Martin Hässler

Martin Hässler

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

Sarah Batschelet, Bachtrack


Representation: General Management

Photo: Inna Kustukovsky

Overview

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.

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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: www.martinhaessler.com

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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News

Christmas with Hazard Chase

December 2nd, 2019

Festive concerts throughout the Christmas season

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Magic, Myths and Mortals

October 9th, 2019

Oxford Lieder Festival: HC artists perform at Sholto Kynoch’s prestigious song festival

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UK Summer Opera 2019

May 20th, 2019

Hazard Chase artists in this year’s summer opera festivals.

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Holy Week 2019

April 5th, 2019

Hazard Chase artists celebrate the lead up to Easter

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‘Tis the Season

November 26th, 2018

HC artists’ concert performances this festive period

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Reviews

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)

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‘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)

 

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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 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)

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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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Artist Manager

Sue Nicholls (Cambridge)
sue.nicholls@hazardchase.co.uk
01223 706023

Associate Artist Manager

Evie Parker (Cambridge)
evie.parker@hazardchase.co.uk
01223 706414