BASS-BARITONE

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)


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)