Mahler RÜCKERT-LIEDER (Milano Musica / LaVerdi)

‘a beautiful voice, solid and powerful’
Emiliano Michelon, OperaClick (October 2019)


Lied Festival – LIFE Victoria de los Ángeles

‘[Drake] performed with great solvency and elegance, demonstrating an absolute complicity with the singer. The same can be said of Hässler, who from the first moment imposed the presence of his great voice in a room that, although it is very beautiful, does not offer the best acoustics possible, a detail that, I would dare to to say, it stays like an anecdote when you have the singer so close that you can hear all the nuances of their voice without any problem. […] And meanwhile, shyly, the attendees look at each other, with complicity, knowing that we have witnessed that magic exists. What a romantic night!
Manel Haro, Llegir en cas d’incendi (September 2019)

‘Martin Hässler’s debut in Barcelona could not leave a better impression’
Pep Gorgore, Barcelona Clásica (September 2019)

‘Hassler has a voice with magnificent projection within the central range and a colourful edge with brightness that makes it very pleasant. […] What can be said is that what was heard sounded very good, both for the intrinsic vocal quality as well as for accurate expression and good taste with a nuanced use of dynamic regulators. In this recital, which started well and ended up magnificent, the highest point was reached in the second part of the second half, with the Twelve lieder on poems by Justinus Kerner, op. 35 of Schumann, among them “Stille Tränen” (“Tears crippled”), perhaps the best lied that Schumann did and which Hässler and Drake played in a memorable way.’
Xavier Pujol, Revista Musical (September 2019)


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 guise, 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)

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


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)

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)

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)