Bari­ton

Johannes
Weiss­er

Bari­ton

Johannes
Weiss­er

Biog­ra­phy

Nor­we­gian bari­tone Johannes Weiss­er has estab­lished him­self as one of the most excit­ing Euro­pean singers of his generation.

He has appeared in opera hous­es and fes­ti­vals such as the Salzburg Fes­ti­val, Staat­sop­er Berlin, Teatro Real Madrid, Théa­tre de La Mon­naie in Brus­sels, Théa­tre des Champs-Elysées, Cana­di­an Opera Com­pa­ny, Fest­spiel­haus Baden-Baden, The­ater an der Wien, Komis­che Oper Berlin, Nor­we­gian Nation­al Opera, Roy­al Dan­ish Opera, the Edin­burgh Inter­na­tion­al Fes­ti­val, Opera Bil­bao, Opera Nation­al du Rhin, Megaron Athens and the Enes­cu fes­ti­val among oth­ers. He has worked with con­duc­tors such as Her­bert Blom­st­edt, Andris Nel­sons, Kir­ill Petrenko, Thomas Daus­gaard, Adam Fis­ch­er, Andrew Manze, Mas­si­mo Zanet­ti, René Jacobs, Ingo Met­z­mach­er, Marc Minkows­ki, Gio­van­ni Antoni­ni, Alan Cur­tis, Fabio Bion­di, Ottavio Dan­tone, Diego Faso­lis, George Petrou, Philippe Her­reweghe, Vasi­ly Petrenko, Trevor Pin­nock and Edward Gardner.

Johannes Weiss­er began his 21/22 sea­son with a return to the Nor­we­gian Nation­al Opera for the title role in Gian­ni Schic­chi and Beethoven’s 9th Sym­pho­ny with Orchestre Phil­har­monique de Monte-Car­lo, fol­lowed recitals in Ger­many and Nor­way, Christ­mas Ora­to­rio with Copen­hagen Phil­har­mon­ic, Mes­si­ah with Sta­vanger Sym­pho­ny Orches­tra and Wro­claw Baroque Orches­tra, Brahms Vier Ern­ste Gesänge with Sta­vanger Sym­pho­ny Orches­tra and the con­duc­tor Andris Poga and Bach’s solo can­ta­ta Ich habe genug with the con­duc­tor Alfre­do Bernar­di­ni and recitals in Ger­many and Nor­way with the pianists Daniel Hei­de, Chris­t­ian Ihle Had­land and Julien Quentin.
He con­tin­ues his sea­son with a euro­pean tour to Madrid, Berlin, Freiburg and Paris with the ora­to­rio Mad­dale­na ai pie­di di Chris­to by Cal­adara with the Freiburg Baroque Orches­tra, as well as Beethoven’s Mis­sa Solem­nis at the Lud­wigs­burg Fes­ti­val and the Menuhin Fes­ti­val in Gstaad.

 

Nor­we­gian bari­tone Johannes Weiss­er has estab­lished him­self as one of the most excit­ing Euro­pean singers of his generation.

He has appeared in opera hous­es and fes­ti­vals such as the Salzburg Fes­ti­val, Staat­sop­er Berlin, Teatro Real Madrid, Théa­tre de La Mon­naie in Brus­sels, Théa­tre des Champs-Elysées, Cana­di­an Opera Com­pa­ny, Fest­spiel­haus Baden-Baden, The­ater an der Wien, Komis­che Oper Berlin, Nor­we­gian Nation­al Opera, Roy­al Dan­ish Opera, the Edin­burgh Inter­na­tion­al Fes­ti­val, Opera Bil­bao, Opera Nation­al du Rhin, Megaron Athens and the Enes­cu fes­ti­val among oth­ers. He has worked with con­duc­tors such as Her­bert Blom­st­edt, Andris Nel­sons, Kir­ill Petrenko, Thomas Daus­gaard, Adam Fis­ch­er, Andrew Manze, Mas­si­mo Zanet­ti, René Jacobs, Ingo Met­z­mach­er, Marc Minkows­ki, Gio­van­ni Antoni­ni, Alan Cur­tis, Fabio Bion­di, Ottavio Dan­tone, Diego Faso­lis, George Petrou, Philippe Her­reweghe, Vasi­ly Petrenko, Trevor Pin­nock and Edward Gardner.

Johannes Weiss­er began his 21/22 sea­son with a return to the Nor­we­gian Nation­al Opera for the title role in Gian­ni Schic­chi and Beethoven’s 9th Sym­pho­ny with Orchestre Phil­har­monique de Monte-Car­lo, fol­lowed recitals in Ger­many and Nor­way, Christ­mas Ora­to­rio with Copen­hagen Phil­har­mon­ic, Mes­si­ah with Sta­vanger Sym­pho­ny Orches­tra and Wro­claw Baroque Orches­tra, Brahms Vier Ern­ste Gesänge with Sta­vanger Sym­pho­ny Orches­tra and the con­duc­tor Andris Poga and Bach’s solo can­ta­ta Ich habe genug with the con­duc­tor Alfre­do Bernar­di­ni and recitals in Ger­many and Nor­way with the pianists Daniel Hei­de, Chris­t­ian Ihle Had­land and Julien Quentin.

He con­tin­ues his sea­son with a euro­pean tour to Madrid, Berlin, Freiburg and Paris with the ora­to­rio Mad­dale­na ai pie­di di Chris­to by Cal­adara with the Freiburg Baroque Orches­tra, as well as Beethoven’s Mis­sa Solem­nis at the Lud­wigs­burg Fes­ti­val and the Menuhin Fes­ti­val in Gstaad.

High­lights of his 20/21 sea­son includ­ed title role in Gian­ni Schic­chi, at the Nor­we­gian Nation­al Opera, Don Pizarro in Fide­lio with Freiburg­er Barock­o­rch­ester in the Berlin Phil­har­monie and the Elbphil­har­monie, Mahler’s Rück­er Lieder with the Copen­hagen Phil­har­mon­ic Orches­tra, Bach’s, Handel’s Mes­si­ah* with Bel­gian Nation­al Orches­tra at Bozar, Brus­sels, Arne Nord­heims The Tem­pest with Bergen Phil­har­mon­ic Orches­tra and the con­duc­tor Edward Gard­ner, as well as recitals at The Bergen Inter­na­tion­al Fes­ti­val and a main stage recital with songs by Mahler and Schu­mann with the pianist Chris­t­ian Ihle Had­land at the Nor­we­gian Nation­al Opera in Oslo.

High­lights of the 19/20 sea­son includ­ed Detlev Glanert’s orches­tral ver­sion of the mag­nif­i­cent Vier ern­ste Gesänge by Brahms in Tam­pere with Olari Elts, Peter in Hänsel und Gre­tel at the Nor­we­gian Nation­al Opera with Dmit­ry Jurows­ki, a high­ly praised Re di Sco­zia in the Drot­tning­holm The­aters pro­duc­tion of Händel’s Ari­o­dante as well as Don Piz­zarro in Fide­lio in Sta­vanger with the con­duc­tor Markus Stenz.

Johannes Weiss­er has appeared on stage in the title role of Tchaikovsky‘s Eugene One­gin, as Ger­mont in La Travi­a­ta, in the title role as well as Lep­orel­lo in Don Gio­van­ni, Gugliel­mo in Così fan tutte, Papageno in Die Zauber­flöte, Don Pizarro in Fide­lio, Schau­nard in La Bohème, Malat­es­ta in Don Pasquale, Agamem­non in Iphigénie en Aulide, Peter in Hänsel und Gre­tel and Re di Sco­zia in Ari­o­dante, Achilla in Giulio Cesare and Ramiro in L’heure Espag­nole among others.

Mr. Weiss­er is a much sought-after con­cert and ora­to­rio singer, with reper­toire that spans from the ear­ly 17th cen­tu­ry musi­ci to the works of Weill, Brit­ten and con­tem­po­rary com­posers, and appears reg­u­lar­ly in major con­cert halls and fes­ti­vals through­out Europe and Asia. An accom­plished Lied singer, Johannes Weiss­er has won inter­na­tion­al crit­i­cal acclaim for his performances of Schumann’s Dichter­liebe, Mahler’s Kinder­toten­lieder and Grieg’s Vin­je Songs in recitals. His record­ing of Grieg Songs has received inter­na­tion­al crit­i­cal acclaim.

Weis­sers discog­ra­phy includes among oth­ers Don Pizarro in Beethoven’s orig­i­nal Leonore and Haydn’s Die Schöpfung (René Jacobs/harmonia mun­di), Mozart Requiem (Har­mo­nia Mun­di), Bach’s St Matthew Pas­sion and St John Pas­sion (both René Jacobs/Harmonia Mun­di), the role of Achilla in Giulio Cesare (Alan Curtis/naive), Grieg’s Peer Gynt with Bergen Phil­har­mon­ic Orches­tra and Edward Gard­ner, and he was a GRAMMY nom­i­nee for his role as David in Ståle Kleiberg’s David and Bathshe­ba with Trond­heim Sym­pho­ny Orches­tra and the con­duc­tor Tönu Kaljuste (best opera recording).

Johannes Weiss­er divides his time between Berlin and Oslo, where he holds a posi­tion as Asso­ciate Pro­fes­sor at The Nor­we­gian Acad­e­my of Music.

High­lights of the 19/20 sea­son includ­ed Detlev Glanert’s orches­tral ver­sion of the mag­nif­i­cent Vier ern­ste Gesänge by Brahms in Tam­pere with Olari Elts, Peter in Hänsel und Gre­tel at the Nor­we­gian Nation­al Opera with Dmit­ry Jurows­ki, a high­ly praised Re di Sco­zia in the Drot­tning­holm The­aters pro­duc­tion of Händel’s Ari­o­dante as well as Don Piz­zarro in Fide­lio in Sta­vanger with the con­duc­tor Markus Stenz.

Johannes Weiss­er has appeared on stage in the title role of Tchaikovsky‘s Eugene One­gin, as Ger­mont in La Travi­a­ta, in the title role as well as Lep­orel­lo in Don Gio­van­ni, Gugliel­mo in Così fan tutte, Papageno in Die Zauberflöte, Don Pizarro in Fide­lio, Schau­nard in La Bohème, Malat­es­ta in Don Pasquale, Agamem­non in Iphigénie en Aulide, Peter in Hänsel und Gre­tel and Re di Sco­zia in Ari­o­dante, Achilla in Giulio Cesare and Ramiro in L’heure Espag­nole among oth­ers.

Mr. Weiss­er is a much sought-after con­cert and ora­to­rio singer, with reper­toire that spans from the ear­ly 17th cen­tu­ry musi­ci to the works of Weill, Brit­ten and con­tem­po­rary com­posers, and appears reg­u­lar­ly in major con­cert halls and fes­ti­vals through­out Europe and Asia. An accom­plished Lied singer, Johannes Weiss­er has won inter­na­tion­al crit­i­cal acclaim for his performances of Schumann’s Dichter­liebe, Mahler’s Kinder­toten­lieder and Grieg’s Vin­je Songs in recitals. His record­ing of Grieg Songs has received inter­na­tion­al crit­i­cal acclaim.

Weis­sers discog­ra­phy includes among oth­ers Don Pizarro in Beethoven’s orig­i­nal Leonore and Haydn’s Die Schöp­fung (René Jacobs/harmonia mun­di), Mozart Requiem (Har­mo­nia Mun­di), Bach’s St Matthew Pas­sion and St John Pas­sion (both René Jacobs/Harmonia Mun­di), the role of Achilla in Giulio Cesare (Alan Curtis/naive), Grieg’s Peer Gynt with Bergen Phil­har­mon­ic Orches­tra and Edward Gard­ner, and he was a GRAMMY nom­i­nee for his role as David in Ståle Kleiberg’s David and Bathshe­ba with Trond­heim Sym­pho­ny Orches­tra and the con­duc­tor Tönu Kaljuste (best opera recording).

Johannes Weiss­er divides his time between Berlin and Oslo, where he holds a posi­tion as Asso­ciate Pro­fes­sor at The Nor­we­gian Acad­e­my of Music.

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)

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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

15 + 11 =

Con­tact

Gen­er­al Management

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

1 + 15 =