Markus Matheis

Born in Frankfurt, Germany, Markus Matheis gained early performing experience as a boy treble soloist for the Oper Frankfurt and the Alte Oper Frankfurt. He subsequently studied voice with Carol Bruetting and Thomas Meyer, and performance style, particularly the performance of Lied, with Graham Johnson, Irwin Gage and Dalton Baldwin.

Markus’ theatre work stretches from conventional to experimental theatre productions – including Mozart’s “Don Giovanni”, Menotti’s “The Consul”, Sondheim’s “A Little Night Music” or the scenic realisation of Ligeti’s “Aventure”, as well as a series of world premieres, including collaborations with the Swiss Ensemble Phoenix and the ensemble für neue musik zürich.

Markus has an extensive repertoire of the oratorios of the Baroque and Romantic eras as well as of contemporary church music, having worked with Deutsche Radiophilharmonie, Mitteldeutsches Kammerorchester or Beethoven Orchester Bonn and performed in Australia, China and various countries all over Europe.

As often as possible, Markus focuses on Lied and Art Song, where his dedication to this intimate art form found recognition as a prize winner and finalist of international competitions. Currently Markus is looking forward to his return to Australia in August, where he will present three Lieder recitals including at the Melbourne Recital Centre and will be adjudicating Australia’s National Liederfest.

Read more >

THEATRE — André Erwin und Elmire (Vater) — Bellini I Puritani (Riccardo) — Bizet Les pêcheurs de perles (Zurga) Carmen (Escamillo, Moralès, Dancairo) — Brecht Die Dreigroschenoper (Balladensänger, Sprecher) — Donizetti Don Pasquale (Malatesta) L’Elisir d’Amore (Belcore) — Dove The enchanted pig (Hildebrandt, North Wind) — Fehlmann Tragödie (Bariton) — Gounod Faust (Valentin) Romeo et Juliette (Mercutio) — Graewe „alle kennen meine visage“ (Bariton) — Händel Acis and Galathea (Acis) — Heisch Rondo (Bariton) — Humperdinck Hänsel und Gretel (Vater) — Korngold Die tote Stadt (Fritz) — Krenek Johnny spielt auf (Daniello) — Lang Experiment (Bariton) — Léhar Die lustige Witwe (Danilo) — Ligeti Aventures (Bariton) — Lortzing Wildschütz (Graf) — Marschner Hans Heiling (Hans Heiling) — Menotti The Consul (John) — Milhaud Medea (Creon) — Mozart Die Zauberflöte (Papageno) Cosi fan tutte (Guglielmo) Le nozze di Figaro (Graf, Bartolo) Don Giovanni (Leporello) — Offenbach Ritter Blaubart (Popolani) — Palomar Bazaar Cassandra (Frank) — Rossini La Cenerentola (Dandini, Alidoro) Gelegenheit macht Diebe (Martino) Il barbiere die Siviglia (Figaro) — Sondheim A Little Night Music (Mr Lindquist) — Strauss, Richard Ariadne (Harlekin) — Strauß, Johann Die Fledermaus (Dr. Falke)

CONCERT — Bach, Johann Sebastian Oratorien/Messen: Johannespassion Matthäuspassion Weihnachtsoratorium Magnificat Messe in A-Dur Messe in h-Moll Messe in g-Moll BWV 235 Motetten BWV 225-231 Solokantaten: Nr. 56 "Ich will den Kreuzstab gerne tragen" Nr. 82 "Ich habe genug" Kantaten: Nr. 8 "Liebster Gott, wann wird ich sterben"; Nr. 21 "Ich hatte viel Bekümmernis"; Nr. 33 "Allein zu dir, Herr Jesu Christ"; Nr. 62 "Nun komm, der Heiden Heiland"; Nr. 70 "Wachet, betet"; Nr. 80 "Eine feste Burg ist unser Gott"; Nr. 87 "Bisher habt ihr nichts gebeten in meinem Namen"; Nr. 106 Actus tragicus "Gottes Zeit ist die allerbeste Zeit"; Nr. 111 "Was mein Gott will, das g'scheh allzeit"; Nr. 138 "Warum betrübst du dich, mein Herz"; Nr. 140 "Wachet auf, ruft uns die Stimme"; Nr. 147 "Herz und Mund und Tat und Leben"; Nr. 172 "Erschallet ihr Lieder"; Nr. 187 "Es wartet alles auf dich"; Nr. 211 "Schweigt stille, plaudert nicht"; Nr. 212 "Mer hahn en neue Oberkeet" — Biber Requiem — Brahms Requiem — Briegel Mache dich auf, werde Licht — Britten War Requiem — Distler Choralpassion — Du Grain Willkommen, Erlöser der Erden — Durante Magnificat — Dvorák Requiem Te Deum — Fasch Johannespassion — Fauré Requiem — Franck Les Béatitudes — Graupner Kantaten "Kommt Seelen, seid in Andacht stille"; "Christus, der uns selig macht"; "Die Gewaltigen raten nach ihrem Mutwillen" — van Helmont Missa Sancte Gudilae — Händel Messiah Utrechter Te Deum Jephtha — Haydn, Joseph Die Jahreszeiten Die Schöpfung Nelson-Messe Theresienmesse — Hindemith Flieder-Requiem — Homilius Motetten "Herr, lehre uns bedenken", "Unser Vater in dem Himmel", "Dennoch bleib ich stets an dir" — Mendelssohn Lobgesang Paulus Vom Himmel hoch — Mozart Missa brevis in D KV 194 Missa brevis in C KV 258 Missa in C (Krönungsmesse) KV 317 Vesperae solenelle KV 339 Requiem — Orff Carmina burana — Pepusch Magnificat — Purcell Lord, what is man — Rolle Weihnachtsoratorium — Rosenmüller Vesperpsalmen — Rossini Stabat mater Petit Messe Solenelle — Saint-Saens Oratorio de Noel — Schütz Historia der Auferstehung Jesu Christi Johannespassion Matthäuspassion Musikalische Exequien Psalm 30 — Schumann, Robert Szenen aus Goethes Faust — Telemann Kantaten "Hast du denn Jesus" TWV 1:718, "Gott, bei dir ist die lebendige Quelle" TWV 1:633, "Machet die Tore weit" TWV 1:1074; aus dem "Harmonischen Gottesdienst": (1) Neujahr, (3) Heilige drei Könige, (9) 5. Sonntag nach Heilige drei Könige, (21) 2. Osterfeiertag, (22) 2. Osterfeiertag, (31) 1. Pfingsttag, (33) 3. Pfingsttag, (34) Trinitatis, (36) 2. Sonntag nach Trinitatis, (40) 6. Sonntag nach Trinitatis, (58) 24. Sonntag nach Trinitatis — White Lamentations — Webern II. Kantate

LIED — Bach, Joh. Seb. — Berg — Brahms — Beethoven — Copland — Cornelius — Dallapiccola — Debussy — Dvorák — Eisler — Eröd — Fauré — Finzi — Gounod — Korngold — Krenek — Mahler — Mendelssohn — Milhaud — Montsalvatge — Paulus — Pfitzner — Paulus Bittersuite — Pizzetti — Purcell — Reimann — Reutter — Rihm — Rossini — Schönberg — Schreker — Schubert — Schumann, Robert — Sekles — Strauss — Vaughan Williams — Webern — Wolf

— "alle kennen meine visage ": Deutschlandradio - Above all Markus Matheis has sung it excellent with a really beautiful, very sonorous voice, where the comprehension and understanding of the lyrics makes you enjoy listening to and focusing on the text. — "Lustige Witwe ": Frankfurter Rundschau - The couple in the center, Hanna and Danilo, is convincingly casted: ... with Markus Matheis as a comedian with an unconstrained tenor voice. His performance as a drunken limb doll is of the finest quality ... — "Christmas Oratorio": Bonner General–Anzeiger - Markus Matheis, bass, left an excellent impression ... Thüringer Allgemeine - Markus Matheis scored with his towards the dramatical tending voice ... Very nice to hear were the legato melismas in the duet with the solo oboe ... He was also able to cope well with characteristic details. How he interpreted Herod's sardonic laughter in "adore" made the listener feel goosebumps ... IKZ - Especially impressive was the performance of Markus Matheis. Such a sonorous and expressive bass has rarely been heard ... — Recital Vaughan Williams, Ravel, Schubert, Mahler: Frankfurter Neue Presse - With a perfect approach Markus Matheis raised the tone ... who did not need to shy away from the comparison with the world–famous baritone Thomas Hampson ... a rare musical experience ... — "Cosi fan tutte": Frankfurter Allgemeine Zeitung - ... the wonderfully velvety voice of Markus Matheis ... Der Neue Merker - ... very pleasant the timbre of Guglielmo sung by Markus Matheis ... — "Bazaar Cassandra": Tagesspiegel - Markus Matheis is brilliant, chanting between charismatic politician and underbuttered husband ... — "Ritter Blaubart": hr2 - ... acting-wise a highlight, vocally also very present and understandable was Markus Matheis, whose playing was full of refinement and full of smaller gestures, which have brought a great effect ... — "Jephtha": Frankfurter Rundschau - Markus Matheis with striking, intonation–proof bass countered with high priestly atonement ... Offenbach Post - If the audience had not been vigorously referred to the Old Testament by the room-filling bass baritone Markus Matheis, it could have sometimes forgotten the religious background ... — "Messiah": Kölner Stadtanzeiger - Markus Matheis' bass baritone won the listeners with all desirable qualities: pleasant timbre, precise articulation, high coloraturity and security in all situations. — Recital Schumann, Pfitzner, Eisler: Offenbach Post - Markus Matheis' baritone is sensitive. He refrains from excessive dramatic effects and therefore never runs the risk of getting too close to mannerisms. His voice is soft, rounded and masterfully led.

Markus Matheis
T +44 (0)7828 912 290
E markus@markusmatheis.com

Representation for concert and opera inquiries:
Jeff Weaver
WEAVER ARTIST MANAGEMENT
PO Box 7670, St Kilda Road
Melbourne Australia 3004
T +61 (0)3 9408 1708
M +61 (0)403 379 937
E jeffweaver@weaverartistmanagement.com.au
W weaverartistmanagement.com.au

All rights reserved.