Matthias Wohlbrecht

Siegfried, Badisches Staatstheater Karlsruhe

"Vocally, as Mime Matthias Wohlbrecht is carved of a completely different wood. It was pure joy to listen to every perfect nuance and the play with the intricacies of the bizarre lyrics. The brilliant and characteristic tenor of the sympathetic singer did the rest: whispering, caricaturing, then again vehemently triumphant. He showed excellent strength with phenomenally placed heights. This Mime was the actual hero of the evening, which captured the audience's enthusiasm at any time and lived up to the ensemble`s name." Das Opernglas

"All honors go to Matthias Wohlbrecht as Mime. He masters the part perfectly and fascinates with his presentation, which emphasizes the devious and cunning character. He sings the demanding part effortlessly. Everything seems to be a lot of fun for him." Der neue Merker

"Matthias Wohlbrecht has already sung ‘Mime’ in the last ‘Ring’ and has mastered the role perfectly. He was rightly celebrated." Orpheus

"Matthias Wohlbrecht is a fabulous and eloquent Mime." ( Online Musik Magazin

"A masterpiece is Matthias Wohlbrecht`s wonderfully penetrating and wonderfully sneaky Mime." Südwest Presse

„Matthias Wohlbrecht, im 'Rheingold' ein ausgezeichneter, verschlagener Loge mit großem stimmlichem Schattierungsreichtum, erwies sich nun als denkbar gute Besetzung der Mime-Figur. Schon die physiognomischen Gegebenheiten ließ das Paar Mime – Siegfried überzeugend erscheinen. Hinzu kam ein bis ins Detail sorgsam aufeinander und auf die Musik abgestimmtes Spiel - Grundlage für einen kurzweiligen ersten Aufzug.“

Wahnfried, Badischer Staatstheater Karlsruhe

"The tenor Matthias Wohlbrecht was fabulous as initially insane insect fan Chamberlain, then as a dominant demagogue and finally as a crazy prophet." FAZ

"Above all, Cosima, played by Christina Niessen and her ambitious, misguided political impulse-maker Chamberlain alias Matthias Wohlbrecht in his role as a fanatical pioneer of the Nazi Aryan-national ideology. The powerful character tenor was highly demanded in this central role, fully in the tradition of the great scores of the master. He accomplished a celebrated performance in song and role interpretation." Das Opernglas

„Here, the singer Matthias Wohlbrecht paints the portrait of a man who wants to be meaningful with great intensity, deliberately putting aside everything human.” Rhein-Neckar-Zeitung

"Chamberlain [...], a role that is brilliantly performed by the excellent, very striking tenor Matthias Wohlbrecht [...]." Frankfurter Rundschau

Das Rheingold, Badisches Staatstheater Karlsruhe

"As Loge, Matthias Wohlbrecht was the center part who impressed in the conversation with Wotan." Der neue Merker

"Wohlbrecht lends presence with differentiated vocal shading to the obscure nature of the personality of Loge. [It] also succeeds in compellingly to combine a tender guided legato with declamatory precision, always dynamically finely weighted and adapted to the language flow."  

"The focal point of the performance is Matthias Wohlbrecht’s Loge, a Mephisto in a hippie robe. Theatrically, he is conjured up by Wotan from the oven, seems to know no stoppage, is constantly on the move, sometimes jumps cocky on the conference table. Wohlbrecht sings Loge with a concise, intonation-safe character tenor, a string-puller, who watches the downfall of the divine world with interest. A great performance celebrated by the audience."  Badische Neuste Nachrichten

„Keiner von ihnen kann es mit dem raffinierten Loge aufnehmen. Eine Glanzrolle für Matthias Wohlbrecht. Der, stimmlich und auch sonst agil, spielt gekonnt jeden gegen jeden aus.“ Badisches Tagblatt

"The undisputed main character of the Karlsruhe production is ‘Feuergott Loge’, performed by Matthias Wohlbrecht, who has got the perfect timbre for this role. Furthermore he is an outstanding actor." FAZ

"[...] only topped by Loge Matthias Wohlbrecht. His flexible character tenor held everything ready, which is mandatory for the dazzling figure Loge. With piercing attack, ingratiating sweetness and sly cunning, he sang the vocal top note of the performance.” Das Opernglas

Hänsel und Gretel, Badisches Staatstheater Karlsruhe

“Although Engelbert Humperdinck had strictly rejected casting the witch with a character tenor, this version can also be captivating, proven by the audience who has frenetically celebrated Matthias Wohlbrecht.” Der neue Merker

Katja Kabanova, Badisches Staatstheater Karlsruhe

"Matthias Wohlbrecht gives Tichon an expressive tenor voice and draws an undecided, even defenseless mother's son, who can never grow up."

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