Bari­ton

Johannes
Weiss­er

Bari­ton

Johannes
Weiss­er

Biog­ra­phy

The Nor­we­gian bari­tone Johannes Weiss­er is con­sid­ered to be one of Scan­di­navi­a’s lead­ing singers of his gen­er­a­tion, and has been engaged at opera hous­es such as the Staat­sop­er Berlin, Théâtre des Champs-Elysées, The­ater an der Wien, Salzburg Fes­ti­val, Teatro Real Madrid, Opera Ver­sailles, Komis­che Oper Berlin, Théâtre de La Mon­naie in Brus­sels, Fest­spiel­haus Baden-Baden, Cana­di­an Opera Com­pa­ny, Opera Nation­al du Rhin, The­ater and der Wien, The Roy­al Dan­ish Opera and The Nor­we­gian Opera and Bal­let, where he he remains a reg­u­lar guest.

His reper­toire includes roles such as the title role and Lep­orel­lo in Don Gio­van­ni, Don Piz­zarro in Beethoven’s Fide­lio, Gior­gio Ger­mont in Verdi’s La travi­a­ta, the father in Hansel and Gre­tel, the title role in Gian­ni Schic­chi, Papageno in The Mag­ic Flute and sev­er­al of Hän­dels major roles for bass, such as Achilla in Giulio Cesare and Re di Sco­zia in Ariodante.

High­lights of recent sea­sons have includ­ed, Don Pizarro at The Hes­sis­che Staat­sthe­ater Wies­baden, Don Piz­zarro in Fide­lio at the Elbphil­har­monie and the Berlin Phil­har­mon­ic with the Freiburg­er Barock­o­rch­ester, as well as at the Sta­vanger Con­cert Hall with the Sta­vanger Sym­pho­ny Orches­tra, Ger­mont in La travi­a­ta, he title role in Gian­ni Schic­chi in Oslo, Siegfried in Schu­man­n’s Gen­ove­va at the Dres­den Music Fes­ti­val, Mau­re­ga­to in Schu­bert’s Alfon­so und Estrel­la in Helsin­ki and Budapest, Re di Sco­zia in Ari­o­dante in Stock­holm, Mahler’s Rück­ert-Lieder with the Copen­hagen Phil­har­mon­ic Orches­tra, Brahms’ Vier ern­ste Gesänge and Mahler’s Kinder­toten­lieder with the Sta­vanger Sym­pho­ny Orches­tra, Beethoven’s 9th Sym­pho­ny with the Monte Car­lo Phil­har­mon­ic Orches­tra, Beethoven’s Mis­sa Solem­nis at the Menuhin Fes­ti­val in Gstaad, as well as at the Aix-en-Provence Fes­ti­val, Cal­dara’s Maria ai pie­di Cristo in Madrid and the Phil­har­monie in Paris, St. John Pas­sion with the Roy­al Con­cert­ge­bouw Orches­tra Ams­ter­dam, as well as Der Einäugige in Die Frau ohne Schat­ten at the Fest­spiel­haus Baden-Baden and Berlin with the Berlin Phil­har­mon­ic and con­duc­tor Kir­ill Petrenko. 

The Nor­we­gian bari­tone Johannes Weiss­er is con­sid­ered to be one of Scan­di­navi­a’s lead­ing singers of his gen­er­a­tion, and has been engaged at opera hous­es such as the Staat­sop­er Berlin, Théâtre des Champs-Elysées, The­ater an der Wien, Salzburg Fes­ti­val, Teatro Real Madrid, Opera Ver­sailles, Komis­che Oper Berlin, Théâtre de La Mon­naie in Brus­sels, Fest­spiel­haus Baden-Baden, Cana­di­an Opera Com­pa­ny, Opera Nation­al du Rhin, The­ater and der Wien, The Roy­al Dan­ish Opera and The Nor­we­gian Opera and Bal­let, where he he remains a reg­u­lar guest.

His reper­toire includes roles such as the title role and Lep­orel­lo in Don Gio­van­ni, Don Piz­zarro in Beethoven’s Fide­lio, Gior­gio Ger­mont in Verdi’s La travi­a­ta, the father in Hansel and Gre­tel, the title role in Gian­ni Schic­chi, Papageno in The Mag­ic Flute and sev­er­al of Hän­dels major roles for bass, such as Achilla in Giulio Cesare and Re di Sco­zia in Ariodante.

High­lights of recent sea­sons have includ­ed, Don Pizarro at The Hes­sis­che Staat­sthe­ater Wies­baden, Don Piz­zarro in Fide­lio at the Elbphil­har­monie and the Berlin Phil­har­mon­ic with the Freiburg­er Barock­o­rch­ester, as well as at the Sta­vanger Con­cert Hall with the Sta­vanger Sym­pho­ny Orches­tra, Ger­mont in La travi­a­ta, he title role in Gian­ni Schic­chi in Oslo, Siegfried in Schu­man­n’s Gen­ove­va at the Dres­den Music Fes­ti­val, Mau­re­ga­to in Schu­bert’s Alfon­so und Estrel­la in Helsin­ki and Budapest, Re di Sco­zia in Ari­o­dante in Stock­holm, Mahler’s Rück­ert-Lieder with the Copen­hagen Phil­har­mon­ic Orches­tra, Brahms’ Vier ern­ste Gesänge and Mahler’s Kinder­toten­lieder with the Sta­vanger Sym­pho­ny Orches­tra, Beethoven’s 9th Sym­pho­ny with the Monte Car­lo Phil­har­mon­ic Orches­tra, Beethoven’s Mis­sa Solem­nis at the Menuhin Fes­ti­val in Gstaad, as well as at the Aix-en-Provence Fes­ti­val, Cal­dara’s Maria ai pie­di Cristo in Madrid and the Phil­har­monie in Paris, St. John Pas­sion with the Roy­al Con­cert­ge­bouw Orches­tra Ams­ter­dam, as well as Der Einäugige in Die Frau ohne Schat­ten at the Fest­spiel­haus Baden-Baden and Berlin with the Berlin Phil­har­mon­ic and con­duc­tor Kir­ill Petrenko.

He has also in recent years had great suc­cess with his inter­pre­ta­tions of con­tem­po­rary operas, most notably as Dil­lon in the world pre­miere of Mis­sy Maz­zo­lis “The Lis­ten­ers” at the Nor­we­gian Opera in Oslo, repeat­ing the role for the Ger­man pre­miere of the piece at the Aal­to The­ater in Essen, and most recent­ly as The Old­er Man in Bent Sørensens and Jon Fosse´s opera Asle Ali­da at Bergen Nation­al Opera received much praise.

Johannes Weiss­er has per­formed with lead­ing orches­tras and ensem­bles such as the Vien­na Phil­har­mon­ic, Berlin Phil­har­mon­ic, Vien­na Sym­pho­ny Orches­tra, Orchestre de Paris, Orches­tra del­l’Ac­cad­e­mia Nazionale di San­ta Cecil­ia, Orchestre de Radio France, BBC Sym­pho­ny Orches­tra, Mahler Cham­ber Orches­tra, Bel­gian Nation­al Orchestra,Bamberger Sym­phoniker, and Con­cert­ge­bouw Orches­tra in Ams­ter­dam, and he has col­lab­o­rat­ed with out­stand­ing con­duc­tors such as Her­bert Blom­st­edt, Andris Nel­sons, Kir­ill Petrenko, Adam Fis­ch­er, Andrew Manze, René Jacobs, Ingo Met­z­mach­er, Marc Minkows­ki, Gio­van­ni Antoni­ni, Alan Cur­tis, Fabio Bion­di, Diego Faso­lis, Philippe Her­reweghe, Vasi­ly Petrenko, Trevor Pin­nock, Edward Gard­ner, and Jérémie Rhorer.

Johannes Weiss­er has appeared on more than twen­ty CD and DVD record­ings, and his discog­ra­phy includes Hayd­n’s The Cre­ation, Mozart’s Requiem, Bach’s St. Matthew Pas­sion and St. John Pas­sion, Don Pizarro in Beethoven’s Leonore, the role of Achilla in Giulio Cesare, as well as “Vis­it­ing Grieg,” a crit­i­cal­ly acclaimed CD of songs by Edvard Grieg togeth­er with the Dan­ish pianist Søren Ras­to­gi. He has also record­ed Grieg’s Peer Gynt with the Bergen Phil­har­mon­ic Orches­tra and con­duc­tor Edward Gard­ner, and he was nom­i­nat­ed for a GRAMMY (best opera record­ing) for his role as David in Ståle Kleiberg’s David and Bathshe­ba with the Trond­heim Sym­pho­ny Orches­tra and con­duc­tor Tönu Kaljuste.

He has also in recent years had great suc­cess with his inter­pre­ta­tions of con­tem­po­rary operas, most notably as Dil­lon in the world pre­miere of Mis­sy Maz­zo­lis “The Lis­ten­ers” at the Nor­we­gian Opera in Oslo, repeat­ing the role for the Ger­man pre­miere of the piece at the Aal­to The­ater in Essen, and most recent­ly as The Old­er Man in Bent Sørensens and Jon Fosse´s opera Asle Ali­da at Bergen Nation­al Opera received much praise.

Johannes Weiss­er has per­formed with lead­ing orches­tras and ensem­bles such as the Vien­na Phil­har­mon­ic, Berlin Phil­har­mon­ic, Vien­na Sym­pho­ny Orches­tra, Orchestre de Paris, Orches­tra del­l’Ac­cad­e­mia Nazionale di San­ta Cecil­ia, Orchestre de Radio France, BBC Sym­pho­ny Orches­tra, Mahler Cham­ber Orches­tra, Bel­gian Nation­al Orchestra,Bamberger Sym­phoniker, and Con­cert­ge­bouw Orches­tra in Ams­ter­dam, and he has col­lab­o­rat­ed with out­stand­ing con­duc­tors such as Her­bert Blom­st­edt, Andris Nel­sons, Kir­ill Petrenko, Adam Fis­ch­er, Andrew Manze, René Jacobs, Ingo Met­z­mach­er, Marc Minkows­ki, Gio­van­ni Antoni­ni, Alan Cur­tis, Fabio Bion­di, Diego Faso­lis, Philippe Her­reweghe, Vasi­ly Petrenko, Trevor Pin­nock, Edward Gard­ner, and Jérémie Rhorer.

Johannes Weiss­er has appeared on more than twen­ty CD and DVD record­ings, and his discog­ra­phy includes Hayd­n’s The Cre­ation, Mozart’s Requiem, Bach’s St. Matthew Pas­sion and St. John Pas­sion, Don Pizarro in Beethoven’s Leonore, the role of Achilla in Giulio Cesare, as well as “Vis­it­ing Grieg,” a crit­i­cal­ly acclaimed CD of songs by Edvard Grieg togeth­er with the Dan­ish pianist Søren Ras­to­gi. He has also record­ed Grieg’s Peer Gynt with the Bergen Phil­har­mon­ic Orches­tra and con­duc­tor Edward Gard­ner, and he was nom­i­nat­ed for a GRAMMY (best opera record­ing) for his role as David in Ståle Kleiberg’s David and Bathshe­ba with the Trond­heim Sym­pho­ny Orches­tra and con­duc­tor Tönu Kaljuste.

Press

“Ein­er von ihnen ist der über­ra­gende Bass Johannes Weiss­er. Seinen Erzen­gel Raphael und später einen char­man­ten Adam muss man selb­st für Schöpfer hal­ten — jedes Detail formt er treulich nach mit seinem marki­gen Bass, der sich so machtvoll emporhebt oder so samtig in den Orch­esterk­lang schmiegt”

Adele Jakumeit,
Frank­furter All­ge­meine Zeitung 
(Die Schöp­fung, Ruhrtriennale)

“Bari­tone Johannes Weiss­er sings the role of Christ with a blend of youth­ful mas­culin­i­ty and calm authority.”

Patrick Ruck­er,
Wash­ing­ton Post 
(Matthew Pas­sion record­ing, Har­mo­nia Mundi)

“Johannes Weiss­er is in him­self a musi­cal high­light. When he enters the stage as Gior­gio in the sec­ond act, I sim­ply want to shout “now we´re talk­ing”! His dis­tinc­tive, pow­er­ful bari­tone res­onates in the audi­to­ri­um and adds a spe­cial weight to the musi­cal expression.”

Hilde Halvorsrød,
Scenekunst.no
(La Travi­a­ta, Trond­heim Opera)

Bari­tone Johannes Weiss­er brings an impres­sive ver­sa­til­i­ty of tim­bres to the role of David. A robust singer, he dis­plays grit and res­o­nance on the low end, under­stat­ed strength in the mid­dle and a wist­ful, almost tenor-like affec­ta­tion in his upper range.” 

Daniel J. Kushner, 
Operanews 
(David and Bathshe­ba, 2L Recordings)

“Don Pizarro. Diesen spielte und sang Johannes Weiss­er in zack­iger, skru­pel­los­er, ein­schüchtern­der sowie aufge­brachter rauer Größe, für den sich die Fan­faren des Orch­esters eben­so loy­al erhoben.”

Jens Kli­er,
Bachtrack 
(Don Piz­zarro, Beethoven Leonore, Köl­ner Philharmonie)

“Bari­tone Johannes Weiss­er sings the role of Christ with a blend of youth­ful mas­culin­i­ty and calm authority.”

Patrick Ruck­er,
Wash­ing­ton Post 
(Matthew Pas­sion record­ing, Har­mo­nia Mundi)

“Weiss­er was a tremen­dous Gio­van­ni, com­mand­ing the stage through­out, both vocal­ly and dra­mat­i­cal­ly. There’s a youth­ful­ness to the tone that I find absolute­ly engag­ing and ide­al for the part. He brought out a hand­some seduc­tive­ness in the ser­e­nade (sung down the phone to Elvira’s maid) with an impec­ca­ble lega­to and orna­men­ta­tion that enhanced the line. The cham­pagne aria was dis­patched with extro­vert ease with­out com­pro­mis­ing on the beau­ty of the tone. So much of Giovanni’s char­ac­ter is cre­at­ed in the recita­tives and here Weiss­er real­ly used the text ful­ly to illus­trate the char­ac­ter, there­by giv­ing him the impact to car­ry the show.”

Oper­a­trav­eller
(Don Gio­van­ni, The Nor­we­gian Opera and Ballet)

“Der König von Schot­t­land alias Johannes Weiss­er wirkt durch und durch her­risch, wozu der bisweilen her­vor­brechende emo­tionale in sein­er Stimme nicht wenig beitragt”

Volk­er Tarnow, 
Opernwelt 
(Ari­o­dante, Drot­tning­holm Slottsteater)

“Johannes Weiss­er pro­posed a vocal approach to the role of the king that com­bined a dra­mat­ic pulse in his recita­tivi and latent (yet per­fect­ly inte­grat­ed) out­cries in his demand­ing col­oratu­ra with a tone of sweet­ness and sin­cer­i­ty which the Nor­we­gian bari­tone mas­tered across the entire vocal range.”

Per Andreas Walhberg, 
Olyrix 
(Ari­o­dante, Drot­tning­holm Slottsteater)

“Johannes Weiss­er man­aged to sing rather than bark the das­tard­ly Don Pizarro role and his rol­lick­ing “Jet­zt eilet auf die Zin­nen” aria with cho­rus (cut for the 1814 ver­sion) was res­o­nant and suit­ably snarly.”

Jonathan Suther­land,
Bachtrack 
(Don Piz­zarro, Beethoven Leonore, The­ater an der Wien)

“Bari­tone Johannes Weiss­er sings the role of Christ with a blend of youth­ful mas­culin­i­ty and calm authority.”

Patrick Ruck­er,
Wash­ing­ton Post 
(Matthew Pas­sion record­ing, Har­mo­nia Mundi)

“Johannes Weiss­er, sings Jesus with per­fect weight of voice; not the usu­al sepul­chral-toned fig­ure but a noble young man of deep com­pas­sion and humanity.”

War­wick Arnold, 
Lime­light magazine 
(Matthew Pas­sion record­ing, Har­mo­nia Mundi)

“Dem Jesus von Johannes Weiss­er eignet die für diesen Part in der Matthäus-Pas­sion nötige Noblesse und Größe. Weiss­er deutet Jesus zwar gemessen und mit durchge­hend edlem Ton, doch nicht entrückt, son­dern angemessen emo­tion­al, mit dem inten­siv­en Geschehen interagierend.”

Dr. Matthias Lange, 
Klassik.com
(Matthew Pas­sion record­ing, Har­mo­nia Mundi)

“Weiss­er glänzt mit Noblesse und Wärme, mit aus­geglich­enen Reg­is­tern und ele­gan­ten bari­tonalen Farben.”

Dr. Matthias Lange, 
Klassik.com
(Matthew Pas­sion record­ing, Har­mo­nia Mundi)

Next

21/05/2025 19:30

Copen­hagen

Bent Sørensen — Asle and Ali­da — The old­er man
Roy­al Dan­ish Opera

Eivind Gull­berg Jensen, Conductor
Sofia Adri­an Jup­ither, Stage Director

23/05/2025 19:30

Copen­hagen

Bent Sørensen — Asle and Ali­da — The old­er man
Roy­al Dan­ish Opera

Eivind Gull­berg Jensen, Conductor
Sofia Adri­an Jup­ither, Stage Director

31/05/2025 19:30

Copen­hagen

Bent Sørensen — Asle and Ali­da — The old­er man
Roy­al Dan­ish Opera

Eivind Gull­berg Jensen, Conductor
Sofia Adri­an Jup­ither, Stage Director

06/06/2025 19:30

Copen­hagen

Bent Sørensen — Asle and Ali­da — The old­er man
Roy­al Dan­ish Opera

Eivind Gull­berg Jensen, Conductor
Sofia Adri­an Jup­ither, Stage Director

11/06/2025 20:00

Cologne

Beethoven, L.v. — Mis­sa Solemnis
Köl­ner Philharmonie

19/06/2025 19:00

Oslo

The Nation­al Opera & Oslo Pride

@National The­atre

28/06/2025 13:00

Risør

Risør Cham­ber Music Festival
Brahms Ein Deutsches Requiem

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Discog­ra­phy

Robert Schu­mann: Frauen­liebe und ‑leben, Op. 42 — Liederkreis, Op. 24 — Gedichte der Köni­gin Maria Stu­art, Op. 135 — Songs from Myrthen, Op. 25

Mar­i­anne Beate Kiel­land, Johannes Weiss­er & Nils Anders Mortensen
Lawo, DDD, 2020

L.v.Beethoven: Mis­sa Solemnis

Poli­na Pastir­chak, Sophie Harm­sen, Steve Davis­lim, Johannes Weiss­er, RIAS Kam­mer­chor, Freiburg­er Barock­o­rch­ester, Rene Jacobs
har­mo­nia mun­di, DDD, 2020

L.v.Beethoven: Leonore

Marlis Petersen, Dmit­ry Ivashchenko, Max­i­m­il­ian Schmitt, Robin Johannsen, Johannes Weiss­er, Zürcher Sing-Akademie, Freiburg­er Barock­o­rch­ester, Rene Jacobs
har­mo­nia mun­di, DDD, 2020

W.A. Mozart: Requiem KV 626

Sophie Karthäuser, Marie-Claude Chap­puis, Max­i­m­il­ian Schmitt, Johannes Weiss­er, RIAS Kam­mer­chor, Freiburg­er Barock­o­rch­ester, René Jacobs
har­mo­nia mun­di, DDD, 2016

G.F. Hän­del: Giulio Cesare in Egitto/Achillas

Marie-Nicole Lemieux, Kari­na Gau­vin, Romi­na Bas­so, Emoke Baráth, Fil­ip­po Minec­cia, Johannes Weiss­er
Com­p­lesso Baroc­co, Alan Curtis

Naive, DDD, 2012

E. Grieg: Peer Gynt

Lise David­sen, Ann-Helen Moen, Vic­to­ria Nava, Johannes Weiss­er, Jean-Efflam Bavouzet, Bergen Phil­har­mon­ic Orches­tra, Edward Gard­ner
Chan­dos, DDD, 2017

J.S. Bach: St. John’s Passion

Wern­er Güra, Sun­hae Im, Ben­no Schacht­ner, Sebas­t­ian Kohlhepp, Johannes Weiss­er, RIAS Kam­mer­chor, Akademie für Alte Musik Berlin, Rene Jacobs
har­mo­nia mun­di, DDD, 2015

J.S. Bach: St. Matthew’s Passion

Wern­er Güra, Johannes Weiss­er, Sun­hae Im, Bernar­da Fink, Topi Lehtipuu, Kon­stan­tin Wolff, Staats- und Dom­chor Berlin, RIAS Kam­mer­chor, Akademie für Alte Musik Berlin, René Jacobs har­mo­nia mun­di, DDD, 2012

Kleiberg: Mass for Mod­ern Man

Mari Eriksmoen, Johannes Weiss­er, Trond­heim Sym­pho­ny Choir, Trond­heim Sym­pho­ny Orches­tra, Eivind Gull­berg Jensen
2L, DDD, 2016

C.Ph.E. Bach: Die Israeliten in der Wüste

Anja Petersen, Sarah Maria Sun, Daniel Johannsen, Johannes Weiss­er, Cho­rus Musi­cus Köln, Das Neue Orch­ester, Christoph Sper­ing
DHM, DDD, 2014

G.Ph. Tele­mann: Brock­es Passion

Bir­gitte Chris­tensen, Lydia Teusch­er, Marie-Claude Chap­puis, Donat Havar, Daniel Behle, Johannes Weiss­er, RIAS Kam­mer­chor, Akademie für Alte Musik Berlin, René Jacobs
har­mo­nia mun­di, DDD, 2008

G.F. Hän­del: Giove in Argo

Ann Hal­len­berg, Kari­na Gau­vin, Ani­cio Zorzi Gius­tini­ani, Vito Pri­ante, Theodo­ra Baka, Johannes Weiss­er, Il Com­p­lesso Baroc­co, Alan Cur­tis
Era­to, DDD, 2012

J. Haydn: Die Schöpfung

Freiburg­er Barock­o­rch­ester, Julia Kleit­er, Max­i­m­il­ian Schmitt, Johannes Weisser 

har­mo­nia mun­di, DDD, 2009

A Tele­mann Companion

Bir­gitte Chris­tensen, Lydia Teusch­er, Marie-Claude Chap­puis, Donat Havar, Daniel Behle, Johannes Weiss­er, Mau­rice Ste­ger, Dorothea Röschmann, Ruth Ziesak, Wern­er Güra, Roman Trekel, RIAS Kam­mer­chor, Akademie für Alte Musik Berlin, Rene Jacobs
har­mo­nia mun­di, 2017

Emilio de’­Cav­a­lieri: Rap­p­re­sen­ta­tione di Ani­ma et di Corpo

Marie-Claude Chap­puis, Johannes Weiss­er, Gyu­la Orendt, Mark Mil­hofer, Mar­cos Fink, Akademie für Alte Musik Berlin, René Jacobs
har­mo­nia mun­di, DDD, 2013

Niels Wil­helm Gade: Elver­skud op.30

Sophie Junker, Ivonne Fuchs, Johannes Weiss­er, Dan­ish Nation­al Vocal Ensem­ble, Con­cer­to Copen­hagen, Lars Ulrik Mortensen
DaCapo, 2018

W. A. Mozart: Don Giovanni

Johannes Weiss­er, Loren­zo Regaz­zo, Alexan­d­ri­na Pen­datchan­s­ka, Olga Pasich­nyk, Ken­neth Tarv­er, RIAS Kam­mer­chor, Freiburg­er Barock­o­rch­ester, René Jacobs
har­mo­nia mun­di, DDD, 2006

J. Haydn: Applausus

Anna Pal­im­i­na, Mari­na De Liso, Donat Havar, Johannes Weiss­er, Andreas Wolf, Capel­la Augusti­na, Andreas Sper­ing
Capric­cio, DDD, 2010

Vis­it­ing Grieg

Melodies of the Heart op. 5, Romanzen & Lieder op. 18
5 Poems op. 26, 12 Melodies to Poems by A. O. Vin­je op. 33
Six Songs op. 48

Johannes Weiss­er, Soren Ras­to­gi
Simax, DDD, 2009

Con­tact

Gen­er­al Management

Tact Inter­na­tion­al Art Management
Oliv­er Kretschmer
+49 170 22 30 823

Man­age­ment Norway

Crescen­di Artists
Fredrik Aksel­berg

Con­tact

Gen­er­al Management

Tact Inter­na­tion­al Art Management
Oliv­er Kretschmer
oliver@tact4art.com
+49 170 22 30 823

Man­age­ment Norway

Crescen­di Artists
Fredrik Aksel­berg

 

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