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 2024-25 season, he continues with his performances of Alberich at La Monnaie de Munt, now adding the role in Siegfried and Götterdämmerung as the company continues its Ring Cycle. He sings his first performances of Jupiter in Der Liebe der Danae at Opera Carlo Felice Genova as well as Mamma Agata in Viva La Mamma at Deutsche Oper am Rhein, and returns to the title role of Sweeney Todd in Barrie Kosky’s new production at the Opéra national du Rhin. Last season, he returned to the stage of La Monnaie de Munt, at which he is a frequent guest, singing his first performances of Alberich as Das Rheingold as well as Carlo in Nostalgia, a pastiche of early Verdi. He also sang the Mad Hatter in Chin’s Alice in Wonderland with the NDR Radio Philharmonic at the Concertgebouw as well as The Official in Éna Brennan’s world premiere of Hold Your Breath at the Bregenzer Festspiele.
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Prima la Mamma!
Deutsche Oper am Rhein, November 2024
‘The extremely versatile baritone Scott Hendricks plays the exalted Mamma Agata, which Donizetti cast with a man. This is the title and key role of the piece - it requires a baritone with a very wide vocal range, who effortlessly imitates a second-class prima donna over long passages, but also has complete command of the range of his voice.’
Peter Klucken, Rheinische Post
‘It is certainly a remarkable performance in terms of fitness, because Hendricks also sings beautifully, even if he has to sing ‘wrong’ on purpose from time to time.’
Guido Krawinkel, Oper Magazin
Siegfried (Alberich)
La Monnaie de Munt, September 2024
‘Scott Hendricks reprises the role of Alberich. Dressed in his black uniform, in collaboration with Wotan, he embodies fury and the desire for vengeance: feelings that deeply permeate his performance. The singer's vibrant voice, with its baroque tendencies, brings a brassy timbre and precise velocity, with brilliant high notes and matte lows’.
Soline Heurtebise, Olyrix
Nostalgia (Carlo)
La Monnaie de Munt, March 2024
"Scott Hendricks...His singing is beautiful, sustained and he embodies with great accuracy the middle age of an impetuous revolutionary who is obsessed by his betrayal."
Helene Adam, cult.news
Das Rheingold (Alberich)
La Monnaie de Munt, October 2023
“Scott Hendricks made a mighty impact as Alberich, rising to the vocal demands of the role while expressing its pain, anger, and humiliation with astonishing physicality – his curse will long remain in the memory.”
Nicolas Blanmont, Opera
The Nose (Kovalev)
La Monnaie de Munt, June 2023
"Scott Hendricks is an excellent Kovaliov, tormented, desperate, grumpy and aggressive, whose beautiful baritone unfolds with ease in a performance that perfectly combines singing quality and stage effectiveness."
Stéphane Lelièvre, Première Loge,
Rigoletto (Title Role)
Utah Opera, March 2023
“Vocal versatility characterized Scott Hendricks’ portrayal of Rigoletto. Within the same scene, his voice could sound sardonic, menacing, and plaintive. It was particularly affecting as he pled desperately with the courtiers to release his daughter, the high register of his baritone range dripping with pathos. Then, when they released her, he switched back to a mocking and cynical tone, trying to show that he was not offended by their ”joke” of kidnapping her.”
Rick Mortensen, Utah Arts Review
Tristan und Isolde (Kurwenal)
Opéra national de Lorraine, January 2023
"Scott Hendricks‘ Kurwenal is in the right tradition, a firm, well timed baritone voice, a faithful companion to Tristan."
José Pons, Olyrix
Siberia (Gleby)
Bregenzer Festpiele, July 2022
"But it is Texan baritone Scott Hendricks who surpasses all with an edgy and almost frightening interpretation of the ‘villain’ Gleby, leading the audience to feel a genuine jolt when faced with such immorality, nastiness and sarcasm. The solid and well-honed baritone voice, perfectly honed, is phenomenal in terms of expressiveness: in short, a chilling performance. A personal recollection: in 2008, when Tosca informally called ‘the blue-eyed’ was performed on the lakeside stage of the Bregenzer Festspiele, with baritone Peter Sidhom in the role of Baron Scarpia, perhaps the dirtiest, most sadistic man in the story, at the end of the performance we happened to hear some youngsters declare that Scarpia ‘is a very bad boy’. We believe that Scott Hendricks as far as nastiness is concerned has surpassed that ‘very bad boy’ and deserves the title ‘the greatest bad boy’."
Irina Sorokina, L'Ape musicale
Falstaff (Title Role)
Komische Oper Berlin, May 2022
Baritone Scott Hendricks sang an agile Falstaff
Zenaida des Aubris, Bachtrack
"Scott Hendricks is a top-class baritone with an unbelievable range of vocal colours and an enormous joy of movement and stage presence, who is instantly recognisable as a successful TV chef."
Das Opernmagazin
Death in Venice (The Traveller)
Opéra National du Rhin, February 2022
“The standout performance, however, was delivered by Scott Hendricks, who wheeled through his character’s seven different incarnations with a fiery mix of elegance, style, and sheer commitment. Both vocally and physically, his range of transformations was quite astonishing, from the Elderly Fop’s falsetto wheedling to the burlesque seductions of the Leader of the Players. The combination of his smooth, fluid baritone with his no-holds-barred character interpretations was very impressive.”
Elodie Olson-Coons, Bachtrack
Scott Hendricks Opera Repertoire
| Adamo | Fredrich Bhaer, Little Women |
|---|---|
| Adams | Title Role, Nixon in China |
| Battistelli | Title Role, Richard III |
| Bellini | Sir Richard Forth, I puritani |
| Bizet | Escamillo / Morales, Carmen |
| Brennan | The Official, Hold Your Breath |
| Britten | Donald, Billy Budd Traveller, Death in Venice |
| Catán | Chucho, Salsipuedes |
| Chin | Mad Hatter / Duck, Alice in Wonderland |
| Donizetti | Lord Henry Ashton, Lucia di Lammermoor Doctor Malatesta, Don Pasquale |
| Giordano | Carlo Gerard, Andrea Chénier Gleby, Siberia |
| Grey, M. | Victor Frankenstein, Frankenstein |
| Janáček | Forester, The Cunning Little Vixen Jaroslav Prus, The Markropulos Case |
| Leoncavallo | Silvio / Tonio, Pagliacci |
| Machover | Prince Dimitri, Resurrection |
| Massenet | Albert, Werther |
| Maw | Nathan, Sophie's Choice |
| Mozart | Count Almaviva, Le nozze di Figaro Title Role, Don Giovanni |
| Prokofiev | Panatalone, The Love of Three Oranges Ruprecht, The Fiery Angel |
| Puccini | Baron Scarpia, Tosca Sharpless, Madama Butterfly Michele, Il tabarro Title Role, Gianni Schicchi Ping, Turandot Marcello, La Bohème Jack Rance, La fanciulla del West |
| Rihm | Hamlet III, Die Hamletmaschine |
| Rossini | Dandini, La Cenerentola |
| Schrecker | Count Andrea Vitelozzo Tamare, Die Gezeichneten |
| Shostakovich | Kovaliov, The Nose |
| Sondheim | Title Role, Sweeney Todd |
| Strauss | John the Baptist, Salome The Count, Capriccio Hofkapellmeister Robert Storch, Intermezzo Jupiter, Die Liebe der Danae |
| Syzmanowski | Title Role, King Roger |
| Tchaikovsky | Title Role, Eugene Onegin |
| Verdi | Title Role, Macbeth The Count of Luna, Il trovatore Giorgio Germont, La traviata Renato, Un ballo in maschera Title Role, Rigoletto Marquis of Posa, Don Carlos Amonasro, Aida Rodrigo, Don Carlo Iago, Otello Title Role / Ford, Falstaff Francesco, I masnadieri |
| Wagner | Alberich, Der Ring des Nibelungen Donner, Das Rheingold Kurwenal, Tristan und Isolde |
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