Robin Tritschler

Introduction

Acclaimed for his "radiantly lyrical" voice, Robin Tritschler has appeared in concert with L’Orchestre national de Lyon, Danish Radio, Radio France, and the London Philharmonic, Rotterdam Philharmonic and Bournemouth Symphony orchestras; with conductors Yannick Nézet-Séguin, Vladimir Jurowski, Yutaka Sado, Philippe Herreweghe and Kirill Karabits. He was a BBC New Generation Artist.

Robin has performed with the Welsh National Opera (Nemorino, Narraboth, Belmonte, Ferrando), La Monnaie, the Aldeburgh and Ruhr Triennale festivals, Stadttheater Klagenfurt and Royal Opera House. And as a renowned recitalist, Robin appears regularly at the Wigmore Hall, as well as in Cologne, Amsterdam and Washington, and for the Aldeburgh, Aix-en-Provence Festival and West Cork Chamber Music festivals. His growing discography includes critically acclaimed recordings of World War One songs (Signum) with Malcolm Martineau, and a Britten and Schubert disc with Iain Burnside as part of the Wigmore Hall Live series.

In the 2016/17 season concerts include Beethoven’s Leonora in Munich with the Bayerische Rundfunk, Elijah on tour with Pygmalion (Raphael Pichon), Mendelssohn’s Symphony No.2 with the NDR Hannover, and Mozart’s Requiem with the London Philharmonic Orchestra conducted by Nathalie Stutzmann. Robin will also make his debut with the Teatro Colon, Buenos Aires in De Materie.


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

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Repertoire

Opera Repertoire

BEETHOVEN

Fidelio (Jaquino)

 

DONIZETTI

L’elisir d’amore (Nemorino)

 

JANACEK

The Makropoulos Case (Janeck)

 

MOZART
Die Entführung aus dem Serail (Belmonte)

Zaide (Sultan Solimann)

Mitridate (Marzio)
Don Giovanni (Don Ottavio)
Cosi fan tutte (Ferrando)

 

ROSSINI
Il barbiere di Siviglia (Count Almaviva)

 

STRAUSS
Salome (Narraboth/ First Jew) 

 

VERDI
Otello (Rodrigo)

Concert Repertoire

BACH  

[Over 90 Cantatas]
Magnificat BWV 243
Lutherian Masses 235, 236
Mass in b minor
St John Passion - Evangelist and Arias
St Matthew Passion - Evangelist and Arias
Christmas Oratorio

 

BEETHOVEN 

Mass in C major

Symphony No. 9

 

BERLIOZ   

L’Enfance du Christ Op 25

 

BRITTEN 

Canticle III Op 55
Canticle II Op 51
Saint Nicolas Op 42
Serenade for tenor, horn and strings Op 31

Les Illuminations

Nocturne

War Requiem

 

CHARPENTIER
Messe de Minuit pour Noel H9

 

DVORAK  

Mass in D major Op 86
Stabat Mater

 

FINZI   

Dies Natalis

 

GOUND

Messe Solenelle

 

HANDEL 

Israel in Egypt HWV 54
Acis and Galatea
Dixit Dominus
Messiah

 

HAYDN  

Stabat Mater
Salve Regina g minor Hob 23b:2
Creation
Nelson Mass

 

HONEGGER

Le Roi David

 

KVERNO   

St Matthew Passion

 

LEHAR   

Fieber

 

MOZART   

Mass in C KV 317
Mass in C KV 427
Vesperae solennes de confessore KV 339
Requiem Mass KV 626

 

ROSSINI 

Petite Solenelle

Saint-Saëns  

Oratorio de Noel, Op 12

 

SCHUBERT 

Mass in A flat
Mass in E flat

 

STAINER   

The Crucifixion

 

STRAVINSKY 

In memoriam Dylan Thomas Dirge - Cannons and Song

 

VAUGHAN WILLIAMS

On Wenlock Edge

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  • BROWNE
    The Isle of Lost Dreams (1909)

Audio

Schedule

St Margarets Catholic Church, EAST TWICKENHAM

John DOWLAND Come again
Dear if you change
Robert JONES Sweet if you like

John DOWLAND Come heavy sleep

Robert JONES Love is a bable

John DOWLAND In darkness let me dwell

William WALTON Anon. In love

Benjamin BRITTEN Folk songs

Mauro GIULIANI Sei cavatine

Benjamin BRITTEN Songs from the Chinese

Lennox BERKELEY Songs of the Half Light

TENOR: ROBIN TRITSCHLER
Guitar: James Boyd

Jacqueline du Pre Music Building, OXFORD

T H E L I F E A N D S O N G S O F R O B E R T S C H U M A N N

Part One: Before His Marriage

PROLOGUE
Der Spielmann (Andersen tr. Chamisso) Op. 40/4 GERALDINE (c minor)

1828
An Anna (II) (Kerner) 1828 BEN (F major)
FEBRUARY 1840
Es treibt mich hin (Heine) Op. 24/2 MARK (a minor)
Anfangs wollt’ ich fast verzagen Op. 24/8 MARK (b minor)

From Myrthen Op. 25
Der Nussbaum (Mosen) Op. 25/3 ANNA (F major)
Aus den “Hebraischen Gesängen” (Byron)Op. 25/15 GERALDINE (e minor)
Setze mir nicht (Goethe) Op. 25/6 BEN (a minor)
MARCH 1840
Venezianisches Lied II )Moore tr. Freiligrath)Op. 25/18 MARK (G major)

Volksliedchen (Rückert) Op. 51/2 ANNA (F major)

MAY 1840
From Liederkreis Op. 39 (Eichendorff)
Mondnacht Op. 39/5 BEN (E major)
Auf einer Burg Op. 39/7 GERALDINE (e minor)
Zwielicht Op. 39/10 MARK (e minor)
Im Walde Op. 39/11 ANNA (A major)
Frühlingsnacht Op. 39/12 ANNA (F sharp major)

* Interval *

From Dichterliebe Op. 48 (Heine)
Das ist ein Flöten und Geigen Op. 48/9 MARK (d minor)
Hör ich ein Liedchen klingen Op. 48/10 MARK (G minor)
Am leuchtenden Sommermorgen Op. 48/12 BEN (B flat major)
Die alten bösen Lieder Op.48/16 BEN (c sharp minor)

JULY – AUGUST 1840
From Frauenliebe und –leben (Chamisso)
Seit ich ihn gesehen Op. 42/1 GERALDINE (B flat major)
Er, der Herrlichste von allen (Op. 42/2) ANNA (E flat (D flat?) major
Süsser Freund (Op. 42/6) ANNA (G major)
Nun has Du mir den ersten Schmerz getan Op. 42/8 GERALDINE (D minor)

Der Hidalgo (Geibel) Op. 30/3 BEN (D major)
Sonntags am Rhein (Reinick)Op. 36/1 ANNA (C major)
Unterm Fenster (Burns tr. Gerhard) Op. 34/3 GERALDINE + BEN (G major)
Sehnsucht (Geibel) Op. 51/1 MARK (d minor)


Part Two: After His Marriage

PROLOGUE
Familien-Gemälde (Grün) Op. 34/3 ROBIN + ANNA (F major)

NOVEMBER 1840
Erstes Grün (Kerner) Op. 35/4 MARY (g minor)
Stille Liebe (Kerner) Op. 35/8 JONATHAN (D flat major)

MAY 1847
Das verlassene Mägdlein (Mörike) p. 64/2 ANNA (g minor)
Die Soldatenbraut (Mörike) Op. 64/1 MARY (B flat major)

MARCH – APRIL 1849
Intermezzo (“Und schläfst du”) (Geibel) Op. 74/2 ROBIN+JONATHAN (F major)
In der Nacht (Geibel) Op. 74 No. 4 ANNA+JONATHAN (F minor)
Flutenreicher Ebro (Geibel) Op. 138/5 ROBIN (D major)

Der Sandmann (Kletke) Op. 79/13 MARY (A minor)
Er ist’s (Mörike) Op. 79/24 MARY (A major)

JUNE 1849
Mein schöner Stern (Rückert) Op. 101/4 ROBIN (E flat major)
So wahr die Sonne scheinet (Ruckert) Op. 101 QUARTET

* Interval *

Er und sie (Kerner) Op. 78/2 MARY + ROBIN Wer sich der Einsamkeit ergibt (Goethe) Op. 98a/6 JONATHAN (f minor)
Singet nicht in Trauertönen (Goethe) Op. 98a/7 MARY (E flat major)

APRIL – JULY 1850
Die Blume der Ergebung (Rückert) Op. 83/2 ANNA (G major)
Aufträge (L’Egru) Op. 77/5 ROBIN (A major)
Nachtlied (Goethe) Op. 96/1 JONATHAN (B flat)
Mein Garten (Hoffman von Fallersleben) Op. 77/2 MARY (a minor)

JANUARY 1851
Herzelied (Ulrich) Op. 107/1 ANNA (e minor)
Abendlied (Kinkel) Op. 107/6 JONATHAN (B flat major)

DECEMBER 1852
Gebet (Maria Stuart) Op. 135/5 ANNA (e minor)

EPILOGUE
Des Sennen Abschied (Schiller) Op. 79/23 ROBIN (C major)
CLARA SCHUMANN:
Die gute Nacht, die ich dir sage (Rückert) MARY (F major)


Soprano: Mary Bevan
Mezzo-Soprano: Anna Huntley
TENOR: ROBIN TRITSCHLER
BASS: JONATHAN LEMALU
PIANO: GRAHAM JOHNSON

Prinzregententheater, MUNICH

BEETHOVEN 'Leonore'

Conductor: Mario Venzago

Leonore: Christiane Libor
Marzelline: Christina Landshamer
Florestan: Michael König
JAQUINO: ROBIN TRITSCHLER
Don Pizzaro; Kay Stiefermann
Don Fernando: Jan-Hendrik Rootering
Rocco: Mika Kares

Orchester und Chor des Bayerischen Rundfunks

Halle aux Grains, TOULOUSE

MENDELSSOHN 'Elias'

Conductor: Raphaël Pichon

Soprano: Sabine Devieilhe
Soprano: Julia Kleiter
Mezzo-soprano: Marianne Crebassa
Tenor: Robin Tritschler
Baritone: Stéphane Degout

Ensemble Pygmalion chœur et orchestre

Opera de Bordeaux, BORDEAUX

MENDELSSOHN 'Elias'

Conductor: Raphaël Pichon

Soprano: Julia Kleiter
Mezzo-soprano: Marianne Crebassa
TENOR: ROBIN TRITSCHLER
Baritone: Stéphane Degout

Ensemble Pygmalion choir and orchestra

Grange au Lac, EVIAN

MENDELSSOHN 'Elias'

Conductor: Raphaël Pichon

Soprano: Julia Kleiter
Mezzo-soprano: Marianne Crebassa
TENOR: ROBIN TRITSCHLER
Baritone: Stéphane Degout

Ensemble Pygmalion chœur et orchestre

Opera de Rennes, RENNES

J.S.BACH
'Schwingt freudig euch empor' BWV 36
'Nun komm der Heiden Heiland' BWV 62
'Sehet, welch eine Liebe hat uns der Vater erzeiget' BWV 64

Soprano: Céline Scheen
Countertenor / conductor: Damien Guillon
TENOR: ROBIN TRITSCHLER
Bass: Benoît Arnould

Le Banquet Céleste

Eglise Notre Dame de la Gloriette, CAEN

J.S.BACH
'Schwingt freudig euch empor' BWV 36
'Nun komm der Heiden Heiland' BWV 62
'Sehet, welch eine Liebe hat uns der Vater erzeiget' BWV 64

Soprano: Céline Scheen
Countertenor / conductor: Damien Guillon
TENOR: ROBIN TRITSCHLER
Bass: Benoît Arnould

Le Banquet Céleste

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Press

Mozart

Cosi fan tutte

Garsington Opera

Tritschler sang with lyrical charm Curtis Rogers, Classical Source
Robin Tritschler and Ashley Riches sang with a combination of style and technical precision. Robert Hugill, Opera Today
Robin Tritschler was a mellifluous Ferrando, melting hearts in “Un aura amorosa”, the second verse of which was taken at a honeyed pianissimo.  Mark Pullinger, Bachtrack
...tenor Robin Tritschler and bass Ashley Riches are equally headstrong and characterful as the young men. Mark Valencia, Whats On Stage
Robin Tritschler’s Ferrando sounds delightful in his aria Un aura amorosa George Hall, The Stage

CD: No Exceptions No Exemptions

Malcolm Martineau, piano

Tritschler is communicative in the English-language songs and his imaginative reach extends to largely forgotten composers such as William Denis Browne, Benjamin Dale, Rudi Stephan and Pierre Vellones. Richard Fairman, Financial Times
The gifted tenor Robin Tritschler's singing is nuanced sensitively, while the pianist Malcolm Martineau is, as always, an astute partner.  Stephen Pettitt, The Sunday Times
Armed with Malcolm Martineau as his accompanist, he [Robin Tritschler] throws himself into his thoughtful recital No Exceptions No Exemptions with winning dedication... Goeff Brown, The Times
Robin Tritschler in wonderfully eloquent form, showcasing a wide range of timbre and expression in these 32 songs from Delius and Debussy… Caplet to Cecil Coles, Earnest Farrar and Arthur Bliss - and he ends with Charles Ives’s ‘In Flanders Field’. Andrew McGregor, Radio 3 CD Review
Robin Tritschler has put together an uncommonly thoughtful and enterprising programme. But he's done more than that because he's also executed the programme extremely well. I enjoyed his singing very much and I particularly admired the consistent clarity of both his tone and diction. At every turn he's partnered expertly and perceptively by Malcolm Martineau. This is an admirable and stimulating musical commemoration of the Great War, valuable not least for the way it shines light on some lesser-known composers and songs. I've found listening to it a fascinating and rewarding experience.  John Quinn, MusicWeb International
Partly, the recital works so well because Tritschler and Martineau perform the songs so beautifully. Tritschler finds a lovely wide range of colours in his voice, from the incisively dramatic to the highly seductive. He has a very beautiful voice, but certainly does not coast through quite the opposite in fact. Throughout Tritschler is accompanied by Martineau in a stylish manner, in fact he is more of a partner. Planet Hugill
The Irish tenor Robin Tritschler proves yet again that he is one of the most sensitive and musical of today’s younger lieder interpreters, his plangent timbre matched to a fine sense of word and mood. Rupert Christiansen, The Telegraph
Together with his superb pianist partner Malcolm Martineau, the Irish tenor Robin Tritschler proves an expert guide to all this material. His linguistic and vocal skills combine to splendid effect in subtly colouring such fine (and little known) songs as Prokofiev's Trust Me, as well as the bitterly angry Debussy song Noel des enfants qui n'ont plus de maison, and it's good to be reminded of such minor but genuine talents as those of composers such as André Caplet, Pierre Vellones and Michael Head. Tritschler's technical and expressive skills combine throughout to bring out the best in the words as well as the music. No weak spots, but eloquent highlights in individual items by Frederick Keel, Ivor Guerney and Charles Ives.  George Hall, BBC Music Music Magazine

Haydn

The Creation, September 2014

New Zealand Symphony Orchestra, Nicholas McGegan

The plangent tones of tenor soloist Robin Tritschler almost seemed, not inappropriately, to be channelling the Evangelist from the Bach Passions in his recitatives. His best moments were in the solo arias, particularly “In native worth and honour clad”, and he blended gorgeously with Pierard. Of the three soloists, he was the most attentive to the text. Simon Holden, Bachtrack

CPE Bach

St John Passion

Cadogan Hall

...what made the evening unforgettable was the presence of tenor Robin Tritschler in the narrative role of the Evangelist. His German diction was as natural as everyday conversation, but the soaring sweetness of his sound conferred an exalted nobility on every detail of this time-worn tale. Michael Church, The Independent

Bach

St Matthew Passion

Orquesta Filarmónica de Málaga

El tenor Robin Tritscher fue el ejemplo definitorio de estas dos ideas, su papel como evangelista fue incontestable; posee un instrumento vocal nacido para este oratorio, lleno de matices que coronó con las distintas arias reservadas por Bach.  La Opinion de Malaga
Mención aparte merecen las voces solistas de Marcos Fink (bajo barítono), en el papel de Jesús, y, especialmente, Robin Tritschler (tenor), en el del Evangelista, quien, con una técnica y una musicalidad inusitadas, consiguió que los recitativos no se vieran reducidos a mero ensamblaje de corales y arias, sino que elevaran su condición a material lírico de primer orden. Ocio y cultura

CD: Wigmore Hall Live, Britten and Schubert

Wigmore Hall with Iain Burnside

Tritschler's subtlety and responsiveness have never been so keenly captured on disc. Britten's Hölderlin settings can often seem sparse, obscure even; not here, the tenor carving from these dense miniatures an emotional landscape transcending the work's ten-or-so minutes. Six Schubert songs and a brace of Brittenised folksongs are at an equally high level, as is the sonic tapestry woven by Burnside.  Editor's Choice, Classical Music Magazine
"On the strength of this disc and his recent Signum release of songs from the Great War, Tritschler is a serious new fixture of art-song."
To read the full review, please click the link below.
Gramophone, Alexandra Coghlan, March 2015

Berg

wozzeck

Royal Opera House, Covent Garden

Robin Tritschler makes a devilishly good impression as the Half-Wit.
 
Mark Valencia, What's On Stage

Britten

Britten Sinfonia and the Richard Alston Dance Company

Barbican Theatre

Perhaps most darkly dazzling was the neglected Hölderlin cycle, sung with precision by tenor Robin Tritschler, with velvet-toned pianist Christopher Glynn. Helen Wallace/Classical-music.com
In this performance one felt these things being transformed into pure aural magic, a quality heightened by the angelic quality of Robin Tritschler’s tenor in the Hölderlin Fragments... Ivan Hewett/The Telegraph
Very different the performance of Les Illuminations, tremendous music tremendously played, and tremendously sung by Robin Tritschler. Clement Crisp/Financial Times
...the joyful, youthful revival of Les Illuminations, sung by tenor Robin Tritschler. Lindsey Winship/Evening Standard
The tenor, Robin Tritschler, was gorgeous – with a sweetness and restraint that seemed utterly congruent to the music and made Britten’s setting shine.

Jaime Robles, Bachtrack.com

Lammermuir Festival 2013

Holy Trinity Church Haddington

...it soon seemed clear that there can be no greater test of a singer’s diction than to alternate items with a fine-voiced actor such as Alex Jennings. Despite music’s additional demands on pitch, breathing, phrasing, balance with piano etc., I could make out every syllable...Vocal range was impressive, whether ethereal head voice or sonorous lower notes...Tritschler alternated effectively between peaceful colours and more menacing, edgy ones which seem to inform the text and music of truly gripping nocturnes.

Alan Coady/Bachtrack.com

Warlock

The Curlew

BBC Proms, Cadogan Hall

...the first-ever Proms performance of his [Peter Warlcock] song-cycle The Curlew was a significant event, and was made even more so through its superb rendering by tenor Robin Tritschler and the Conchord Ensemble.

Michael Church, The Independent

Song of Hiawatha

Three Choirs Festival, Gloucester Cathedral

Of the three soloists tenor Robin Tritschler was easily the most accomplished; a strong voice, secure from top to bottom and perfectly clear in tone and diction, he sensitively applied colouring suitable to the mood of music and words, and offered a glorious performance in his extended solo “Onaway! Awake, beloved!” Bachtrack
Of the three soloists tenor Robin Tritschler was easily the most accomplished; a strong voice, secure from top to bottom and perfectly clear in tone and diction, he sensitively applied colouring suitable to the mood of music and words, and offered a glorious performance in his extended solo “Onaway! Awake, beloved!” Bachtrack

Schubert Gala

Wigmore Hall

...tenor Robin Tritschler – very much a rising star - wrung the heart with ‘Der blinde Knabe’. Michael Church, The Independent

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