L'italiana in Algeri, Santa Fe Opera - 2018
Opera News, Fred Cohn
The piquant mezzo-soprano of Suzanne Hendrix, as Zelma, added tang to the ensembles.
Broadway World, Maria Nockin
Former SFO apprentice Susanne Hendrix [sic] was a saucy Zulma whose facial expressions told the story of her problems with the Bey's regime.
Opera Today, James Sohre
As her confidante Zulma, Suzanne Hendricks [sic] had a wicked sense of fun, and revealed an accomplished, substantial mezzo with a luscious sheen.
Opera Warhorses, William
Iowa mezzo-soprano Suzanne Hendrix amusingly and convincingly sang the role of Elvira's companion Zulma.
Sharps and Flatirons, Peter Alexander
Stacy Geyer as Elvira, Suzanne Hendrix as Zulma, Craig Verm as Haly—all fit very well into the excellent cast.
Santa Fe New Mexican, James M. Keller
Soprano Stacey Geyer was pure-voiced and expressive as Elvira, Mustafà's long- suffering wife (soon to be ex-wife, if he gets his way), and mezzo-soprano Suzanne Hendrix added to the high spirits as her vampish confidante Zulma.
Eugene Onegin, Hawaii Opera Theater – 2018
Honolulu Star Advertiser
…Suzanne Hendrix delivered strong support as Tatyana's nanny.
Verdi Requiem, Grand Rapids Symphony – 2017
Grand Rapids Symphony Blog, Jeffry Kaczmarczyk
In his Requiem, Verdi seems to ask the most of the mezzo soprano. Suzanne Hendrix was up for the challenge, singing the "Liber scriptus" with a rich, round voice of Wagnerian proportions, possessing the heft of a contralto and the clarion notes of a mezzo, all in one package.
Revue, Western Michigan, Samara Napolitan
Hendrix's voice was a sumptuous, warm instrument that blended beautifully with Di Giacomo's during the "Agnus dei," and carried well over the orchestra during her solo with the chorus.
GERDA LISSNER 2017 WINNERS RECITAL
Voce di Meche
Another mezzo, Suzanne Hendrix, sang Erda's warning to Wotan in Wagner's Das Rheingold--"Weiche Wotan weiche" and she sang it with splendid dynamic control...the texture of her instrument is dense and resonant and just right for Wagner.
Il Trittico, Opera Frankfurt - 2016
Den Namen Suzanne Hendrix sollte man sich merken. Ihr dunkel und warm timbrierender Mezzo mit Fülle, so denke ich, trifft nicht nur meinen Geschmack. In ihrer glaubwürdigen Darstellung als Fürstin in Suor Angelica und Zita in Gianni Schicht wurde reichlich applaudiert.
In "Suor Angelica" ist Suzanne Hendrix eine Fürstin, wie sie in dieser in Wucht und Herrschaft sich Bahn brechenden Leidenschaft praktisch nie zu hören ist. Im kleineren Maßstab macht sie es wie Lucic und ist im "Schicchi" als Tante Zita wie ausgewechselt.
Frankfurter Neue Presse
Auch der metallische Mezzo von Frankfurt-Debütantin Suzanne Hendrix, doppelt besetzt als eiskalte Zia Principessa und listige Erbschleicherin Zita, ließ aufhorchen.
Bachtrack, Christoph Root
So überzeugt etwa die Mezzosopranistin Suzanne Hendrix (als Gast an der Frankfurter Oper) als Angelicas gefühllose, eiskalte Tante stimmlich und darstellerisch ebenso wie später in der Komödie als eine grotesk geldgierige Alte.
Eugene Onegin, Vienna State Opera - 2015
Opera News, A.J. Goldman
Suzanne Hendrix, an American mezzo who is a recent ensemble addition, made a strong impression as Larina, her velvety voice full of weeping.
Susannah, San Francisco Opera - 2014
The Opera Tattler
Much of the singing was beautiful. A.J. Glueckert was easy to pick out as Elder Gleaton, as was Suzanne Hendrix as Mrs. Ott.
Seattle Opera International Wagner Competition, 2014
Seattle Times, Melinda Bargreen
Suzanne Hendrix proved an Erda of highly distinctive tone quality and heft
Northwest Reverb, James Bash
Hendrix showed plenty of volume in her singing of "Geliebter, komm" from "Tannhäuser" and "Weiche, Wotan" from "Das Rheingold," and her stellar performance of these pieces caused me to cast my vote for her.
City Arts, Philippa Kiraly
It would be hard to forget … Hendrix' creamy richness and acting
Seattle Gay News, Rod Parke
There were three other singers that were clearly ready for the greatest operatic stages of the world…Just as deserving were mezzo-soprano Suzanne Hendrix (Waltraute in last summer's Ring) and soprano Marcy Stonikas…Both are finished artists in absolute control of their considerable assets.
Die Walküre, Seattle Opera – 2013
Seattle Times, Melinda Bargreen
The troupe of Valkyries — Wendy Bryn Harmer, Jessica Klein, Suzanne Hendrix, Luretta Bybee, Tamara Mancini, Sarah Heltzel, Renée Tatum and Cecelia Hall — are terrific, moving from roistering jollity to terror and grief at Brünnhilde's punishment.
Der fliegende Holländer, Lyric Opera of Kansas City – 2013
KCMETROPOLIS.org, Sarah Tyrell
Suzanne Hendrix's first utterance as Mary was a striking moment. There is a one-of-a-kind richness to that mezzo, making me wish Wagner had written Mary into a contrapuntal trio or quartet, so that all of that signature vocal color could be savored inside an ensemble number as well.
The Independent, Paul Horsley
Especially effective among the smaller roles was Suzanne Hendrix as Mary the nurse, which she sang with a warm, vibrant mezzo and a good-natured twinkle in the eye.
KC Stage, Libby Hanssen
Suzanne Hendrix as Mary also turned in a fine, sympathetic performance.
Arabella, Santa Fe Opera – 2012
New York Times, Anthony Tommasini
2012 George London Foundation Competition
New York Times, Zachary Wolfe
The contralto Suzanne Hendrix sang Erda's monologue from Wagner's "Rheingold" with stark power.
Opera News, Brian Kellow
Suzanne Hendrix, an impressive contralto.
The Opera Insider, Meche Kroop
Another impressive voice belonged to contralto Suzanne Hendrix whose compelling "Weiche, Wotan, Weiche!" from Wagner's Das Rheingold brought forth all the dread associated with Erde's warning.
Il Trovatore, Wichita Grand Opera – 2012
Wichita Eagle, David Baxter
Suzanne Hendrix powerfully dispatched her role.
Madama Butterfly, Wichita Grand Opera – 2011
Wichita Eagle, Lori Linenberger
Suzanne Hendrix gave the role of the maid Suzuki a strong presence in voice and reading, lending essential support throughout to her Butterfly.
Die Walküre, San Francisco Opera – 2010
San Francisco Chronicle, Joshua Kosman
And as a final index of this production's greatness, consider that even the eight Valkyries in Act 3 - so often an undifferentiated mass of female vocalism - sounded brilliant. They were Wendy Bryn Harmer, Tamara Wapinsky, Daveda Karanas, Suzanne Hendrix, Molly Fillmore, Maya Lahyani, Pamela Dillard and Priti Gandhi; a hearty "ho-jo-to-ho" to the lot of them.
San Francisco Classical Voice, Lisa Hirsch
"The third-act brings the expected dramatic climaxes. The Ride of the Valkyries is as exciting, and as thurderously played and sung, as you please, led by Valkyries Wendy Bryn Harmer, Tamara Wapinsky, Daveda Karanas, Suzanne Hendrix, Molly Fillmore, Maya Lahyani, Pamela Dillard, and Priti Gandhi."
In the hands of the artists that the San Francisco Opera has assembled..the act's principals and an imposing group of Valkyries – Pamela Dillard (Grimgerde), Molly Fillmore (Ortlinde), Priti Gandhi (Rossweise), Wendy Bryn Harmer (Gerhilde), Suzanne Hendrix (Schwertleite), Daveda Karanas (Waltraute), Maya Layhani (Siegrune) and Tamara Wapinsky (Helmwige) – the act would be an extraordinary musical experience even if it were a "concert production" without sets and costumes.
University of Missouri-Kansas City Conservatory Concerto/Aria Finalist Concert, 2010
www.kcmetropolis.org, Megan Browne Helm
Mezzo Soprano Suzanne Hendrix, a DMA candidate, sang the aria Ah, mon fils, soit beni! from Le prophete by Meyerbeer with controlled anguish in her vast and lustrous voice.
2009 Merola Grand Finale Concert
San Francisco Chronicle, Joshua Kosman
The exquisite all-female trio from Act 2 of Berlioz's "Béatrice et Bénédict" that concluded the first half of Saturday's Grand Finale of the Merola Opera Program was both a high point and an emblem…the sumptuous vocal blend of soprano Susannah Biller, mezzo-soprano Maya Lahyani and contralto Suzanne Hendrix seemed to sum up the splendors of an evening when the female side of the roster reigned supreme. By the time we got to the Berlioz trio…Hendrix had delivered a plangent, impeccably sustained account of Cornelia's "Priva son d'ogni conforto" from Handel's "Giulio Cesare,"
Suzanne Hendrix and Brian Jadge each provided plenty of heartbreak in arias from, respectively, Giulio Cesare and Macbeth.
www.examiner.com, Cindy Warner
Suzanne Hendrix…filled the house with her rich and velvety mezzo. She sang a variety of songs including Cornelia, her solo from Giulio Cesare by Handel; Magdalena from the Die Meistersinger ensemble; and Ursule from Beatrice et Benedict by Berlioz.
The performers were certainly a motley crew, ranging from a contralto to a countertenor, and for the most part they were very good and sometimes even splendid. Definitely in the latter category was contralto Suzanne Hendrix who sang an aria from Handel's "Giulio Cesare" with an absolutely beautiful voice.
Bay Times, Linda Ayres-Frederick
With too many memorable moments to count, the stunning show-stoppers included…the perfectly performed trio from Berlioz' Beatrice et Benedict by beauties, Susannah Biller, Maya Lahyani and Suzanne Hendrix.
2009 Merola Schwabacher Summer Concert
San Francisco Classical Voice, Janos Gereben
Near the end of almost a half hour of mighty impressive performances in Dutchman…there was just a line from the Mary leading the girls off stage, and that sound pushed me right back into the seat, ears and eyebrows raised high. The contralto with that amazing power was Suzanne Hendrix, who returned as Baba in the Medium and sang well…there are great roles for Hendrix out there, and you will see the name in headlines to come.
Suzanne Hendrix was completely disturbing as Baba in the Act II excerpt taken from The Medium.
Piedmont Post, Adam Broner
Suzanne Hendrix sang the difficult role of Baba, ranging from sultry contralto to manic laughter and vulgar shouts. Her near-psychotic conviction brought madness and murder closer to the surface than was comfortable.
spooky-as-hell Suzanne Hendrix
2009 Merola General Director Auditions
Hendrix was incredible as Erda…