Portrait Martin Mitterrutzner

Martin Mitterrutzner

Tenor
© Uwe Arens
General Management

The tenor, who comes from Hall in Tyrol, received his training with Brigitte Fassbaender. He gained his first stage experience at the age of 10 as the First Boy in Mozart's Zauberflöte under Sir John Eliot Gardiner.
Under the artistic direction of Brigitte Fassbaender, Martin Mitterrutzner began his career as a member of the ensemble at the Tiroler Landestheater, later moving to the ensemble of the Frankfurt Opera, where he was able to develop a broad repertoire (Andres/Wozzeck, Giannetto/La gazza ladra, Iopas/Les Troyens, Fenton/Falstaff as well as the great Mozart roles such as Belmonte, Tamino, Don Ottavio, Ferrando). Since then he has returned regularly as a guest to his former parent house, where he appeared as Camille de Rosillon in a new production of Claus Guth's Die lustige Witwe and as Grimoaldo in Handel's Rodelinda, also with Claus Guth. In 2023 he made another role debut at Oper Frankfurt with Flamand in Capriccio by Richard Strauss.

Guest engagements have taken him to the Theater an der Wien (Narraboth/Salome and Don Ottavio/ Don Giovanni) to the Aix-en-Provence Festival, to the Zurich Opera House (Tamino), to the Salzburg Festival (Brighella/Ariadne auf Naxos and Ferrando/Così fan tutte), to the Bavarian State Opera (Arbace/Idomeneo and Iopas/Les Troyens) and regularly to the Dresden Semperoper, where he can currently be heard in the Mozart section as Tamino and Belmonte.

In the 2023/24 season, Martin Mitterrutzner will again make guest appearances on the stages of the Semperoper Dresden and the Vienna Volksoper, both times as Tamino. Two other highlights are his appearances in a concertante Salome for the reopening of the Valencia Concert Hall and the new production of Katja Kabanowa at the Dresden Semperoper, where he explores the Czech repertoire for the first time with the Váňa Kudrjaš. Concerts take him to Berlin, Essen and to the Bruckner Festival in the Basilica of St. Florian.

As a concert soloist, Martin Mitterrutzner has a broad repertoire ranging from Bach and Handel to works by Benjamin Britten and Sven David Sandström, and has appeared with the Bamberg Symphony Orchestra under Jakub Hrůša, the Bavarian Radio Choir and Symphony Orchestra as well as the Hessian State Orchestra under Marc Piollet, the Montreal Symphony Orchestra under Kent Nagano, the Concentus Musicus as well as the Cleveland Orchestra under Franz Welser-Möst. The past season brought him again to the Cleveland Orchestra, twice to the Vienna Musikverein, to the RIAS Kammerchor Berlin as well as to the NDR Elbphilharmonieorchester in Hamburg.

On the Lied podium, the tenor works regularly with pianist Gerold Huber, with whom he has appeared at the Frankfurt Opera, the Cologne Philharmonic, the Heidelberger Frühling, or regularly at London's Wigmore Hall and the Schubertiade Schwarzenberg. In 2021 he formed a song duo with the renowned classical guitarist Martin Wesely - the joint recording of Schubert's Schöner Müllerin is evidence of a close partnership.

Furthermore, Martin Mitterrutzner can be heard on several CD recordings and DVD productions. In 2015, for example, Decca released the award-winning new recording of Vinci's opera Catone in Utica conducted by Riccardo Minasi.




18. August 2024 - 20:00

San Sebastian, Kursaal Auditorio

Wolfgang Amadeus Mozart: Requiem KV 626

Info & Tickets



26. August 2024 - 20:00

Schwarzenberg, Angelika-Kauffmann-Saal

Franz Schubert: Gesang der Geister über den Wassern D 714
Friedrich Silcher: Deutsche Volkslieder

Info & Tickets



18. September 2024 - 20:00

Berlin, Philharmonie Berlin

Info & Tickets



  • "Più brillante e giustamente furioso lo spavaldo Grimoaldo di Martin Mitterrutzner, voce non prepotente ma agile e sempre di misurata eleganza."
    Giornale della musica
    Giornale della musica, "I fantasmi di Flavio", Stefano Nardelli, 14.05.2019
  • „Mitterrutzners Stimme vereint den feinen, kultivierten Klang eines vielfach an Mozart geschulten Tenors mit dem textlichen Gestaltungsvermögen eines Charakter-Interpreten. Er formt Piani in zahlreichen Schattierungen von klarster Rundung und mit tragfähigem Körper, bindet sie für allerlei Empfindungen zwischen Hoffnung und Verzweiflung, zwischen Sehnsucht und unerfüllter Liebe in die melodischen Verläufe und kontrastiert sie unmittelbar mit vehementen Ausbrüchen, bei denen sich sowohl die Kraft als auch das Volumen der Stimme auch mal etwas auf Kosten der klassischen Linie Bahn brechen.“
  • "Was an dieser Aufnahme besticht, ist nicht allein die virtuose Leichtigkeit und Stilsicherheit, mit der Mitterrutzner diese Titel gestaltet, es ist auch die Verbindung aus lyrischer Wärme und tenoraler Strahlkraft, von Ernsthaftigkeit und Eloquenz."
  • "Mit Martin Mitterrutzner als Interpreten des Gesangsparts hatte man eine glückliche Wahl getroffen: Er […] steht für eine Vokalkultur der feinen, sensiblen, textnahen Gestaltung, die auch Brittens Lebenspartner Peter Pears vertrat. […] im Sotto Voce und in der ruhigen legato-Kantilene gelangen ihm immer wieder schlichtweg berückende Klangbilder."
    Kölner Stadtanzeiger
    Marus Schwering, „Erfrischend scharfe Zähne für die Klassik“, in Kölner Stadtanzeiger, 27.02.2022



Verena Vetter KSG

Verena Vetter

Director, General Management
e-mail
+49 89 44488792
Anne Bilodeau

Anne Bilodeau

e-mail
Associate Artist Manager
+49 89 44488797

  HIGHLIGHTS 2023/2024