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Martin Muehle

Martin Muehle

Tenor GM ART & MUSIC
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Martin Muehle
Martin Muehle
Martin Muehle
Martin Muehle
Martin Muehle
Martin Muehle
Martin Muehle
Martin Muehle

German-Brazilian tenor Martin Muehle has been praised for his vocal prowess and dramatic intensity on stage in some of the most challenging roles for spinto-dramatic tenor. Renowned for his portrayals of romantic heroes of the Italian repertoire, his signature roles include Andrea Chénier, Don José and Calaf, which he performed to great acclaim at Opéra de Monte Carlo, Arena di Verona, and Gran Teatre del Liceu in Barcelona, among others.

Mr. Muehle began the 2023-2024 season singing Cavaradossi and Calaf at Deutsche Oper Berlin, followed by a revival of Nuria Espert’s esteemed production of Turandot in Barcelona’s Gran Teatre del Liceu. Muehle’s Calaf was also recently heard at Teatro Real Madrid, Opernhaus Zürich, and the Dutch National Opera in Amsterdam. Other highlights of recent seasons, include his jump-in at Opéra de Monte Carlo in the title role of Andrea Chénier, his debut of Otello at Staatsoper Hannover, performances of the title role of Lohengrin at Oper Leipzig, and his long awaited debut as Cavaradossi at Staatsoper Stuttgart.

Future engagements include Muehle’s role debut as Herman in a new production of Tschaikovsky’s Pique Dame at Deutsche Oper Berlin, Le Villi at Teatro Regio di Torino, Turandot at Teatro Massimo di Palermo, Tosca and Andrea Chénier at Deutsche Oper Berlin, and Otello at Staatsoper Stuttgart.

Martin Muehle’s big break came in 2017 jumping into the title role of Andrea Chènier at the Deutsche Oper Berlin at short notice. He quickly established himself as one of the most sought-out spinto-dramatic tenors currently performing. Soon after he sang Don José and Radames in Arena di Verona, Canio in Teatro Massimo di Palermo, Manrico in Seattle Opera, Don José at the Bolshoi Theater, both Turiddu and Canio at The Liceu. He sang Maurizio at Maggio Musicale Fiorentino and made his debut at Bayerische Staatsoper as Luigi in Puccini’s Il Tabarro.

He has worked with distinguished conductors such as Marco Armiliato, Daniel Oren, Nicola Luisotti, Daniel Harding, Antonino Fogliani, Dan Ettinger, Rizzi-Brignoli, and Paolo Carigniani, to name a few.

Martin Muehle was a member of the ensemble of the Nationaltheater Mannheim from 2013 to 2015, where he sang all leading roles in his Fach, from Don Josè to Lohengrin, in more than 12 productions.

He is also featured on the critically acclaimed Naxos recording of Zandonai’s Francesca da Rimini in the role of Paolo il bello with the Philharmonic Orchestra Freiburg under Fabrice Bollon. Muehle’s portrayal of Maurizio in Adriana Lecouvreur Live from Maggio Musicale is captured on DVD.

In South America Martin Muehle made a name for himself singing roles such as Don José in Carmen in Brasilia and Buenos Aires, Turiddu in Mascagni’s Cavalleria rusticana in Brasilia, Siegmund in Die Walküre at Theatro Municipal in São Paulo.

In concert, Mr. Muehle has sung Beethoven’s Symphony No. 9 in Belo Horizonte, as well as Mahler’s Das Lied von der Erde at the Teatro Nacional in Brasilia. Das Lied von der Erde and Beethoven’s Symphony No. 9 conducted by Dan Ettinger in Mannheim, and in his debuts at the Berliner Philharmonie as tenor soloist in Verdi’s Requiem with the Rundfunk-Sinfonieorchester and Rundfunkchor Berlin under the baton of Simon Halsey and at the Gewandhaus in Leipzig with the MDR Symphony. At Hamburg’s Elbphilharmonie, he recently sang the Requiem of Andrew Lloyd Webber under the baton of Wayne Marshall.

Martin Muehle was born and raised in Porto Alegre, Brazil and studied at the Musikhochschule in Lübeck, Germany. He makes his home in Mannheim, Germany.

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General Management

Gianluca Macheda
ul. Grzybowska 43a, lok. 72 00-855
Warsaw Poland
gmacheda@gmartandmusic.com

Logistics

Stefania Ramacciotti
Via Romana 578/B 55100 Lucca Italy
+39 3479762848
sramacciotti@gmartandmusic.com

Reviews

“Martin Muehle, a youthful Heldentenor (Spinto-Tenor), takes on the role of Calaf. Muehle’s tenor is perfectly led and, finely darkened, convincingly combines rich warmth with a light metallic quality. Like Beczała, Muehle possesses a long breath, but unlike him, he uses it very deliberately and not ostentatiously with every phrase. As a result, his performance appears naturally less lyrical, which, however, suits better the “frantic heroic character who acts against all advice and against all reason” (Baumgarten in the interview in the program booklet). The “Nessun dorma” is executed flawlessly and enthusiastically acclaimed by the audience.”
Jan Krobot

“This high-class Maddalena needed a poet who could combine the fever of expression with the valour expected in the bravura pieces that Giordano’s masterpiece abounds in from one end of the evening to the other: we were therefore amply gratified by the vocal performance of Martin Muehle, who manages, without any apparent fatigue on this evening, to reach a final duet with an absolutely exhilarating epic breath. Here, the demands of post-romantic singing finally reclaim their rights, from the melodic flow of an Improvviso with never-exaggerated spontaneity to a “Come un bel dì di maggio” that is neither tearful nor forced. But it is, in our opinion, in the entire second-act scene, which begins with the magnificent phrase “Credo a una possanza arcana”/”I believe in a secret power” and leads into the first duet with Maddalena, that the German-Brazilian tenor unveils an exceptional technique (the caressing, perilous A-flat on “Ora soave” commands admiration) that carries enthusiasm and compels the critic to surrender until a final “Viva la morte insiem!
Hervé Casini

“Martin Muehle boldly defended the arrogant role of Calaf with vibrant, clean, thrilling high notes. He sang ‘Nessun dorma’ calmly, savoring the words and tastefully phrasing the celebrated aria. He was one of the most applauded during the final bows.”
Javier del Olivo

“In the title role, we were expecting Jonas, and it turned out to be Martin. He came and he conquered! Whether one likes his tone or may have wished for more nuances in certain places, Martin Muehle confronts the role with great honesty and emerges victorious. Yes, we fear at the beginning and sometimes later, in the third scene, that the tension is announcing a crack; but the fear is in vain and the resistance, endurance, breath control and fearlessness win us over. This is the character, with his moods, his enthusiasm and his stubbornness, and the audience’s ovations prove it: without a question, Andrea Chénier has come to life again in Monaco”
Maurice Salles

“Andrea Chénier is entrusted to the tenor Martin Muehle. He carries the verismo (Italian realism) singing high and beautiful, navigating through a series of formidable arias, all applauded. Commitment, even generosity, poise, and sensitivity are the trump cards of his portrayal. The onset of his singing is marked by a powerful momentum, allowing the vocal line to soar to the heights without resorting to shouting, while also riding the massive orchestral waves typical of the score”
Florence Lethurgez