Markus Matheis

German baritone Markus Matheis is based in London, with a career encompassing oratorio, opera and Lied in Europe and Australia.

Born in Frankfurt am Main, Germany, Markus gained early performing experience as a boy treble soloist for the Oper Frankfurt and the Alte Oper Frankfurt. His subsequent stage work ranges from Mozart and Rossini to contemporary music theatre and world premieres. Roles include Leporello in Don Giovanni, Guglielmo in Così fan tutte, Bartolo in Le nozze di Figaro and Figaro in Il barbiere di Siviglia, Alidoro in La Cenerentola, Falke in Die Fledermaus, Danilo in Die lustige Witwe, and King Hildebrandt and the North Wind in Jonathan Dove’s The Enchanted Pig. He has appeared with Australian International Opera Productions and Australian Contemporary Opera Company, Victorian Opera Melbourne, Theater Lübeck and Kammeroper Frankfurt and collaborated with Ensemble Phoenix and the ensemble für neue musik zürich on contemporary productions.

His oratorio repertoire spans the Baroque and Romantic traditions alongside contemporary sacred music and includes Bach’s St John Passion, St Matthew Passion, Christmas Oratorio and Mass in B minor, as well as the solo cantatas Ich habe genug and Ich will den Kreuzstab gerne tragen. Other works include Handel’s Messiah and Jephtha, Haydn’s Die Schöpfung and Die Jahreszeiten, Brahms’s Ein deutsches Requiem, Mendelssohn’s St Paul, and works by Mozart, Dvořák, Fauré and Rossini. Appearances include Christus in the St Matthew Passion with Cheltenham Bach Choir and Elgar’s The Apostles for Alte Musik Weilburg.

Markus has performed with the Deutsche Radiophilharmonie, Beethoven Orchester Bonn, Duisburger Philharmoniker, Neue Philharmonie Frankfurt and Klassikphilharmonie Hamburg. His work with early-music ensembles includes the Rosenmüller Ensemble, Capella Weilburgensis, Karlsruher Barockorchester and Main-Barockorchester.

A committed recitalist, Markus places Lied and Art Song at the heart of his artistic work, a field in which he has been recognised as both prizewinner and finalist in international competitions. He has worked and performed with Graham Johnson, Roger Vignoles, Irwin Gage, Dalton Baldwin and Julius Drake, performing at venues including Melbourne Recital Centre and Konzerthaus Dortmund. His commitment to supporting young singers includes serving as the adjudicator for Australia’s National Liederfest and coaching in German diction, textual interpretation and the relationship between poetry and music.

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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 Jonny 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 di 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 Stabat mater Te Deum — Elgar The Apostles — 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 Petite 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 — Bernstein — Copland — Cornelius — Crickboom — Dallapiccola — Debussy — Dvorák — Eggert — Eisler — Eröd — Fauré — Finzi — Gounod — Hindemith — Korngold — Kowalski — Krenek — Mahler, Gustav — Mahler, Alma — Mendelssohn — Milhaud — Montsalvatge — Morgenstern — Mozart — Nielsen — Paulus — Pfitzner — Pizzetti — Purcell — Reimann — Reutter — Rihm — Rossini — Schönberg — Schreker — Schubert — Schumann, Robert — Schumann, Clara — Sekles — Strauss — Vaughan Williams — Webern — Wolf

THEATRE

CONCERT

LIED

— "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 teaches classical singing and supports vocal development for singers of all ages and levels, from complete beginners to experienced professionals. His particular interests include Lied and Art Song, and he also offers dedicated coaching in German diction and textual interpretation.

He prepares singers and collaborative pianists for competitions and works internationally with singers and répétiteurs on role preparation, particularly in the German repertoire.

Sessions are available in person in London and online. Enquiries from singers, pianists and institutions are welcome.

UK enquiries:
Markus Matheis
T +44 (0)7828 912 290
E

Representation for concert and opera enquiries:
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

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