Hanno Müller-Brachmann


German Bass-Baritone Hanno Mueller-Brachmann made his operatic debut in 1996 in Telemann's Orpheus under René Jacobs at the Deutsche Staatsoper Berlin, where he was a member of the ensemble from 1998 and where he sang the great Mozart roles of Leporello, Figaro, Guglielmo and Papageno as well as his first Wotan under Barenboim.  He made his debut with the Bavarian State Opera as Oreste in Elektra and returned to Munich as Papageno in the new production of Die Zauberfloete at the Munich Festival. He made his debuts at the Vienna State Opera as Guglielmo under de Billy and at San Francisco Opera as Guglielmo under Gielen and sang Leporello at the 2006 Vienna Klangbogen Festival.

He is an acclaimed interpreter of the great Bach Passions, and has sung with the London Philharmonic Orchestra under Masur and the Monteverdi Orchestra under Sir John Eliot Gardiner, the Philharmonia Orchestra under von Dohnanyi, the Berlin Staatskapelle under Luisi, the Gewandhaus Leipzig under Chailly, Wiener Philharmoniker under Sir Charles Mackerras, Berliner Philharmoniker under Nikolaus Harnoncourt. He also devotes himself to Lied and works regularly with the pianists Burkhard Kehring, Philippe Jordan, Malcolm Martineau, András Schiff, and Daniel Barenboim. His recital engagements have included the Wigmore Hall, Wiener Konzerthaus with András Schiff, Schubertiade Festival in Schwarzenberg, the Edinburgh International Festival and the Deutsche Staatsoper, Berlin.

His Festival engagements have included the London Mostly Mozart Festival under Marriner; the Tanglewood Festival under Christoph von Dohnanyí and the BBC Proms, Berlin and Lucerne Festivals under Masur. His recordings include Schubert recital discs for Harmonia Mundi and Naxos Records, a Schumann recital disc for Hyperion Records, Die Zauberflöte conducted by Claudio Abbado for Deutsche Grammophon which won Gramophone’s ‘Best Opera Recording of the Year’ and Bach's St Matthew Passion conducted by Riccardo Chailly for Decca.

Engagements this seasons include cconcerts with the Orchestre Philharmonique de Strasbourg, Danish National Symphony Orchestra, Boston Symphony Orchestra, Orchestre de la Suisse Romande and Cleveland Orchestra. He returns to La Scala for Missa solemnis under Maestro Haitnk and returns to the Wigmore Hall for a song recital.

This is for information only and should not be reproduced. Please contact Sophie Robertson for a full biography and for performance details.

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    Le nozze di Figaro



Severance Hall, CLEVELAND

DEBUSSY: 'Pelléas et Mélisande'

Conductor: Franz Welser-Möst
Director: Yuval Sharon

Pelléas: Ellliot Madore
Mélisande: Martina Janková
Genevieve: Nancy Maultsby
Yniold: Julie Mathevet
Doctor/Shepheard: David Castillo

Cleveland Orchestra

Severance Hall, CLEVELAND

DEBUSSY: 'Pelléas et Mélisande'

Conductor: Franz Welser-Möst
Director: Yuval Sharon

Pelléas: Ellliot Madore
Mélisande: Martina Janková
Genevieve: Nancy Maultsby
Yniold: Julie Mathevet
Doctor/Shepheard: David Castillo

Cleveland Orchestra

Severance Hall, CLEVELAND

DEBUSSY: 'Pelléas et Mélisande'

Conductor: Franz Welser-Möst
Director: Yuval Sharon

Pelléas: Ellliot Madore
Mélisande: Martina Janková
Genevieve: Nancy Maultsby
Yniold: Julie Mathevet
Doctor/Shepheard: David Castillo

Cleveland Orchestra

Teatro alla Scala Milan, MILAN

BEETHOVEN: 'Missa Solemnis'


Soprano: Camilla Tilling
Mezzo-soprano: Gerhild Romberger
Tenor: Peter Sonn

Teatro alla Scala Chorus and Orchestra

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Mass in B Minor

Symphony Hall Boston

'Müller-Brachmann conveyed the searching lines of “Et in Spiritum sanctum” with colorful dynamic shading. And in the earlier “Quoniam tu solus sanctus” his bright, elegant voice meshed with Richard Sebring’s warmly lyrical French horn solo.'

Aaron Keebaugh, Boston Classical Review, 3 February 2017



Usher Hall Edinburgh

'The soloists, soprano Evelina Dobraceva, mezzo Elizabeth DeShong, tenor Edgaras Montvidas and bass-baritone Hanno Muller-Brachmann, were phenomenal, adding real top-drawer status to the event. '

Michael Tumelty, Herald Scotland, 4 December 2016


Per Questa bella mano

Royal Albert Hall

'...Per Questa bella mano...eloquently sung by bass Hanno Müller-Brachmann...' Ivan Hewett, The Telegraph, August 2016


Die Zauberflöte

Royal Festival Hall

'Hanno Müller-Brachmann was the experienced Papageno.'

Richard Fairman, Financial Times, 11 May 2016
'...and a Lieder-quality Papageno from Hanno Müller-Brachmann, the finest principal in the cast.' David Nice, The Arts Desk, 11 May 2016


Le nozze di Figaro

Edinburgh International Festival

'The strongest elements were...Hanno Müller-Brachmann, whose Figaro radiated a nicely Tiggerish combination of the gormless and bumptious.' Rupert Christiansen, The Telegraph, 14th August 2015
'Hanno Müller-Brachmann’s Figaro is lusty and robust...' Kate Molleson, The Guardian, 14th August 2015
'The alpha males Figaro (Hanno Müller-Brachmann)...From his initial declaration of war ‘Se vuol ballare’, the warmth in Müller-Brachmann’s voice indicates his vengeance is good-natured, rather than vindictive.' Catriona Graham, The Opera Critic, 20th August 2015


Des Knaben Wunderhorn

Bridgewater Hall

"Hanno Müller-Brachmann, in the final set of songs, proved the most attractive of the three, with clear and resonant tone, irreproachable diction..." Robert Beale, Manchester Evening News,19 June 2015
"Tonight’s songs came from Hanno Müller-Brachmann, who imbued them with a powerful sense of life, in all its optimism, grim reality, tragedy and comedy". Rohan Shotton, Bach Track, 20 June 2015


B Minor Mass

The Cleveland Orchestra; Welser-Möst

It is hard to imagine a better quartet for this performance; each was superb... Hanno Müller-Brachmann was impressive in his aria Quoniam tu solus sanctus.... Timothy Robson, Bachtrack, 20th October 2014


War Requiem

BBC Proms; Nelsons; CBSO

Lending a sharp emotional edge to the solemnity were the three soloists, who were ideally matched. Susan Gritton was delicately tender in the Lacrimosa (am I the only person who hears a touch of Gershwin in this piece?). Tenor Toby Spence and bass Hanno Müller-Brachmann were unaffectedly hearty during the poem about sharing a meal with Death, and in the final dialogue of the two dead soldiers they held us spellbound. The silence after the final chord felt as if it would never end. Ivan Hewett, The Telegraph, 22nd August 2014
Hanno Müller-Brachmann...the quiet intensity of “Nor my titanic tears”. Barry Millington, Evening Standard, 22nd August 2014
Owen's poetry had committed advocates in soloists Toby Spence and Hanno Müller-Branchmann..Müller-Branchmann spelled out the pity of it all in his fine, rich baritone: "I am the enemy you killed, my friend." Stephen Pritchard, The Guardian, 24th August 2014
the three soloists strongly conveyed the essence of Britten’s juxtaposition of universal Christian consolation and individual tragedy and experience... Baritone Hanno Müller-Brachmann’s first entry was similarly affecting, the hushed sorrow of ‘Bugles sang, saddening the evening air’ delivering a persuasive rebuke to the flashing trumpets which had rung so glitteringly in the preceding ‘Dies Irae’. Müller-Brachmann sang with admirable control and assurance throughout, his noble declamation and rich, smooth tone elegant and unfussy. Though tackling a foreign tongue, he communicated with real directness and the openness of the baritone’s phrasing conveyed conviction and assurance.

Both Spence and Müller-Brachmann proved versatile in their responses to the text, especially in their duets. Conjoining in the ‘Dies Irae’, ‘Out there, we've walked quite friendly up to Death’, they presented a stubborn and bitter obstacle to the subsequent animated assertion of the choral tenors and basses: ‘Confutatis maledictis, Flammis accribus addictis, Voca me cum bendictis’ (When the damned have been confounded an to bitter flames consigned, summon me among the blessed.’ Claire Seymour, Opera Today, 22nd August 2014


Le nozze di Figaro

Rose Theater, New York

The bass-baritone Hanno Müller-Brachmann is an ideal Figaro: a youthful, appealing actor, a singer with a firm, dark and exciting voice. Sitting in an easy chair during that opening scene, measuring the space for the couple’s new bed simply by extending his hands and imagining the dimensions, Mr. Müller-Brachmann’s Figaro exudes easygoing charm and self-absorption, until Susanna makes clear that the count, no fooling, intends to have his way with her. Anthony Tommasini, The New York Times, 12th August 2013


St John Passion

Les violins du Roy

...et le baryton-basse Hanno Müller-Brachmann à la voix riche et satinée.

Richard Boisvert, cyberpresse.ca, 22nd March 2012


The Creation

Chicago Symphony Orchestra

...bass-baritone Hanno Mueller-Brachmann taking both Adam and the angel Raphael...sang off the words sensitively...

John von Rhein, Chicago Tribune, 28th October 2011


Des Knaben Wunderhorn

London Philharmonic Orchestra

Triumph too in the Mahler songs from Des Knaben Wunderhorn, chiefly because of Hanno Müller-Brachmann. The German’s bass-baritone voice, strikingly black and penetrating...such were his powers of characterisation and projection that he conveyed every emotional tremor. We laughed, we cried, we felt bitter irony. Running alongside, Jurowski and the LPO supplied plenty of instrumental finesse.
Geoff Brown, The Times, 31st May 2011
But Hanno Müller-Brachmann, a late stand-in as soloist, matched the players for vivid expression all the way. Müller-Brachmann is a rising star in Germany, and with good reason; his sonorous, flexible bass-baritone communicated every single word. 
Erica Jeal, The Guardian, 30th May 2011


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


...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



BACH: St Mark Passion

Soprano: Gudrun Sidonie Otto
Alto: Terry Wey
Tenor: Daniel Johannsen
Bass: Stephan MacLeod
Bass-Baritone: Hanno Müller-Brachmann

Harpsichord: Alexander Grychtolik
Knabenkantoei Basel
Capriccio Barockorchester

Rondeau Production


Doráti: Die Simmen
Mussorgsky: Songs and Dances of Death

András Schiff Klavier
Hanno Müller-Brachmann Bassbariton

Catalogue number    IPPNWCD77

HAYDN: Die Schöpfung" Hob. XXI:2

Camilla Tilling Sopran (Gabriel, Eva)
Mark Padmore Tenor (Uriel)
Hanno Müller-Brachmann Bassbariton (Raphael, Adam)

Chor und Symphonieorchester des Bayerischen Rundfunks
Bernard Haitink

Art.-Nr.     90012514
BR Klassik

BEETHOVEN: Symphony No.9

Katerina Beranova
Lilli Paasikivi
Robert Dean Smith
Hanno Müller-Brachmann,

MDF Rundfunkchor
Gewandhausorchester Leipzig
Riccardo Chailly

CD 0289 478 3497 7 DH
Decca Classics

MOZART: Cosi fan tutte

Fiordiligi -- Dorothea Roschmann
Dorabella -- Katharina Kammerloher
Guglielmo -- Hanno Muller-Brachmann
Ferrando -- Werner Gura
Despina -- Daniela Bruera
Don Alfonso -- Roman Trekel
Chorus of the Deutschen Staatsoper, Berlin
Staatskapelle Berlin conducted by Daniel Barenboim

BACH: St John Passion

Katherine Fuge / Joanne Lunn / Bernarda Fink / Robert Murray /
Paul Tindall / Julian Clarkson / Peter Harvey /
Mark Padmore / Hanno Muller-Brachmann
The Monteverdi Choir
The English Baroque Soloists
John Eliot Gardiner

Live broadcast by NDR Kultur
from the Kaiserdom, Königslutter, 22 March 2003
SDG 712
Soli Deo Gloria

BACH: Christmas Oratorio

Weihnachtsoratorium BWV 248

Sibylla Rubens, Ingeborg Danz, James Taylor, Marcus Ullmann, Hanno Müller-Brachmann, the Gächinger Kantorei, and the Bach-Collegium Stuttgart under Helmuth Rilling

Johann Sebastian Bach Edition
Art.-No.: 092.076.000
SCM Hänssler