Manuel Walser

History

The swiss born baritone MANUEL WALSER studied singing under Thomas Quasthoff since October 2008 at the Hochschule für Musik “Hanns Eisler” in Berlin. Aside from Thomas Quasthoff, his most important mentors and teachers include Brigitte Fassbaender, Frédéric Gindraux and Wolfram Rieger. At the International Song Competition Das Leid in Berlin in 2013, he was awarded the first prize and the Public’s prize. Furthermore, he is a prize winner of the Stella Maris International Song Competition and in May 2014, he was awarded the Armin Weltner Stiftung prize. Manuel Walser has an active concert schedule. In 2011, Manuel Walser was on the stage in Wolf-Ferraris Aschenputtel at the Berliner Staatsoper. At the Wiener Staatsoper, he gave his debut in 2013 as Fiorello and has also sung Marullo. From the 2015/2016 season, he is a member of the ensemble. In summer 2014, he gave his debut at the Slazburger Festspielen as Brutamonte in Schubert’s Fierrabras. http://www.wiener-staatsoper.at/Content.Node/home/kuenstler/saengerinnen/Manuel-Walser.en.php

Movies

Rigoletto
Rigoletto
Marullo
An outsider—a hunchbacked jester—struggles to balance the dueling elements of beauty and evil that exist in his life.
Fierrabras
Fierrabras
Brutamonte
Fierrabras of 1823 is the last of Franz Schubert’s stage works. Rarely performed to this day, this heroic-romantic opera has now been staged for the first time ever at the Salzburg Festival by famous director Peter Stein. Based on an old French 12th-century epic, the plot depicts the military conflict between Christians and Moors at the time of Charlemagne – as a backdrop to stories of love and friendship that prove to be stronger than war and hatred of otherness. The strong cast includes the “marvellously expressive miracle Dorothea Röschmann” (Die Zeit) and “Michael Schade, who exudes his exceptional tenor in Fierrabras’s heroic arias” (Der neue Merker). Under the energetic baton of lngo Metzmacher, the Vienna Philharmonic unfold “the melos, the poetry, the sweetness and the dramatic force of Schubert’s highly refined and atmospheric sound worlds” (Kleine Zeitung) in highly romantic fashion.