Guest tenor Michael Hendrick delivered his lines with sound musicianship, character and gusto. From the first bars of the opening number, 'The Drinking Song of the Earth's Misery', he established the appropriate sweet and sour mood for the rest of the symphony... The very brief third song, 'Of Youth', is the most positive in the cycle. Here the orchestra and the tenor attuned their instruments to establish an atmosphere of delight where a party of beautifully dressed young friends drink and chat in a porcelain pavilion. The tenor line lies again in the high range, but Hendrick's vocal abilities and demeanor conveyed to the audience a clear picture of this charming scene; the soloist and orchestra ending quietly like a whisper... The twist of mood in the cycle started with another drinking song, 'The Drunkard in Spring,' where the carefree messenger utters 'If life is but a dream, why then trouble and care?' This scherzo, where the tempos are pulled back and pushed constantly, was excellent."

"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'".

"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 other soloists... followed tenor Michael Hendrick's exuberant cue."

"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 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."

"...tenor Michael Hendrick... formed a foursome that scaled Beethoven's almost insurmountable vocal heights with mellifluous beauty, the voices nicely blended and well-balanced."

“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.”

“Michael Hendrick has a strong, estimable heroic tenor voice, silver plated and magnificently constant, and delivers a convincing interpretation of the invaluable Ténor/Bacchus.”

“Michael Hendrick performed Bacchus with a noble bearing and a trumpet tone. There are good tenors out there after all.”

“Michael Hendrick,… sang with vigor and not lacking of beautiful color.”

"Botstein cast very strongly. In the cruelly exacting high tessitura of the protagonist, Michael Hendrick revealed impressive stamina and an attractive, powerful "young dramtic" voice ideally suited to leading Czech tenor roles."

“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.”