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"Other cast members stood out (...): the affecting textures of Martin Häßler’s

Ned Keene"

- Joshua Barone, The New York Times (February 2022)

Britten PETER GRIMES (Wiener Staatsoper)

"Häßler,  showed a supple lyric baritone, concentration to detail, and an endearing stage presence. One can only hope he is being groomed for bigger roles"

- Larry L. Lash, Slipped Disc (Sept 2022)

Puccini LA BOHÈME (Wiener Staatsoper)

"Martin Häßler pleases with his softly timbred baritone as elegant Dr. Falke"

- Dr. Helmut Christian Maye, Opera Online (January 2021)

Strauß FLEDERMAUS - Wiener Staatsoper

"Martin Häßler’s debut in Barcelona could not leave a better impression"

- Pep Gorgore, Barcelona Clásica (September 2019)

Lied Festival – LIFE Victoria de los Ángeles

"Let us mention again in this glittering cast […] Martin Häßler, bass of an astonishing maturity "

- Beate Langenbruch, Bachtrack (Nov 2018)

Verdi NABUCCO (Opéra National de Lyon)

"... 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)

Henze EIN LANDARZT AND PHAEDRA (Guildhall School)

Since becoming a member of the Vienna State Opera ensemble in the 2020/21 season Martin Häßler has appeared in roles including Dr Falke (Die Fledermaus),  Fritz Kothner (Die Meistersinger), Donner (Rheingold), Don Fernando (Fidelio), Schaunard (La Bohème), Ned Keene (Peter Grimes), Masetto (Don Giovanni), Cesare Angelotti (Tosca), Moralès (Carmen), First Nazarene (Salome) as well as Simon in Haydn’s The Seasons with the Vienna State Ballet.

 

Role debuts in his forthcoming season at the Vienna State Opera include Ping in Claus Guth’s new production of Puccini’s Turandot conducted by Franz Welser-Möst, Der Einäugige (Die Frau ohne Schatten) with Christian Thielemann, performances as Melot (Tristan und Isolde) with Philippe Jordan as well as Bachs St Matthew Passion in Basel and Hamburg's St Michaelis with Jörg Endebrock. 

 

Previous opera engagements included Guglielmo in Così fan tutte (Nevill Holt Opera, The Sage Gateshead), Heerrufer in Lohengrin, Monterone in Rigoletto and Adi in Marius Felix Lange’s Schneewittchen (Oper Leipzig), Ratzekahl in Schreker’s Irrelohe and Don Iñigo in Ravel’s L'Heure espagnole (Opéra de Lyon), ll Gran Sacerdote in Nabucco (Théâtre des Champs-Élysées, Opéra de Vichy), Siegfried in Schumann’s Genoveva (Tonhalle Düsseldorf), Collatinus in Britten’s The Rape of Lucretia (Kammeroper Schloss Rheinsberg, Theater Gera-Altenburg) and Henze’s Ein Landarzt (Barbican Centre, London).

 

He worked with conductors Howard Arman, Marco Armiliato, Christoph Altstaedt, Sian Edwards, Bertrand de Billy, Ádám Fischer, Christoph Gedschold, Michele Gamba, Ludwig Güttler, Axel Kober, Giedre Šlekytė, Alexander Soddy, Masaaki Suzuki, Patrick Lange, Antonello Manacorda, Cornelius Meister, Franz Welser-Möst, Andrés Orozco-Estrada, Alejo Pérez, Daniele Rustioni, Jonathan Stockhammer and Simone Young as well as directors Frank Castorf, Keith Warner, David Bösch, Calixto Bieito, Jossi Wieler, Sergio Morabito and James Bonas.

 

As an avid recitalist Martin has sung at Wigmore Hall, the Berlin Philharmonie, at Klavierfestival Ruhr with Graham Johnson, at LIFE Victoria Barcelona with Julius Drake, at Oxford Lieder with Sholto Kynoch and Bengt Forsberg, at LSO St. Luke’s, at Der Lyrische Salon with Daniel Heide and at the Vienna Musikverein. In 2019 he performed Mahler’s Rückert Lieder with the Orchestra Sinfonica di Milano Giuseppe Verdi.

 

Concert appearances include Bach’s Passions and Christmas Oratorio (Frauenkirche Dresden), Handel’s Jephtha and Judas Maccabaeus (Tonhalle Orchestra Zurich), Haydn’s The Creation and The Seasons, Mozart’s Requiem, Beethoven’s Ninth Symphony, Brahms’ German Requiem as well as Mendelssohn's Elijah and Paulus. In April 2023 he made his debut in Japan performing Bach’s St Matthew Passion with Bach Collegium Japan and Masaaki Suzuki in Tokyo.

 

He graduated from the Hochschule für Musik und Theater Leipzig and the Guildhall School of Music and Drama’s opera programme where he studied with Rudolf Piernay and Janice Chapman. He is now being mentored by Robert Dean.

 

Martin held a scholarship from the German National Academic Foundation and is currently working for mentoringArts at the Hochschule für Musik und Theater Leipzig.

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