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The German baritone, Michael Marz, received his first musical lessons from 2000 at the Bischöflichen Kirchenmusikalischen Institut Speyer in the subjects of organ, choir conducting and singing. He first studied philosophy and phonetics at the Albert-Ludwigs-Universität in Freiburg im Breisgau and began private singing studies with Barbara Ikas and Professor Maria Venuti (HfM Karlsruhe). He studied singing in the class of Professor Yaron Windmüller at the Hochschule für Musik Saar in Saarbrücken. Meanwhile, he also attended Prof. Matthias Wierig's Lied class and received impulses in the field of modern music, with Professor. Dr. Stefan Litwin and Lutz Gillmann, among others. In addition to his singing studies, he completed movement and acting courses with Ichiro Nakayama (Tokyo/Japan) and Ute Münz. He also attended several master-classes for “historical performance practice” with Professor Barbara Schlick (Köln), Professor Peter Kooij (The Hague) and worked with Professor Christian Hilz (HdK Bern) and Gudrun Bär (Weimar).
Michael Marz is a concert singer who can be heard primarily in the field of church music, oratorio and concerts, where he regularly sings works such as C. Monteverdi's Vespro della Beata Vergine; J.S. Bach's Weihnachts-Oratorium BWV 248, Matthäus-Passion BWV 244 and Johannes-Passion BWV 245 (most recently together with Klaus Mertens), as well as Gabriel Fauré's Requiem, Johannes Brahms' Requiem, Carl Orff's Carmina Burana (among others at the Rheinlandpfalztag 2013). His repertoire includes works from early music, classical music to romantic and modern oratorios.
Lieder recitals and chamber music with various partners (including Domkantor Joachim Weller, Speyer) and ensembles form another focus of Michael Marz' work, for example, he recently sang Franz Schubert's Winterreise in Heilbronn and Bern (Switzerland), among others, which were very well received by critics. This led to further invitations for him and his piano partner Professor Dr. Helmut Friday. For example to Interlaken (Switzerland) and Saarbrücken.
Michael Marz has sung at the Musikfest Bremen, Beethovenfest Bonn, Musikfestspiele Saar, Internationale Musiktage Dom zu Speyer, Heidelberger Kirchenmusiktagen, Festival Alte Musik Knechtsteden”, among others BACHkantaten in Saarbrücken or Bachakademie in Krasnojarsk (Russia), among others. He is also happy to be entrusted with premieres. For example, he sang the premieres of Thorsten W. Hansen's Die Überheblichkeit des Bösen, das Vertrauen des Frommen (Berlin), Natalya Chepelyuk’s Pater Noster (recorded by Deutschlandradio Kultur) or Professor Peter Michael Braun's Das Feuer Gottes (Mannheim).
In addition to his work in the concert and Lieder fieldsr, Michael Marz was already seen in numerous opera productions at the Opernschule Saarbrücken his studies (including George Frideric Handel's Serse, W.A. Mozart's Le nozze di Figaro, Engelbert Humperdinck's Hänsel & Gretel, Menotti's The Consul or Gustav Holst's Savitri). In 2013 he was heard at the Bad Hersfelder Opernfestspielen in Georges Bizet's opera Carmen and previously as Polypheme in G.F. Handel's Acis und Galatea. He could be heard at the Nationaltheater Mannheim in the 2016-2017 and 2017-2018 seasons.
Michael Marz also makes regular guest appearances with various vocal ensembles such as the Chapelle Rhenane, Deutschen Kammerchor, Rheinische Kantorei (Director: Hermann Max), Orpheus Vokalensemble or Ensemble Cantissimo and dedicates himself to ensemble singing there. He has already worked with conductors such as Rubén Dubrovsky, Professor Michael Alber, Benoît Haller, Hermann Max, Markus Utz, Stefan Blunier, DKM Markus Melchiori, DKM Boris Böhmann and Paavo Järvi. He is also a founding member of the Vokalconsort Parlando für Alte Musik (Director: Rainer Oster), which mainly deals with the cantatas of J.S. Bach from the perspective of historical performance practice.
Several radio recordings by Saarländischer Rundfunk, Westdeutscher Rundfunk, Südwestrundfunk and Deutschlandradio Berlin complement his diverse activities. |
