Biography
Texan Scott Hendricks has emerged as one of today's most compelling and versatile baritones. From Puccini to Schreker, Verdi to Britten and Debussy to modern-day composers, Hendricks has always maintained a diverse operatic diary.An esteemed interpreter of both Puccini and Verdi, his roles include Sharpless/Madama Butterfly, Scarpia/Tosca, Michele/Il tabarro and title role Gianni Schicchi, Renato/Un ballo in maschera, Conte di Luna/Il trovatore, the title role of Macbeth, Amonasro/Aida, Germont/La traviata, the title role of Rigoletto, Iago/Otello, Posa/Don Carlos.
Scott Hendricks has sung at major opera houses and festivals around the world, including Metropolitan Opera New, Washington National Opera, Canadian Opera Company, York, Opéra national de Paris, Royal Opera House Covent Garden, Gran Teatre del Liceu Barcelona (title role Król Roger), Bayerische Staatsoper München, Staatsoper Stuttgart, Theater an der Wien (Vladislav/Dalibor), Théâtre Royal de La Monnaie, Dutch National Opera, and De Vlaamse Opera, where he received international critical acclaim for his portrayal of the title role in the world première of Giorgio Battistelli's Richard III under the direction of Robert Carsen, Opera Zurich (Hamlet III in Rihm’s Die Hamletmaschine), Opéra National du Rhin (Forester/The Cunning Little Vixen), Teatro Massimo Palermo (Tamare/Die Gezeichneten), Teatro La Fenice (Traveler/Death in Venice), Mikhailovsky Theatre St. Petersburg, Welsh National Opera, Israeli Opera, as well as the Saito Kinen Festival (Yeletsky/Pique Dame), Bregenz Festival (Escamillo/Carmen).
Highlights of the 2017/18 season and the recent past include i.a. Barnaba/La Gioconda, his role debut as Tonio/I Pagliacci, and the role of Victor Frankenstein in the world premiere of Mark Grey’s Frankenstein at La Monnaie, the title role in the world premiere of M - Eine Stadt sucht einen Mörder at Komische Oper Berlin, Scarpia/Tosca at San Francisco Opera, Jack Rance/La Fanciulla del West in Zurich, as well as Ruprecht/The Fiery Angel in Warsaw and on the occasion of the Festival d’Aix-en-Provence.
At this year's Bregenz Festival, he will take on the title role in Philipp Stölzl's production of Rigoletto under the baton of Enrique Mazzola.
Upcoming engagements include, among others, Janácek‘s The Makropulos Affaire/Jaroslav Prus under Jakub Hrůša at Opera Zurich, Il trovatore (staged by Dmitri Tcherniakov) at Opera Cologne, as well as Il trovatore at Opéra National du Rhin and Ruprecht/The Fiery Angel in Warsaw.
News
Returning to Opera Cologne as vicious Count di Luna
Scott Hendricks embodies the sinister role of Conte di Luna in Dmitri Tcherniakov's production of „Il Trovatore“ at the Opera Cologne. The cast also comprises Marina Prudenskaya who sings one of her signature roles, Acuzena.Performance dates: March 1/4/7/12/14/18/21/25
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PortraitPhoto: Simon Van Rompay
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PortraitPhoto: Simon Van Rompay
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PortraitPhoto: Simon Van Rompay
Download available
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PortraitPhoto: Simon Van Rompay
Download available
Press
Il Trovatore / Opera Cologne / 04.03.20 / magazin.klassik.com
"Hendricks stellt lyrisch und dramatisch grandios den von Eifersucht, Rache und Liebe getriebenen, verhaltensgestörten Grafen Luna dar."
Il Trovatore / Opera Cologne / 02.03.20 / opernmagazin.de
"Sein Psychogramm des brutalen Machtmenschen ist so ausdrucksstark gesungen und ergreifend gespielt"
Il Trovatore / Opera Cologne / 02.03.20 / deropernfreund.de
"Hendricks, der seinem satten Bariton immer wieder reichlich Emotionen und feines Messa di voce beimischt"
Frankenstein / La Monnaie Brussels / 09.03.19 / brf.be
"Scott Hendricks als Frankenstein mit kraftvollem, aber nie überdeckendem Bariton"
La Gioconda / La Monnaie Brussels / 02.02.19 / bachtrack.com
"Mention spéciale pour le baryton Scott Hendricks, voix mordante et excellent acteur"
The Fiery Angel / Festival d'Aix-en-Provence / 06.07.18 / bachtrack.com
"confident and versatile baritone"
Nixon in China / Houston Grand Opera / 30.01.17 / operanews.com
"Hendricks's Nixon clearly and satisfyingly reflected a close study of the President's distinctive movements [...] and expressions [...], and his soaring baritone captured Nixon's intellectuable brilliance dogged by persistent insecurity"