Christian Immler




With a voice of “warm, noble timbre and great flexibility” (Forum Opéra), German bass-baritone Christian Immler is a multifaceted artist whose career ranges widely across the worlds of lieder, oratorio and opera, “a technically, musically and stylistically consummate interpreter, with a strikingly masculine, truly grounded bass capable of tenoral splendour, exemplary diction and emotional urgency coupled with a deep intellectual textual understanding.” (Klassik Heute) His artistry is strongly centred in the baroque and early Classical repertoire, but with a versatility that extends through the 19th century recital and orchestral tradition and into contemporary works.

Recent highlights have included Rocco in Beethoven’s Leonore with René Jacobs and the Freiburger Barockorchester, widely acclaimed recordings of the St Matthew and St John Passions (as Jesus) with Bach Collegium Japan for BIS Records, the cantatas of Bach, Werner and Albrechtsberger at Müpa Budapest, Haydn’s Die Schöpfung with the Geneva Chamber Orchestra, Bach’s Magnificat with Les Violons du Roy in Canada and Christmas Oratorio with the Orchester der Klangverwaltung, recital performances of Schubert’s Winterreise and Beethoven’s An die ferne geliebte, and the role of the Hermit in Der Freischütz at the Opéra de Rouen and the Théâtre des Champs-Elysées with Laurence Equilbey.

Upcoming highlights include Mahler’s Symphony No.8 with the Minnesota Orchestra, Mendelssohn’s Elijah with Bach Collegium Japan, Haydn’s Stabat Mater and Salve Regina with the Kammerorchester Basel, Mozart’s C minor Mass with Pygmalion – choeur & orchestre, Telemann’s Orpheus with the B’Rock Orchestra, the Musiklehrer in Ariadne auf Naxos in Limoges, and Don Fernando in Fidelio at the Opéra Comique in Paris.

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“Immler put bite into both his sung and spoken lines, adding an occasional flourish like a subtle echo effect [and] also did heroic work imbuing disjointed, impressionistic lyrics with powerful emotional expression.”

Frank Kuznik


“Baritone soloist Christian Immler has a natural presence, expressive with balance. His rich, powerful, sometimes deep voice easily radiates into the hall. His long, yet precise phrasing is enhanced by a very pleasantly careful diction.”

Original text:

“Le baryton soliste Christian Immler fait preuve d’une présence naturelle, expressive avec équilibre. Sa voix riche et puissante, parfois profonde, rayonne aisément dans la salle. Ses phrasés longs et néanmoins précis sont rehaussés par une diction très agréablement soignée.”

Emmanuel Deroeux

Ôlyrix, November 2022

“From the beginning, Christian Immler is thrilling as the Hermit. The sonorous quality of his bass radiates a dignified calm and the beauty and evenness of his voices encapsulates the spiritual grandeur of the Christian admonisher.”

Online Merker, April 2022

Press Reviews

“Dominating the whole work, Christian Immler is Saul, whom he lives with singular intensity. Everything is there for this perilous role, where the king, imbued with his power, jealous, angry, calculating, dark in a murderous madness: voice sound in all registers, well stamped, projected at will. His dramatic commitment is exemplary.”

Original text:

“Dominant tout l’ouvrage, Christian Immler est Saül, qu’il vit avec une intensité singulière. Tout est là pour ce rôle périlleux, où le roi, imbu de son pouvoir, jaloux, rageur, calculateur, sombre dans une folie meurtrière : voix sonore dans tous les registres, bien timbrée, projetée à souhait. Son engagement dramatique est exemplaire. Qu’attend un producteur pour le mettre en scène?”

Albert Dacheux, Classiquenews, July 2019

“Christian Immler was an appropriately omniscient mystic who also boomed the voice of Samiel over spectral amplification in the bullet-forging scene. “Er oder du” could have been Verdi’s Grand Inquisiteur. Bringing hermetic wisdom to determine Max’s fate, “Wer legt auf ihn so strengen Bann?” had dramatic gravitas with a resonant low B-flat. The Sarastro-like “Leicht kann des Frommen Herz” monologue had a Talvela-ish low A-natural and the fortissimo “Wer höb’ den ersten Stein wohl auf?” was redolent of Jim Bakker televangelist hectoring.”

Jonathan Sutherland, Operawire, May 2019


Matching him was the bass Christian Immler (who I last saw in March as Hermit/Voice of Samiel in the Insula Der Freischütz in Aix), superbly strong in the ‘Tuba mirum’

Seenandheard, Colin Clarke, June 2019


The baritone Christian Immler shows himself in this varied programme to be a technically, musically and stylistically consummate interpreter. In the familiar Schubert and Brahms cycles, he has no need to hide behind any previous great artist. His voice is strikingly masculine, bass-grounded yet capable of tenoral splendour, the diction is exemplary, one can indeed understand every word. Emotional urgency is coupled with a deep intellectual understanding of the text.

Original text:

Der Bariton Christian Immler zeigt sich in diesem vielseitigen Programm als ein in technischer, musikalischer und stilistischer Hinsicht mit allen Wassern gewaschener Interpret. In den bekannten Zyklen von Schubert und Brahms braucht er sich hinter den bedeutendsten Künstlern der Vergangenheit nicht zu verstecken. Die Stimme ist männlich markant, bassig geerdet und zu tenoralem Glanz fähig, die Diktion ist mustergültig, man versteht tatsächlich jedes Wort. Emotionale Dringlichkeit verbindet sich mit intellektueller Durchdringung der Textinhalte.

Klassik heute, Ekkehard Pluta, April 2019