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Hanno Muller-Brachmann

  • Bass-Baritone


Hanno Mueller-Brachmann press reviews

Mahler Symphony No. 8 / BBC Symphony Orchestra

Among the soloists, the mezzo Stephanie Blythe and the bass-baritone Hanno Müller-Brachmann stood out.
Peter Reed, Sunday Telegraph, July 2010

...only Stephanie Blythe, with her voluptuous mezzo, and baritone Hanno Müller-Brachmann, for his noble declamation of Goethe's text, really rose to the occasion.
Hugh Canning, Sunday Times, July 2010

St Matthew Passion - Decca 4782194

...his interpretation bristles with drama, thanks to...Hanno Müller-Brachmann’s nobly declaimed Christus.
Hugh Canning, Sunday Times, 4th April 2010

Hanno Müller-Brachmann’s Christ suffers nobly.
Geoff Brown, Sunday Times, 27th March 2010

'Die Jahreszeiten' - Essen

Hanno Müller-Brachmann gab mit kernigem, volltönigen Bariton einen prächtigen Simon.
Klaus Albrecht, NRZ/WAZ (Essen), 24th March 2010

'Simon Boccanegra' - Berlin Staatsoper

As the villainous Paolo, bass-baritone Hanno Mueller-Brachmann stole every scene he was in with his potent voice and charisma.
Mike Silverman, San Francisco Chronicle, 24th October 2009

'Don Giovanni' - Klangbogen Festival/Theater an der Wien

Hanno Müller-Brachmann und Markus Bitter ziehen, wir schon 2006, pointiert ihre vokalen und gestalterischen Register als wendiger Leporello...
Walter Dobner, Die Presse, 2 August 2009

Hanno Müller-Brachmann as in 2006, finely tuned his vocal and creative skills as a malleable Leporello...

...während einzig Hanno Müller-Brachmann als Leporello die rollendeckende Spielfreude und den virtuos orgelnden Ausdrucksreichtum vom Jahr 2006 in die Gegenwart herüberretten konnte.
Daniel Ender, Der Standard, 2 August 2009
Only Hanno Müller-Brachmann as Leporello seemed to resurrect the vocal and acting qualities from the 2006 performances.

In Hanno Müller-Brachmann findet...einen idealen, auch stilistisch feinen Leoprello...
Peter Jarolin, Kurier-Wertung, 2 August 2009

In Hanno Müller-Brachmann is an ideal, stylistically elegant Leporello...

mit Hanno Müller-Brachmann als einem formidablen Leporello am Empfang
Frankfurt Allgemeine Zeitung, 6 August 2009

Hanno Müller-Brachmann is a formidable Leporello.

'Parsifal' - Deutsche Staatsoper Berlin

Hanno Müller-Brachmann too gave it everything he'd got. The Staatsoper is not a venue that invites subtlety, and it suited Müller-Brachmann's full-on approach...Here he can let go. His attention to colouring of the text is remarkable...What's more, even in lieder he's a compelling stage presence and a natural actor, able to extract every nuance of a song and play it all the way to the back row.
Intermezzo, 10 March 2009

Das hindert nicht, dass die jüngeren Sänger Hanno Müller-Brachmann als Amfortas bei „Waldes Morgenpracht“...fesselnde Wirkung erreichen.
Sybill Mahlke, Tagespiel, 8 March 2009

Der rundum feinste, frischeste Sänger war als Amfortas Hanno Müller-Brachmann.
Klaus Geitel, Berliner Morgenpost, 8 March 2009

Bayerische Staatsoper - 'Marriage Of Figaro'

Hanno Müller-Brachmann als bei allem gewitzten Verstand durchaus deftig-herber Figaro standesgemäße Bodenständingkeit. Dadurch wird ein gewisser Ernst gewahrt: Figaros "Se vuol ballare, signor contino" ist in dieser kernigen Interpretation durchaus als Drohung zu verstehen.
Münchner Merkur, 19 July 2007

Ihr Figaro ist da schon aus anderem Holz geschnitzt: Hanno Müller-Brachmann, Debüt Nr. 2, verfügt über einen geschmeidigen, durchsetzungsfähigen und fein abgestuften Bariton. Eine schöne Alternative zu den bisherigen Münchner Figaros.
Sueddeutsche Zeitung, 19 July 2007

Klangbogen Festival - 'Don Giovanni'

Hanno Mueller-Brachmann is Finley's perfect foil in the role of his manservant Leporello, with his facial and body antics reflecting the suffering he endures at the hands of his master. Leporello is also a demanding singing role, but Mueller-Brachmann makes it sound easy — from his "Il catalogo" aria at the start to his final moan of dismay as the Don meets his end.
George Jahn, San Francisco Chronicle, 21 July 2006

Gerald Finley und Hanno Müller-Brachmann sind als Don Giovanni und Leporello ein auch stimmlich ausgereiftes Paar mit starker Bühnenpräsenz.
Wiener Zeitung, 22 July 2006

Berlin Staatsoper - 'Carmen'

Escamillo was sung so superbly by Hanno Müller-Brachmann, who the evening before, as Amfortas, had been the main reason for not leaving ‘Parsifal’, that for once I wished the character had a larger role in ‘Carmen’.
Michael Tanner, The Spectator, 09 April 2005

Berlin Staatsoper - 'Parsifal’

The most striking performance by far, in this and Act III was the Amfortas of Hanno Müller-Brachmann, clearly destined to be a major operatic presence. He conveyed both the physical and spiritual torment of the role to almost intolerably intense effect, especially when for the Grail ritual he reached inside his robe and pulled out a sizeable lump of his liver, which the Knights of the Grail hacked pieces off with their swords. But he needed no gimmicks to make his mark, and provided the only unalloyed source of satisfaction of the evening.
Michael Tanner, The Spectator, 02 April 2005

Hanno Müller-Brachmann gave a lyrical and touching performance…a voice that is enchanting and melting.
Jan Brachmann, Die Zeit 23 March 2005

Hanno Müller-Brachmann was very worthy in the role of Amfortis…a dramatic force.
Terra, 25 March 2005

Berlin Staatsoper - ‘The Queen of Spades'

What interest there was lay in the casting of the lesser roles – Hanno Muller-Brachman’s deliciously sardonic Tomsky.
Shirley Apthorp, Opera News, March 2004

Vienna Staatsoper - ‘Cosi Fan Tutte’

Hanno Müller-Brachmann with his strong and pleasing voice, convinced as Gugliemo.
Christina Mondolfo, Wiener Zeitung, 02 February 2005

Berlin Staatsoper - ‘Picque Dame’

They found the ideal interpreter in Hanno Müller-Brachmann.
Jörg Königsdorf, Der Tagesspregel, 07 December 2003

Vocal high spots are offered from the supporting roles: Hanno Müller-Brachmann’s intelligent, articulate Tomski.
Manuel Brug, Die Welt 08 December 2003

Berlin Staatsoper - ‘Elektra’

Müller-Brachmann, a hugely talented young bass-baritone, was the best Orestes I have seen or heard.
Opera Magazine

Berlin Staatsoper - ‘Don Giovanni’

Hanno Müller-Brachmann gave exactly the right mix of obsequiousness and coarsenees to the servant Leporello. He was the great surprise of the evening; to hear him and experience his timbre, was an eye-opener.
Die Rheinpfalz

Hanno Müller-Brachmann, also an ensemble member, suceeded more than once in bringing Masetto out of his typical role-cliches. He didn’t present us with a wooden country yokel, but rather, armed with youthful charm and sonorous tone, became himself the seducer.
Frankfurter Allgemeine Zeitung

Berlin Staatsoper - Marriage of Figaro

Hanno Müller-Brachmann’s made his debut as the eponymous hero with a noble fully mature bass-baritone, which was a surprising contrast to his young appearance.