REVIEWS

Stonewall

New York City Opera 

2019

Moby Dick

Chicago Opera Theater 

2019

Silent Night

Arizona Opera 

2019

Everest

Calgary Opera 

2019

West Side Story

Atlanta Opera 

2018

West Side Story

Lyric Opera of Kansas City

2018

Flight

Des Moines Metro Opera

2018

Florencia en el amazonas

Florida Grand Opera

2018

Il barbiere di Siviglia

Opera Santa Barbara

2018

I pagliacci

The Metropolitan Opera

2018

Zémire et Azor

Opera Saratoga

2017

Die Zauberflöte

Madison Opera

2017

In Parenthesis

Welsh National Opera

2016

Manon Lescaut

The Metropolitan Opera

2016

Florencia en el amazonas

Arizona Opera

2015

Il barbiere di Siviglia 

Opera Omaha

2015

Morning Star

Cincinnati Opera

2015

Everest

Dallas Opera

2015

Vanessa

Utah Festival Opera

2014

La cenerentola

Opera Omaha

2014

Die Zauberflöte

Florida Grand Opera

2013

"Exuding a cat-like coolness, Andrew Bidlack, as Andy, saunters around a bench area in Christopher Park and playfully eyes a man across the way that looks interested. Internally plagued with doubt and contemplation about whether or not he is being duped by a cop, Bidlack, convincingly told the story of a kid looking for love, who finds it on the Stonewall dance floor."

Jennifer Pyron

OperaWire

"Andrew Bidlack (Andy) and Jessica Fishenfeld (as the “lipstick” lesbian Leah) triumphed with daunting leaps to difficult high notes."

James Jorden

New York Observer

"...Bidlack and Beutel committed wonderfully to their characters..."

Oussama Zahr

Opera News

"Tenor Andrew Bidlack captured the pathos of Andy, disowned by his family in Buffalo, living on the streets and turning tricks for $10 (which, in 1969, would pay for two pizzas, a shower at the Y, and Stonewall’s $3 admission charge)."

David Wright

New York Classical Review

"Tenor Andrew Bidlack (Andy, the homeless teen) and bass-baritone Joseph Beutel (Troy, the hustler) were among the cast’s stronger singers."

Helen Waleson

The Wall St. Journal

"How fitting, though, that the most beautiful voice in the cast belonged to tenor Andrew Bidlack, who as the everyman Greenhorn stands as the story’s conscience and its most humane and vulnerable persona. By opera’s end, we believe that he has preserved at least a shred of the innocence that Ahab and this narrative otherwise have taken from him."

Howard Reich

Chicago Tribune

"Andrew Bidlack was perfectly cast as Greenhorn (who utters the emblematic phrase “Call me Ismael”). Bidlack’s lyric tenor soared fluidly throughout the evening and boasted an affecting plaintive quality that was quite beautiful, particularly in his moving contemplation of Queequeg’s coffin."

Mark Thomas Ketterson

Opera News

"Bidlack sang with vibrancy and sweet tone in his spotlit moments.”

Lawrence A. Johnson

Chicago Classical Review

"...Andrew Bidlack touchingly conveys the purity and goodness of Greenhorn."

Kyle MacMillan

Chicago Sun Times

"Bidlack has a clear, sweet, glorious tenor voice and was the standout of the opera for me."

Maureen Brooks

Green Valley News

"A lyric tenor, Bidlack sang with fluidity and flexibility."

Maria Nockin

Opera Wire

"Tenor Andrew Bidlack as the German opera singer-turned reluctant soldier hit the high end of his register with such sweet tones."

Cathalena E. Burch

Arizona Daily Star

"Singing from the top of the set into the void and down to his distant, waiting wife at stage level, Bidlack conveyed the emotional range of both dutiful leader coaxing his exhausted, expiring client Doug down the mountain and wistful husband bidding his wife goodbye."

Bill Rankin

Classical Voice North America

"...much of the writing lies quite high in the voices, especially for Hall (Bidlack) and his wife Jan Arnold (Sarah Larsen). Both singers manage the challenge remarkably well in this production, vividly characterizing the immediacy of the threat."

Kenneth DeLong

Calgary Herald

"As the young protagonist Tony, Andrew Bidlack is convincing in his character and easily floats the highest lyrical notes demanded — such as those in the song 'Maria.'"

Mark Gresham

ArtsAtl

"...a Nemorinoesque timbre that was achingly beautiful in its upper reaches."

Stephanie Adrian

Opera News

"Andrew struck just the right vocal balance in 'Something’s Coming,' in which he sounded like a trained, 'legit' singer who occasionally, in the upper range, lapsed into a more open sound. He knew how to vary his tone color, and he could stay with the orchestra, too."

Paul Horsley

Kansas City Independant

"But Tony, oh Tony. What a voice. Everyone will want to change their name to Maria, just to have Bidlack sing to them. It’s exactly the kind of voice that makes a girl fall in love with her big brother’s sworn enemy."

Lonita Cook with Michael Mackie

In Kansas City

"...Tony, a Polish boy, (sung by the excellent tenor Andrew Bidlack)."

Alan Portner

Broadway World

"Tenor Andrew Bidlack (Bill) and soprano Zulimar López-Hernández (Tina) were the young hipster couple escaping on vacation together in an attempt to rejuvenate their waning romance. Mr. Bidlack has an effortlessly produced, honeyed lyric tenor who brings Rossinian grace and fluidity to his rangy vocal lines. His rolled eyes and put-upon shrugs as his wife keeps picking at him were boyishly engaging." 

James Sohre

Opera Today

"There was particularly impressive work from Andrew Bidlack as Bill and Theo Hoffman as the randy Steward."

Mark Thomas Ketterson

Opera News

"Andrew Bidlack, who has been seen several times in major roles at FGO, was a very good Arcadio, an actor who knows how to take command of a scene and get the audience to home in. He has a virile and exciting tenor that was a pleasure to hear, and he was excellent in duet with López."

Greg Stepanich

Palm Beach Arts Paper

"Making his fifth appearance with FGO, tenor Andrew Bidlack punctuated the thwarted ambitions of Rosalba's love interest, Arcadio, with a ringing upper register."

Celeste Landeros

Opera News

"Surprisingly effective is Andrew Bidlack, a Pennsylvania tenor whose part as the disillusioned deckhand could have been boringly predictable, but he invests the young man with a yearning that audience members could relate to as he describes his dream of being able to fly."

Bill Hirschman

Florida Sun-Sentinel

"As her lover, the captain’s nephew Arcadio, the tenor Andrew Bidlack came off as her counterpart in earnest, youthful idealism, with his dreams of leaving the river to become a pilot." 

David Fleshler

South Florida Classical Review

"Lyric tenor Andrew Bidlack sang Almaviva with flexible tones and even decorated some of his lines. His 'Ecco ridente in cielo' ('There is laughing in the sky') was a triumphant vocal showpiece and his character's multiple identity changes made this a fascinating portrayal to watch. Most outstanding was his substitute music teacher performed in drag as the well- endowed 'Donna Alonsa.' The audience shrieked with laughter when Bartolo tore 'her' wig off." 

Maria Nockin

Broadway World

"...Andrew Bidlack positively threw out the book as a hell-raising, cross-dressing Count Almaviva ."

Charles Donelan

The Santa Barbara Independent

"Andrew Bidlack, meanwhile, was an excellent Beppe, singing his cavatina “O, Colombina” with light tone and flowing phrases."

Eric C. Simpson

New York Classical Review

"Tenor Andrew Bidlack sang Arlecchino's serenade with pleasing tone and sensitive phrasing."

Joshua Rosenblum

Opera News

"Rihab Chaieb has a resiny cameo as Lola in 'Cav,' Andrew Bidlack a charming one as Beppe in 'Pag.'"

Zachary Woolfe

The New York Times

"Andrew Bidlack brought a promising tenor to the role of Peppe, singing with tenderness."

Francisco Salazar

Opera Wire

"Young Andrew Bidlack as Beppe...exhibited a fine tenor instrument..."

Robert Levine

Bachtrack

"The real discovery was the Azor, Andrew Bidlack, an artist I'd previously heard only in contemporary music.  His tenor coped easily with the role's high tessitura, as well as the light ornamentation and dynamic contrast that Grétry requests, and he phrased with distinction and feeling.  Bidlack, who seems a natural for the haute-contre roles of Rameau and Gluck, also made a credibly handsome Prince after the transformation wrought by Zémire's love."

David Shengold

Opera News

"Finally, Andrew Bidlack, as the voice and soul of Azor, was an utter knockout.  The rich, mature and luxurious chiaroscuro of Bidlack's tenor endowed the beast with a constant and invaluable fascination - a masterfully sustained mix of menace and tragic pathos.  Outfitted in a glamorously sinister capuchin monk's robe and hood, Bidlack stalked the stairways and side platforms as he gave voice to the animated Azor puppet center stage, and the effect was stunning - a mesmerizing, split-screen/simulcast, as it were, of both the creature's grotesque exterior, and the passionate, shrouded soul within. 

 

While sung in French, the production featured passages of fleet, efficient, operetta-style English dialogue bridging numbers. Bidlack, speaking as Azor, was particularly effective, conveying angsty authority tinged with just the right note of vulnerability."

Charles Geyer

La Scena Musicale

"...his singing voice comes from the marvelous tenor Andrew Bidlack.  It's no wonder that the young maiden Zémire falls for the beast, given Bidlack's gentle and cuddly voice."

Joseph Dalton

Saratoga Times-Union

"Special mention should be made of Andrew Bidlack as a consistently arresting Tamino and Amanda Woodbury as a crystalline Pamina.  Their first act duet was perfection."

Jacob Stockinger

The Well-Tempered Ear

"Andrew Bidlack, as Private John Ball, scaled magnificently what must be one of the most ambitious leading operatic roles in recent times, his flexible tenor encompassing not only the character's bumbling attempts at soldiering but the ecstasy of his inner vision...  Bidlack, magnificent in the challenging lead role."

Peter Reynolds

Opera Now

"Bell puts his tenor protagonist under huge pressure by treating him as a vocal high-wire acrobat, and the American Andrew Bidlack, making his European debut, made a very strong impression as the innocent, fresh-faced Ball, agile of technique, absolutely secure and sweet-toned in the lyrical moments when wandering into his own imagination..."

Rian Evans

Opera Magazine

"Andrew Bidlack puts his grateful, bel canto tenor to tireless use."

Peter Quantrill

Gramophone

"...several solos and duets are beautiful, especially the writing for the gloriously voiced American bel canto tenor Andrew Bidlack who sings the troubled Private John Ball as he and his fellow soldiers journey to the horrors of Mametz Wood."

Mike Smith

Wales Online

"And there is much lovely individual writing, especially for Ball himself, eloquently sung by the American bel canto tenor Andrew Bidlack."

Stephen Walsh

The Arts Desk

"Andrew Bidlack...excelled as Ball..."

Steph Power

The Independant

"There's endearing singing and acting from the American tenor Andrew Bidlack as the hapless but inspired Private Ball;..."

Rupert Christiansen

The Telegraph

"Two things emerge: the extraordinary vision that is Jones's legacy in art and literarture; and the talent of tenor Andrew Bidlack who, as Private Ball, sings heroically."

Rian Evans

The Guardian

"The real stand-outs of the supporting characters were the nameless ones:  Andrew Bidlack, showing a bright, easy tone as the street sweeper..."

Eric C. Simpson

New York Classical Review

"Andrew Bidlack offered a neatly sung turn as the Street Sweeper."

F. Paul Driscoll

Opera News

"Biller's silvery tones acquired a luminous quality when her character fell in love with the Captain's nephew, Arcadio, sung by the robust-voiced Andrew Bidlack.  His ringing, lyrical tones blended beautifully with the clarity of Biller's notes."

Maria Nockin

Opera Today

"...the opening-night stars all give strong performances...especially, Susannah Biller and Andrew Bidlack as the reluctant young lovers."

Kerry Lengel

The Arizona Republic

Andrew Bidlack does a fine turn as Count Almaviva. He was the prince in Opera Omaha’s production of “Cinderella” last year, and he builds on his romantic leading-man status this time around as Rosina’s besotted, unflappable suitor.

 

Bidlack has a winningly agile and tender tenor, one that conveys dreamy ardor particularly well. When he serenades Rosina in “Ecco ridente in cielo,” his honeyed aria beautifully conveys both his hope and frustration, and “Se il mio nome” has a touching, subtly passionate quality to it."

Kim Carpenter

Omaha World Herald

"The Count Almaviva of Pittsburgh native Andrew Bidlack was full of youthful energy and confidence.  He sang with great sensitivity, and by Act II, his voice's full color and strength blossomed."

Kevin Harrahan

Opera News

"Andrew Bidlack as Count Almaviva is an ideal romantic lead with dreamy good looks. He shines as a comedic actor, and his voice is impressive."

Katrina Markel

The Daily Nonpareil

"With his expressive tenor, Andrew Bidlack was a perfect match as her aspiring songwriter-husband, Irving Tashman."

Janelle Gelfand

Cincinnati Enquirer

"Andrew Bidlack sings the title song with great style."

Anne Arenstein

City Beat

"The opera was strongly cast with singers who, true to the assignment, brought out the humanity of the characters...Best of all was Andrew Bidlack, in his appealing stage presence every bit the sympathetic leader, with a pellucid tenor that seemed to emanate from the Himalayan air itself."

Fred Cohn

Opera News

”... Rob, played by tenor Andrew Bidlack, responds in a crystalline tenor voice that floats across the opera house and nearly destroys you with its message and tone. “Doug can hear you,” he cries.  Andrew Bidlack is, for me, the star of the entire production. His voice is clear, bright, pristine, and subtly strong. When he stands on Everest’s summit and sings about being on top of the world, you want to join him. His duets with his wife, Jan, played by the powerful Sasha Cooke, are charming. ... Both Cooke and Bidlack, by the way, are dealt a difficult hand in this piece in terms of range, but they find and execute a slew of extremely high notes with precision.”

Catherine Womack

D Magazine

“The excellent cast made fine work of Mr. Talbot’s expressive vocal writing. Andrew Bidlack’s sweet tenor brought a touching vulnerability to Rob. The opera’s most devastating passage was his final telephone conversation with Jan, the powerful Sasha Cooke, as he is dying on the mountain, when the two let go of their anguish to simply comfort each other.”

Heidi Waleson

Wall Street Journal

“Andrew Bidlack’s sweet-voiced tenor expressed Hall’s hopes and fears poignantly.”

George Loomis

Financial Times

“Tenor Andrew Bidlack is sympathetic as Rob Hall, trapped between his sense of duty and impending fatherhood. His clear and versatile lyric tenor voice sails through his range-challenging music, with great nobility of spirit alternating with grim determination.” 

Gregory Sullivan Isaacs

Theater Jones

“Bidlack’s performance as Rob Hall is achingly adept, and his duets with mezzo Sasha Cooke as his wife Jan are tender and and heartfelt. They are the standouts.”

Arnold Wayne Jones

Dallas Voice

"This narrative is brought to life by the stunning talent of Andrew Bidlack as the expedition leader, Rob Hall..."

Lauren Smart

The Dallas Observer

"Tenor Andrew Bidlack was convincing as the youthful social climber, confidently feathering relationships with both Vanessa and Erika.  Singing the aria 'Outside this house,' with centered, lyric tone, he tempted Erika with visions of worldly grandeur.  His charming, assertive portrayal was convincing enough that it became difficult to gauge the character's sincerity -- or lack of it."

Robert Coleman

Opera News

“As the opportunistic Anatol, Andrew Bidlack was almost too good to be true.  His honeyed tenor was capable of unctuous sweetness, but also had ample reserves for the more spinto Romantic urgings.  The high soaring phrases held absolutely no terror for him.  In addition to his persuasive vocalizing, Mr. Bidlack is handsome as all get-out, and he looks instantly believable as the cad that is young enough to be Vanessa’s former lover’s son.  He communicated a calculated electricity with his conquests and one could accept that he might prompt an object of his attention to act against her own best interests.”

James Sohre

Opera Today

“Tenor Andrew Bidlack was Ramiro, Cinderella’s earnest, besotted and thoroughly charming Prince Charming.  This is the first time Bidlack has played the role, and he did so with wonderful romantic ease, making it easy to see why Cinderella remains smitten with this handsome swain rather than falling for the man she believes to be the prince.

 

Bidlack has a strong, firm, practically impeccable legato, especially evident in Act II’s “Sì, ritrovarla io giuro”... It’s a swoon-worthy moment, and Bidlack makes the most of it, hitting his high registers with clarion-like aplomb.”

Kim Carpenter

Omaha World-Herald

“Bidlack manages to look and sound valiant while singing ‘Dies Bildnis’ in pajamas, with a smooth legato and heroic top notes.  His manner and tone perfectly matched the youthful, but determined prince who is willing to meet any danger to rescue the Queen’s beautiful daughter, Pamina.”

 

David Fleshler

The Miami Herald

“...Andrew Bidlack was an especially noteworthy Tamino.”

Karyl Charna Lynn

Opera Now

“...Bidlack was without a doubt the best voice of the night; expansive, strong, focused, always on pitch and very secure in a role that was reduced to an interplay within a dream.”

 

Daniel Fernández

El Nuevo Herald

“Bidlack’s voice is crystal clear and has a beauty of tone not often found in Mozart tenors.  He is charming and handsome and makes the perfect storybook prince for this fantasy role.”

Jack Gardner

EDGE Ft. Lauderdale

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© 2017 by Andrew Bidlack.