Marcus Haddock


Traviata at the Liceu, 2001
La Traviata at the Liceu, Barcelona, 2001

Amsterdam 1997:
This reprise has its strong sides: Marcus Haddock is a passionate Alfredo... Again he impressed with his strong voice which he combines with a nice cantabile...
De Telegraaf, 10/1997
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PRESS REVIEWS
(Click here for reviews in German and French)

L'Amore dei tre Re - Un Ballo in Maschera - La Bohème - Carmen - Les Contes d'Hoffmann - L'Elisir d'Amore - Eugen Onegin - Faust - Madama Butterfly - Otello - Rigoletto - Roméo et Juliette - La Rondine - Simon Boccanegra - Tosca - La Traviata - Verdi Requiem - Le Villi - Werther

 

ALFREDO in Verdi's La Traviata

Amsterdam 1997:
... the very convincing tenor Marcus Haddock
Het Parool, 10/1997

The tenor Marcus Haddock is a fascinating and vocally more beautiful and warmer Alfredo than [another tenor] four years ago.
Het Financieel Dagblad, 10/1997

Marcus Haddock grew, the more demanding the performance became...
Haagsche Courant, 10/1997

As Alfredo, Marcus Haddock is a brat with bravura...
NRC Handelsblad, 10/1997

This reprise has its strong sides: Marcus Haddock is a passionate Alfredo... Again he impressed with his strong voice which he combines with a nice cantabile...
De Telegraaf, 10/1997


AVITO in Montemezzi's L'Amore dei tre Re

Bregenz 1998 (available on CD):
American Marcus Haddock, whose tenor has an attractive squillo, was Avito.
Opera News, 10/1998

... impressively sung by the talented and attractive Marcus Haddock.
New York Theater Wire, 8/1998

Marcus Haddock as Avito: a tenor in the lyrical to heroic range with a very flexible top and compact and expressive diction.
Morgen, 7/1998

Marcus Haddock's tenor masters the high notes and long melodic arches with unforced streaming legato.
Der Landbote, 7/1998


CASSIO in Verdi's Otello

Bonn 1993:
The excellent Marcus Haddock as Cassio...
General-Anzeiger, 6/1993

... Marcus Haddock an exceptionally good Cassio.
Opera Magazine, 6/1993

Reggio Emilia 1992:
Outstanding ... Marcus Haddock, a very elegant Cassio.
Opera Magazine, 12/1992


CAVARADOSSI in Puccini's Tosca

San Diego 2009:
As the rebellious painter, Cavaradossi, American tenor Marcus Haddock brought clarion high notes and legato line to the part, along with a clear, individualized conception of the character.
San Diego Union-Tribune, 1/2009

French soprano Sylvie Valayre and American tenor Marcus Haddock make their company debuts as the lovers Tosca and Mario, and American bass-baritone Greer Grimsley returns to the company as the evil Scarpia. Together, they're an impressive trio with big, well-controlled voices that easily fill the cavernous Civic Theatre but lose nothing in nuance or intonation. Their voices also blend together beautifully... As Mario, Haddock has a large, well-modulated voice, a sustained line and easy access to his top notes. He's especially moving in the haunting third-act aria "E lucevan le stelle," a mournful reverie on Tosca as he awaits execution.
North County Times, 1/2009

...a forceful, "baritonal" tenor (Marcus Haddock) with an impressive upper register.
SanDiego.com, 1/2009

Set against the splendidly lavish returning sets of Jean-Pierre Ponnelle we first see Marcus Haddock tackle the role of Cavaradossi with unhesitating alacrity and passion with long sustained legatos that are most pronounced particularly in the tenor's rendition of "E lucevan le stelle" in Act III with thunderous applause.
ConcertoNet.com, 1/2009

Exceptionally handsome and dramatically engaging, Haddock has a baritone quality that soars surprisingly and easily to the requisite vocal heights.
sdnews.com, 1/2009

Marcus Haddock was most impressive vocally, his "Vittoria!" in Act II was riveting, as was his "E lucevan le stelle."
Opera Tattler, 1/2009

Marcus Haddock, as Cavaradossi in his SDO debut, gave a heartfelt "Recondita armonia" that earned him enthusiastic applause in the first act. He managed the tessitura well and held the final high note, which rang with joy.
Operaclick, 1/2009

... Tosca's beloved painter, Mario Cavaradossi, is Marcus Haddock, a young American tenor with a dashing stage charisma and a very pleasant virility to his voice. This is a young and palpably idealistic Cavaradossi... (...) he very nearly stole the show from the title role and delivered a very moving "E lucevan le stelle" in the final act.
Epinions.com, 1/2009

Washington Opera 2000:
... led by a starry cast... Haddock's performance, which is distinguished by a confident top voice, presents the painter-lover-rebel as an aristocrat, encountering life with gloves on.
Washington Post, 2/2000

Marcus Haddock's Cavaradossi is wonderfully sung; his phrasing is warmly Italianate, and his big, healthy voice opens out thrillingly on high notes.
Washington City Paper, 2/2000


DON JOSÉ in Bizet's Carmen

Houston 2006
... things couldn't get much better when Texas tenor Marcus Haddock poured out his love for Carmen in Act II's Flower Song. He delivered heart-touching fervor with ringing sound, excellent phrasing and deep feelings that never became maudlin.
Houston Chronicle, 4/2006

This guy sings and acts with phenomenal passion and musical precision. Initially enthralled by Carmen's allure and then subsequently crazed at her final refusal of love, Haddock gives us the dramatic gamut while at the same time remaining musically focused. His duets with Uria-Monzon are so steamy you'd think they just got off the dressing room sofa.
Houston Voice, 5/2006

Glyndebourne 2002 (available on DVD):
(Anne Sofie von Otter's) exciting partners were Texan tenor Marcus Haddock, a Don José with real metal in the voice, and French baritone Laurent Naouri, an Escamillo with heady vocal appeal and some serious swagger.
Opera News, 11/2002

The Texan Marcus Haddock, golden-voiced especially on top notes, made a man of Don Jose, usually cast as a gormless thicko.
Evening Standard, 7/2002

Marcus Haddock's José sang with gentle, warm tone for most of the first act, so that when he first let fly at the moment of surrender to Carmen, the effect was shattering. ... Haddock's José is calm, reasonable, while she (Anne Sofie von Otter's Carmen) is aggressive and sarcastic. You almost feel she deserves what's coming to her.
The Times, 7/2002

The supporting cast also has great qualities, especially where they are most needed, in the Don José. Here the tenor Marcus Haddock from Texas provides Ms. von Otter with the superlative musician she needs opposite her. Like her, he eschews all vulgarity. Even in the intense desperation of the final act, he stays true and sure: a cry of "Carmen!" is a whole phrase, nicely formed, and all the more touching for being within the lyrical world that gives the character his existence. Mr. Haddock's sound throughout is stylish, and his phrasing elegant, yet the result is candid and natural.
New York Times, 7/2002

Marcus Haddock's Don José is ... a knock-out performance. Haddock shows us a fundamentally weak man in the grip of a passion he cannot understand, let alone control. The voice is as virile and as secure as they come, but the underlying tenderness is always there, as well. Don Josés are so rarely believable, but this one is, completely so. His final scene is genuinely pathetic, a broken man looking for a way out.
The Independent, 7/2002


IL DUCA in Verdi's Rigoletto

Ghent 1998:
Marcus Haddock is an excellent Duke of Mantua.
Matin, Belgium, 1/1998

Geneva 1996:
But above all it is the Duke of Marcus Haddock: the voice perfectly healthy, the technique sure, the vocal line rigorous, the phrasing just right.
Opera International, 2/1997

Marcus Haddock's tenor is distinguished by an exquisite timbre and an easy top...
Neue Zürcher Zeitung, 12/1996

On the Geneva stage, Marcus Haddock demonstrates yet again his perfect elegance and a beautiful tenor timbre...
Le Courrier, 12/1996

Verdi composed some of his most beautiful (and difficult) music for the Duke of Mantua. But his repugnant personality rarely attracts our sympathy. Therefore, the American tenor Marcus Haddock, at the height of his vocal powers combining beauty of timbre with a handsome appearance, merits the applause even more.
Culture Journal, 12/1996


FAUST in Gounod's Faust

New York, March 2003:
Tall, dark and handsome Texan tenor Marcus Haddock made his Met debut as Faust on March 21, singing with as much composure as he acted. His tone, if sometimes throaty, never turned cloudy. "Salut, demeure" rang out as clear as if it were "Oh, what a beautiful mornin'!," yet its midsection, suavely shaped, caught the poetry of the moment. If the reactions of Emily Pulley's Marguerite were to be believed, the sincerity of this Faust worked more persuasively than Méphistophélès's parlor tricks. Haddock never faltered in his dashing stage manner, despite some dramatically justifiable stridency during the prison scene.
Opera News, 6/2003


GABRIELE ADORNO in Verdi's Simon Boccanegra

San Francisco Opera, September 2008:
Marcus Haddock's bright tenor, resplendent with Verdian thrust on the high notes, made for an ardent Gabriele Adorno, Amelia's beloved.
Oakland Tribune, 9/2008

...his scenes with Frittoli sounded both ardent and sweetly blended.
San Francisco Chronicle, 9/2008

Marcus Haddock brought his youthful, burly tenor voice to the role of Amelia’s impetuous lover, Gabriele Adorno.
New York Times, 9/2008

Royal Opera House Covent Garden, London, May 2008:
...the lively American tenor Marcus Haddock as Gabriele.
The Times (London), 5/2008

...American tenor Marcus Haddock brings the requisite resonance and dash to Adorno.
The Observer (London), 5/2008

Santa Fe, July 2004:
Marcus Haddock was excellent as her lover, Gabriele Adorno. His plangent tenor coiled through Verdi's high-flying lines without qualm, and he showed laudable musicality in the many duets and trios. His broadly phrased aria, O inferno, was a sonic sun breaking through clouds.
Santa Fe New Mexican, 7/2004


GUSTAVO / RICCARDO in Verdi's Un Ballo in Maschera

Philadelphia 2005 (the production used the Boston version)
Tenor Marcus Haddock was impressive as Riccardo... The role of Riccardo was poorly drawn by librettist Somma - so many questions regarding his motivations are never convincingly answered - but Haddock's straightforward delineation of the character's emotions filled in most if not all of the gaps. Plus he sang with exemplary power and projection, especially in his upper range, and even turned a shapely phrase of lyrical beauty now and then.
News of Delaware County, 11/2005


HOFFMANN in Offenbach's Les Contes d'Hoffmann

Los Angeles 2002:
Defying the treacherous tessitura of the title role, tenor Marcus Haddock sounded impassioned yet lyric throughout. He provided an admirably deranged characterization for the Kleinzach song, while in the Venetian act he scaled the heights for a magnificent "O dieu de quelle ivresse."
Opera News, 4/2003

Orange 2000:
Opera fans in Orange this summer stayed the course despite a rather chilly wind to enjoy an excellently cast performance of 'Les Contes d'Hoffmann'... Marcus Haddock drew a sensitive and stylish portrait of the poet. What other singer can sing Hoffmann with such a wealth of nuances and musicianship these days?
Opernglas, 11/2000

January 1999 saw the premiere of Les Contes d'Hoffmann based on the latest Michael Kaye edition at the Staatsoper in Hamburg, including 144 measures at the end of the Giulietta act never before performed. Marcus Haddock in the title role scored a huge public - and critical - success:

Hamburg 1999:
For US-tenor Marcus Haddock this was his debut in Hamburg, and he is a revelation as Hoffmann. This American in Offenbach's Paris unites French mellowness with romantic strength, all registers of the part are effortlessly at his command, and he was deservedly celebrated for his songs and arias.
Hamburger Abendblatt, 1/1999

The big discovery of the evening is the young American tenor Marcus Haddock. Not only is his the ideal timbre for the French heroic roles - compact and well-focused in the attack, sensual in the lyrical moments, he also gives his all physically and thus makes Hoffmann's multiple personality come to vivid life.
Der Tagesspiegel, 1/1999

American Marcus Haddock convinced as much with his mellow, caressing tenor as with his skill as an actor.
Wiesbadener Kurier, 1/1999

... in the lyrical passages he laid a wondrously beautiful, technically captivating sound track over the biographical scrap heap he was portraying.
Frankfurter Allgemeine Zeitung, 1/1999

Marcus Haddock masters this killer role with unflagging energy...
Tages-Anzeiger, 1/1999

American tenor Marcus Haddock received the biggest ovations of the evening for his Hoffmann.
Rundschau, 1/1999

The men took top honors of the musical side of the evening: first and foremost Marcus Haddock as Hoffmann, whose pleasing timbre and virile dramatic tenor mastered the part effortlessly; who moreover surprised with great stage presence and histrionic mobility,and who always had the necessary reserves for the central musical effects of the role at his disposal.
Opernglas, 3/1999

Bonn 1994 (role debut):
Marcus Haddock displayed great acting skills in the part of the poet and impressed with his beautiful voice...
Opera Magazine, 5/1994

As an actor, Marcus Haddock's portrayal of an extreme character was phenomenal; as a singer, he projected forcefully, but at the same time he paid particular attention to the subtleties of the finely drawn lyrical aspects of the role.
General-Anzeiger, 1/1994

As Hoffmann, Marcus Haddock is an excellent actor and equally excellent as a singer, with a good top...
Opernwelt, 3/1994


LENSKI in Tchaikovsky's Eugen Onegin

Lausanne 1994:
American tenor Marcus Haddock sang and acted with melancholy grace as Lenski.
Opera News, 1/1995

Marcus Haddock - the veritable revelation of this performance -, is a lyrical Lenski, of perfect musical line, his demeanor perhaps a little unpolished for a poet, but sincere.
Opera International, 11/1994


NEMORINO in Donizetti's L'Elisir d'Amore

Bordeaux 1988:
L'elisir is often revived just as a vehicle for some international star; here we had a mainly young cast, good actors all, in whom it was easy to believe, and the comedy worked like a charm. Nemorino was the American tenor Marcus Haddock, who was invited back after making a successful debut in the festival's Salieri Falstaff. Honeyed charm is not the strong point of his singing, but he mastered the high tessitura with something of a heroic ring and gave a most convincing performance into which his 'Una furtiva lagrima' fitted naturally, rather than as a show-stopping number.
Opera Magazine, 8/1988


PINKERTON in Puccini's Madama Butterfly

Royal Opera House, London 2003
... as Pinkerton, Marcus Haddock, whose full-bodied, Italianate tenor soars above the orchestra without a hint of strain, is a singer to watch out for.
The Guardian, 9/2003

Washington 2001
Pinkerton's scene outside Butterfly's house in Act 3 was played just for the music, and the music revealed substantial vocal talent. Marcus Haddock's Pinkerton was smoothly sung without braying or strain.
Washington Post, 10/2001

Geneva 1998:
... Marcus Haddock as Pinkerton is [Chen Sue's] excellent, eminently musical partner; his well-balanced tenor has the top demanded by this role, his vocal portrayal is subtle and without resorting to affected pressed notes.
Neue Zürcher Zeitung, 6/1998


ROBERTO in Puccini's Le Villi

Bonn 1992:
... this tenor should be watched ... he is endowed with fine vocal material which is likely to develop in the direction of the Zwischenfach.
Opera Magazine, 1/1993


RODOLFO in Puccini's La Bohème

Fort Worth 2006
Sandra Lopez and Marcus Haddock made FWO's most recent 'La Bohème' a work of art. ... The first cast featured a top-notch tenor for the romantic lead of Rodolfo. Fort Worth-born and Lubbock-raised Marcus Haddock regularly performs with major opera companies in America and abroad. (With the Dallas Opera in recent seasons, he was the Duke in Rigoletto and Alfredo in La Traviata.) His bright, robust instrument carries effortlessly over the thickest ensembles, and his easygoing stage presence is engaging. In his local debut this past weekend, he easily won new fans here.
Fort Worth Weekly, 3/2006

Tenor Marcus Haddock as poet Rodolfo has the pure, booming voice that makes it clear why Mimi falls for him so quickly.
Fort Worth Star-Telegram, 3/2006

Bath 1992:
For Mimì, the company had secured the services of Renée Fleming. ... There was little about this Mimì that was frail or unassuming, least of all the resounding chest register ... But then she did have to deal with a fairly pushy Rodolfo in Marcus Haddock, another American guest. The macho stance with which he went about his courting suggested not so much the sensitive poet as a predatory lover, self-confident, with singing to match, long-breathed, robust, the voice bristling with tension. Together they looked a very modern couple with little time for 19th-century mores.
Opera Magazine, 10/1992

Rodolfo on CD
Spano, Atlanta Symphony Orchestra and Chorus; Amsellem, Haddock, Jarman, Capitanucci. Recorded 2007. Telarc 80697 (2 CDs)
By Anthony Tommasini, The New York Times, August 17, 2008

Mr. Spano's work offers proof that taking a fresh approach to an operatic staple need not come down simply to conducting it faster. If anything, his roomy tempos allow ample time for the singers to shape melodic lines and trade banter with naturalness and clarity. Even so, this is a crisp, richly textured performance. Mr. Spano is especially good at revealing musical structure: the layout of the phrases, what leads to what.


ROMÉO in Gounod's Roméo et Juliette

Geneva 1996:
It would be hard to imagine a more convincing young couple than Marcus Haddock and Leontina Vaduva. Haddock goes from strength to strength: he is good-looking, musical and accurate, and brings a nicely understated sense of lyrical rapture. The voice ... is clean and true, and is filling out well.
Opera Magazine, 8/1996

Marcus Haddock as Roméo overwhelms with the beauty of his tenor: the mellowness, the noble roundness, the resonance. The phrases are spun with long legato, whereby his voice responds easily and is capable of unforced emphasis; his performance his distinguished by an enormous spectrum of expressivity which mercifully excludes any tendency to sob or other vocal exaggerations.
Neue Zürcher Zeitung, 4/1996

Leontina Vaduva, a pretty Juliette with a voice of milk, lost Roberto Alagna (too bad for him!) but she gained with Marcus Haddock a Roméo who was phenomenal on all points, a matchless stylist, a credible actor, a tenor generous with colour and text, whose timbre has become more substantial since his Lenski and Rodolfo last season.
Journal de Genève, 4/1996

Vocally, the Roméo of Marcus Haddock dominated the stage with his luminous timbre, the solidity, the limpidness, and the intensity of his singing. A first-rate tenor...
Tribune de Genève, 4/1996

... Marcus Haddock confirmed ... his place among the great tenors of the future.
Le Courrier, 4/1996


RUGGERO in Puccini's La Rondine

Los Angeles 2000:
Haddock's vocal intertwining of strength, tenderness and yearning restlessness proves a good mate to Vaness' anxious passion.
Los Angeles Daily News

Washington 1998 (telecast on PBS in December 1999, available on DVD):
Most nearly perfect in this generally excellent cast were tenor Marcus Haddock as the heroine's young lover Ruggero, and soprano Inva Mula as the maid Lisette. It is time to stop fretting about who is going to be the "fourth tenor," or for that matter, the next three when the current three wind down. And never mind those highly-hyped contenders cranked out by the publicity machines; as long as talents as convincing and unmistakably authentic as Marcus Haddock come along - and without unrealistic fanfare - opera lovers have nothing to worry about. Even if Haddock (along with everybody else) had not been visually believable as Magda's student lover, his singing would have been a glory in any production. The clarity and beauty of his voice - and his shapely phrasing of the beautiful melodies - were a constant joy. There were moments when his voice rang out with the kind of stabbing passion that opera lovers dream about, moments that shivered the soul and did sweet justice to Puccini's melodic genius.
Classical Singer, 2/2000

Marcus Haddock's passionately sung Ruggero began tentatively, but the tenor built the character both musically and dramatically in convincing fashion.
Opera News, 6/1998

His voice is unusually deep, with a certain hard intensity more commonly identified with the lower register. He sang the role with a mixture of ardor and clarity...
Washington Post, 3/1998

Bonn 1995:
... Ainhoa Arteta and Marcus Haddock, who provided vocal magic in the love scenes.
General-Anzeiger, 12/1995

... the radiant tenor of American Marcus Haddock as Ruggero.
Welt am Sonntag, 12/1995

... in recent years his lyric tenor has gained enormously in brilliance and power.
Bonner Rundschau, 12/1995


TENOR PART in Verdi's Messa da Requiem

Saint Louis 2009:
Tenor Marcus Haddock's voice rang with a most satisfying and authentic Italianate squillo.
St. Louis Post-Dispatch, 2/2009

Paris 1996:
... the young American Marcus Haddock possessed all the necessary qualities, the velvet as well as the strength, the timbre as well as the valor, the color of the high notes as well as the vocal solidity. The Ingemisco had a proud allure.
Le Figaro, 6/1996


WERTHER in Massenet's Werther

Bonn 1993:
Marcus Haddock... debuted in the demanding title role of Massenet's Werther. His rather lyric, beautiful and very "romantic" tenor fitted this idealistic dreamer like a glove.
Orpheus, 10/1993

... with Marcus Haddock, Bonn has an interpreter of the role who can hold his own both vocally and as an actor, and who, on account of a healthy mixture of intelligence and ecstasy and wise use of his enormous vocal creative resources, is on his way to the very top.
General-Anzeiger, 7/1993

Werther on CD
Uria-Monzon/ Massis/Azzaretti/ Marliere/Lille National Orch/Casadesus (Naxos, 2 CDs)
By Edward Greenfield, The Guardian (U.K.), January 3, 2003


No opera is luckier on disc than Massenet's Werther. With nine first-rate versions already on the stocks, it is bold of Naxos on its bargain label to offer yet another. Happily, the result is a great success.

As with the excellent Naxos set of Debussy's Pelleas et Melisande, the company went to Lille, and there in the impressive 20th-century baroque opera-theatre recorded a series of performances live, editing the results together.

As with Pellèas, the conductor is Jean-Claude Casadesus, and again his direction is totally idiomatic. He draws not just from the excellent line-up of soloists but from the whole ensemble a performance that in its urgency leads you magnetically through the unconventional yet moving plot based on Goethe's novel, The Sorrows of Young Werther.

If only a generation ago the clear first favourite among Massenet operas was Manon, Werther - more complex, more problematic - has taken over, thanks above all to the involving way Massenet presents the hopeless love of the poet Werther for Charlotte, and her agonising responses.

Where Gounod's Faust is a travesty of the Goethe original, this other gallicising of Goethe is fully worthy of its model, offering a profound challenge to the two principal singers. In the title role, the American Marcus Haddock gives an ardent performance, using his clear tenor sensitively, never simply belting. The mezzo Beatrice Uria Monzon, one of the few French singers currently on disc in this role, is even more impressive.

Her rich, sensuous voice contrasts well with the fresh tones of Jael Azzaretti as Charlotte's teenage sister, Sophie; and the baritone, Renè Massis, as Charlotte's husband, Albert, is convincingly youthful too, not the stolid figure he can be.

How then does this new set compare with the classic versions already in the catalogue? It is true that Placido Domingo, for example, in his 1971 live recording from Munich on Orfeo, is more creatively imaginative than Haddock, and Angela Gheorghiu, in her 1999 studio recording for EMI, caresses the ear with ravishing pianissimos impossible on stage. There is also an earlier Naxos version in its historic series, which was recorded in 1931, with Georges Thill and Ninon Vallin in the central roles as models of style.

Yet this latest Naxos set is more than just a bargain alternative, offering a powerfully enjoyable experience, made the more involving by the tensions of a live staging. Though the recording level is rather low, the voices are very well balanced, with words exceptionally clear - and, unlike most bargain versions of opera, this one has a complete libretto in French, plus a detailed synopsis in English.