Martin Hässler

Martin Hässler

"Martin Hässler sustained terrific presence throughout. His voice was mellow, his enunciation, distinct, superb"

Sarah Batschelet, Bachtrack

Representation: General Management

Photo: Inna Kustukovsky


Martin studied at the Guildhall School of Music and Drama, the University of Music and Theatre in Leipzig, and was a two year recipient of the Guildhall Artist Fellowship, during which time he gave his debut at Garsington Opera in Eugene Onegin followed by Lliam Paterson’s The 8th Door at Scottish Opera. He has since begun developing a further presence in Europe, with engagements at the Opéra National de Lyon, Théâtre des Champs-Élysées and Oper Leipzig. Equally at home on the recital and concert stage, Martin has performed at the Wigmore Hall, Berlin Philharmonie, Vienna Musikverein and the BBC Schubert Festival. With an extensive concert repertoire, performances have included Bach’s St. Matthew Passion and Handel’s Jephtha (Tonhalle Zürich), Beethoven’s 9th Symphony (under Howard Arman), and performances as part of ensemble project ‘Schubert & Co’, launched at the Oxford Lieder Festival with pianist and Festival Director Sholto Kynoch.


Full Biography

German bass-baritone Martin Hässler is an alumnus of the Leipzig Academy of Music and Guildhall School of Music and Drama’s prestigious opera programme, where he studied with Rudolf Piernay and Janice Chapman, and was a two year recipient of the Guildhall Artist Fellowship. He won second prize at Thomas Quasthoff’s Das Lied – International Song Competition, first prize at Bundeswettbewerb Gesang Berlin (junior) and Best Singer’s Award at the Gerald Moore Competition London.

In 2016 he made his debut at Garsington Opera as Captain in Eugene Onegin followed by Lliam Paterson’s The 8th Door at Scottish Opera and Hans Rotman’s Spiel im Sand at Oper Halle and Oper Magdeburg. Opera appearances at the Guildhall School in 2014/15 included notably Hans Werner Henze’s Ein Landarzt and Phaedra. He was a prize winner at Kammeroper Schloss Rheinsberg and sang Collatinus in Britten’s The Rape of Lucretia with the company and following this appeared as Siegfried in Schumann’s Genoveva at Tonhalle Düsseldorf.

Recent opera engagements include Ravel’s L’heure Espagnole (Don Inigo) at Opéra National de Lyon, Verdi’s Nabucco (High priest of Bel – alongside Leo Nucci) in Lyon and at Théâtre des Champs-Élysées and Opéra de Vichy, Marius Felix Lange’s Schneewittchen (Zwerg Adi) at Oper Leipzig and his debut in the role of Guglielmo Cosi fan tutte at Nevill Holt Opera.

As a recitalist Martin has sung at the Berlin Philharmonie, Deutsche Oper Berlin accompanied by Philip Moll, Schloss Herten (Klavierfestival Ruhr) with Graham Johnson, at the Oxford Lieder Festival with Sholto Kynoch and Bengt Forsberg, at LSO St. Luke’s, The Lyrical Salon in Weimar with Daniel Heide and at the Vienna Musikverein. He took part in the BBC’s Schubert Festival accompanied by Graham Johnson. Other recent highlights include his debut at the Wigmore Hall, recitals in Paris (Fondation Singer-Polignac), Amsterdam and Schubert’s Winterreise at Milton Court in London.

Concert appearances include St Matthew Passion with the Orchestra Sinfonica di Milano Giuseppe Verdi at the Duomo di Milano, and the Auditorium di Milano, as well as Haydn’s The Creation and Stabat Mater, Mozart’s Requiem, Beethoven’s Ninth Symphony (under Howard Arman), Brahms’ Ein Deutsches Requiem and Mendelssohn’s Elias and Paulus. Further performances include his debut at the Gewandhaus Leipzig with Bach’s Christmas Oratorio and Bach’s St Matthew Passion and Handel’s Jephtha at Tonhalle Zürich.

Martin begins his 2019-20 season by opening the LIFE Victoria Lied Festival in Barcelona with a recital alongside pianist Julius Drake, celebrating the theme of ‘Women in Lied’. On the opera stage Martin returns to Opéra de Lyon to sing Ratzekahl Irrelohe, Oper Leipzig for performances as Monterone Rigoletto, and will make his operatic debut in Italy, singing the role of Alaska Joe in Kurt Weill’s Rise and Fall of the City of Mahagonny with Teatro Regio di Parma and in Reggio Emilia. On the concert platform he joins the Orchestra Sinfonica di Milano Giuseppe Verdi to sing Mahler Rückert Lieder, appears at the Frauenkirche Dresden for Bach’s Christmas Oratorio with Ludwig Güttler, and performs a recital alongside Christina Gansch as part of the Oxford Lieder Festival 2019, accompanied by pianist and festival Director, Sholto Kynoch.

Artist Website:

Promoters please note: if you wish to include this biography in a concert programme etc, please contact Hazard Chase to ensure that you receive the most up to date version.  Email: Evie Parker



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MOZART Cosi fan Tutte (Nevill Holt Opera)

‘Martin Hässler asserts a firm and secure bass-baritone’
Sam Smith, MusicOHM (June 2019)

‘Hässler’s handsomely sung Guglielmo stood out from the crowd’
Hugh Canning, The Sunday Times (July 2019)

“Their lovers, whether in Italian or Albanian guide, were well sung by Nick Pritchard […] and Martin Hässler, who was both resonant and funny as a swashbuckling Guglielmo”
Nigel Simeone, Opera Magazine (August 2019)

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RAVEL L’heure Espagnol (Opéra de Lyon)

‘Hässler takes the role of Don Iñigo Gomez, […] with his commanding voice’
Emmanuel Deroeux, Olyrix, (November 2018)

‘Don Gomez ( Martin Hässler ) and Torquemada ( Grégoire Mour ) are both relevant caricatures with impeccable voices.’
Pierre Liscia, Bachtrack (November 2018)

‘The imposing Don Gomez, sung by Martin Hässler varies the registers well, from his majestic entrance aria.’
Emmanuel Andrieu, ConcertoNet, (November 2018)

‘The comical effects of Martin Hässler’
Fabrice Malkani, Forum opera, (November 2018)F


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Verdi NABUCCO (Opéra National de Lyon)

‘Let us mention again in this glittering cast […] Martin Hässler, bass of an astonishing maturity (High Priest)’
Beate Langenbruch, Bachtrack (Nov 2018)

‘Martin Hässler, robust voice and driving diction, also makes notable appearances as High Priest of Baal.
Stéphane Lelièvre, Olyrix (Nov 2018)

‘The other three secondary roles are impeccably held, especially Martin Hässler’s High Priest, a superbly projected solid voice’
Jean-François Lattarico, Classique News, (Nov 2018)

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Handel JEPHTHA (Capriccio Baroque Orchestra / Tonhalle, Zürich)

‘Martin Hässler sustained terrific presence throughout. His voice was mellow, his enunciation, distinct, superb’
Sarah Batschelet, Bachtrack (Nov 2016)

Julian Philips THE TALE OF JANUARIE (Guildhall School of Music and Drama)

‘Hässler demonstrates an exceptionally strong and firm baritone as Pluto’
Sam Smith, musicOMH (March 2017)

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Henze EIN LANDARZT AND PHAEDRA (Guildhall School)

‘Martin Häßler gripped from the very opening, combining vibrant tone, strongly vivid words and a securely involving sense of narration’
Robert Hugill, Planet Hugill, (June 2015)

‘Landarzt holds up pretty well, though, especially when delivered with the intensity and distinct edge of the sinister that Martin Hässler brings to the role of the doctor’
Andrew Clements, The Guardian, (June 2015)

‘Hässler’s performance proved deeply impressive, in attention to words, text, gesture, and their marriage.’
Mark Berry, Seen and Heard International, (June 2015)

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Artist Manager

Sue Nicholls (Cambridge)
01223 706023

Associate Artist Manager

Evie Parker (Cambridge)
01223 706414