility to the character. Solid vocal technique and complete comfort with Floyd’s musical idiom made Hendrick’s performance compelling. No wonder Mr. Hendrick was chosen to receive the Washington Opera Guild’s 2001 Martin and Bernice Feinstein Artist of the Year award at the end of the season.”
Los Angeles Times, February 23, 2001 Carmen, Opera Pacific, Orange County, CA “Hendrick sang… with a rich and subtle tenor that was particularly thrilling in the high range.”
Orange County Register, February 23, 2001 Carmen, Opera Pacific, Orange County, CA “Hendrick sings powerfully throughout, with intensity and a sense of dramatic build. Nice pealing high notes, security in the lower range, balanced, rounded- an engaged, viscerally connected reading. (He) gave the final act passion and fire.”
The New Mexican, July 2, 2001 Falstaff, Santa Fe Opera, Santa Fe, NM “A shining cast…Michael Hendrick was droll as the huffy, trumpet-toned Dr. Caius. If looks could kill, the way he myopically inspected his rival Fenton from top to toe whenever they met would have put the young man into a basket.”
Opera News, August 2001 Susannah, Opera Carolina, Charlotte, NC “…strong performance by Michael Hendrick as Sam… Hendrick brought vocal authority to his role. A satisfying evening of music drama.”
The Washington Times, October 27, 2001 Of Mice and Men, The Washington Opera, Washington, DC “Stunning… the Washington Opera production stars two superb singer-actors in the lead roles…Tenor Michael Hendrick as Lennie gives what probably will be regarded as one of this season's great performances. He negotiated Lennie's difficult vocal part with only the slightest sign of strain during last week's premiere. From the standpoint of stage drama, he imbued his character with layers of complexity, joining extremely physical acting to a surprisingly sweet tenor voice that makes Lennie's dark side all the more jarring. Mr. Hendrick's Lennie is clearly good at heart but not in touch at all with normal human boundaries or appropriate behavior, or most particularly with his own strength. Like fellow ranch-hand Candy's worn-out old dog, which is finally put down by a co-worker, there is only one possible ending for a misfit such as Lennie… you'll have to experience this for yourself.”
Concertonet.com, April 22, 2003 The Rape of Lucretia, New York City Opera, New York, NY “Mr. Hendrick was most eloquent, his chatty, almost countertenor tessitura just perfect for a somewhat bitchy representative of the Fates.”
Opera News, July 2003 The Rape of Lucretia, New York City Opera, New York, NY “Tenor Michael Hendrick sang with passion as the Male Chorus”
Metroland Online, July 25, 2003 Osud, Bard Summerscape, Fisher Center for the Performing Arts, Annandale-on-Hudson, NY “Michael Hendrick, as Zivny, the composer, gained steam throughout the play to deliver a shattering closing aria.”
Albany Times-Union, Sunday, July 27, 2003 Osud, Bard Summerscape, Fisher Center for the Performing Arts, Annandale-on-Hudson, NY “Heading the excellent cast was Michael Hendrick as the composer. With a strong tenor voice hinting at a wail, he was the picture of an intellectual confronted with a life of emotional suffering. His lengthy final aria was part life confession and part music lecture ("the dissonant chords of life beat on"). Though the metaphors wore a bit thin, it was a fascinating coda that surely revealed some of Janacek's own thoughts.”
The Associated Press, July 28, 2003 Osud, Bard Summerscape, Fisher Center for the Performing Arts, Annandale-on-Hudson, NY
“Hendrick… gave highly polished accounts.”
New York Times, July 29, 2003 Osud, Bard Summerscape, Fisher Center for the Performing Arts, Annandale-on-Hudson, NY “The tessitura of this tough monologue seemed to suit Mr. Hendrick; after a couple of acts in which his voice sounded a little strained and grainy on top, he settled here into smoother and clearer singing.”
MusicalAmerica.com, July 29, 2003 Osud, Bard Summerscape, Fisher Center for the Performing Arts, Annandale-on-Hudson, NY “From the opening of Act II Zivny 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 Zivny'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 Chicago Lyric, 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.”
Le Monde, August 2, 2003 Osud, Bard Summerscape, Fisher Center for the Performing Arts, Annandale-on-Hudson, NY “La fin et quelques autres endroits de la partition en étonneront plus d'un, mais, selon Leon Botstein, il n'est pas certain que Janacek ait totalement achevé la finition de son opéra.Le chef d'orchestre américain a dirigé Osud avec un sûr engagement et réuni une très bonne distribution, dominée par la Mila de Christine Abraham et le Zivny de Michael Hendrick, tous deux parfaitement émouvants.”
New York Times, September 23, 2003 Carmen, New York City Opera “Mr. Hendrick sang with a sturdy voice and ample ardor.”
Opera News, October 2003 Osud, Bard Summerscape, Fisher Center for the Performing Arts, Annandale-on-Hudson, NY “Botstein cast very strongly. In the cruelly exacting high tessitura of the protagonist, Michael Hendrick revealed impressive stamina and an attractive, powerful "young dramatic" voice ideally suited to leading Czech tenor roles.”
El Correo, Bilbao, Spain, November 17, 2003 Jenufa, Opera A.B.A.O., Bilbao, Spain "Michael Hendrick… canto con valentia y no exento de bello color." English translation: “Michael Hendrick,… sang with vigor and not lacking of beautiful color.”
ABC, Spain, November 17, 2003 Jenufa, Opera A.B.A.O., Bilbao, Spain “A idéntico nivel se movió el deslumbrante descubrimiento que supone Michael Hendrick como un Laca arrebatado.”
Concertonet.com, by Renoud Loranger, November 8, 2004, Ariadne auf Naxos, L’Opera de Montreal, Montreal, Quebec, Canada “Michael Hendrick possède une fort estimable voix de ténor héroïque, argentée et magnifiquement soutenue, et livre une convaincante interprétation de l’impayable Ténor/Bacchus.” English translation: “Michael Hendrick has a strong, estimable heroic tenor voice, silver plated and magnificently constant, and delivers a convincing interpretation of the invaluable Ténor/Bacchus.”
The Globe and Mail, by Alan Conter, November 8, 2004 Ariadne auf Naxos, L’Opera de Montreal, Montreal, Quebec, Canada “Bacchus, sung well by tenor Michael Hendrick”
The Gazette, Montreal, Quebec, Canada, by Arthur Kaptainis, November 8, 2004 Ariadne auf Naxos, L’Opera de Montreal, Montreal, Quebec, Canada “Michael Hendrick performed Bacchus with a noble bearing and a trumpet tone. There are good tenors out there after all.”
The Salt Lake Tribune, January 24, 2005 Jenufa, Utah Opera, Salt Lake City, Utah, USA “Michael Hendrick (as Laca) who loves (Jenufa) but inflicts a disfiguring injury on her… A first class performance, and equal to a knockout in musical and emotional potency.”
Deseret Morning News, January 25, 2005 Jenufa, Utah Opera, Salt Lake City, Utah, USA “Tenor Michael Hendrick was wonderful. Hendrick’s portrayal is dynamic and poignant as he struggles with his jealousy and hatred of Steva and his passion for Jenufa.”
The Post-Standard, April 30, 2005 Madama Butterfly, Syracuse Opera, Syracuse, NY, USA LEAD SINGERS TAKE FLIGHT IN ‘BUTTERFLY’… LIM AND HENDRICK CARRY THE SYRACUSE OPERA PRODUCTION OF “MADAMA BUTTERFLY” “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… Michael Hendrick as Pinkerton 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".
The Washington Post, July 30, 2005 Beethoven: Symphony No. 9, The Baltimore Symphony, Baltimore, MD USA "...tenor Michael Hendrick... formed a foursome that scaled Beethoven's almost insurmountable vocal heights with mellifluous beauty, the voices nicely blended and well-balanced."
The Pittsburgh Post-Gazette, October 24, 2005 Ariadne auf Naxos, Pittsburgh Opera, Pittsburgh, PA, USA "In Richard Strauss' opera about an opera, "Ariadne auf Naxos,", Michael Hendrick's Tenor was funny throwing hissy fits in the Prologue, but even funnier as an overly dramatic Bacchus in the opera. Soprano Jane Eaglen seems born for the role of the Prima Donna, and Hendrick's booming voice is a sure fit with Eaglen's."
The Pittsburgh Tribune-Review, October 24, 2005 Ariadne auf Naxos, Pittsburgh Opera, Pittsburgh, PA, USA "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."
Salt Lake Tribune, December 19, 2005 Beethoven: Symphony No. 9, Utah Symphony Orchestra, Salt Lake City, UT USA "The other soloists... followed tenor Michael Hendrick's exuberant cue."
Syracuse Post-Standard, February 11, 2006 Verdi: Messa di Requiem, Syracuse Symphony Orchestra, Syracuse, NY USA _"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."
The Huntsville Times, February 26, 2006 Verdi: Messa di Requiem, Huntsville, Symphony Orchestra, Huntsville, AL USA "Four guest singers filed on stage: soprano Kalley Nassief, mezzo soprano Marietta Simpson, tenor Michael Hendrick and bass Kevin Deas. All possess magnificent voices, gifts they put to excellent use on Verdi's 'Requiem'".
Recordings
Vladimir Jurowski / London Philharmonic Orchestra / Wagner, Berg, Mahler. Mahler: Das Klagende Lied. Marisol Montalvo (Soprano), Hedwig Fassbender (Mezzo-Soprano), Michael Hendrick (Tenor), Anthony Michaels-Moore (Baritone). 2007. DVD Video. Label: London Philharmonic.
Live from Walt Disney Concert Hall, Los Angeles Philharmonic; Shadow of Stalin: Shostakovich / Mosolov. Shostakovich: Suite from The Nose, Op. 15a; Mosolov: The Iron Foundry, Op. 19; Shostakovich: Act I, Scene 3 from Lady Macbeth of Mtsensk, Op. 29; Tatiana Pavlovskaya (Soprano), Michael Hendrick (Tenor), Vladislav Sulimsky (Baritone), Benjamin Von Atrops (Bass); 2006. Label: Deutsche Grammophon
Meira Warshauer: Streams in the Desert; Stephanie Gregory (Soprano), Jennifer Hines (Mezzo-Soprano), Michael Hendrick (Tenor), Carol Potter (Narrator). Slovak Radio Symphony Orchestra and Slovak Philharmonic Chorus. 2005. Label: Albany Records.
Richard Strauss: Die Liebe der Danae, Op. 83 (Hugh Smith (Tenor), William Lewis (Tenor), Lisa Saffer (Soprano), Michael Hendrick (Tenor), Lauren Flanigan (Soprano), Tamara Mesic (Soprano), Jane Jennings (Soprano), Mary Phillips (Mezzo Soprano), Peter Coleman-Wright (Bass), Elisabeth Canis (Mezzo Soprano); Conductor: Leon Botstein; American Symphony Orchestra.) Recorded: Avery Fisher Hall, Lincoln Center, January 16, 2000. Label: Telarc.
References
External links