Andreas Hörl

Der Fliegende Holländer, Richard Wagner Association Singapore

„…der Bayreuth-erfahrene [gibt] Andreas Hörl einen großartigen Daland“ Der neue Merker

Der Ring des Nibelunge, Bayreuth Festival

“And the Fafnfer - especially in 'Siegfried' - requires exactly this first-class, balmy sounding bass with easily understandable text, like it is Andreas Hörl." Das Opernglas

“Andreas Hörl gives in this Bayreuth-summer a threatening Fafner, first in a mechanic overall, then in suit, who kills his softer brother Fasolt [....] with a bar of gold." Die Welt

"With a pleasant timbre, Andreas Hörl makes his Bayreuth debut as Fafner." der-neue-merker.eu

"Bass fundament [...], with this the young Andreas Hörl from Munich can score, newly casted in this Ring-Cycle." BR-Klassik 

“Fafner est cette année Andreas Hörl [...]. Cette basse moins profonde que d’autres Fafner (qui chante un Titurel très vivant (!) dans le Parsifal pour enfants) a un timbre assez clair, une voix plutôt ouverte, une émission impeccable et une diction parfaite. La prestation en Fafner est très réussie, ce Fafner qui dans la mise en scène profite de la vie et de son or en entretenant une brigade de jeunes femmes : c’est sa manière à lui de dormir 'accompagné'. C’est un Fafner assez vif, un genre de hippie à la retraite (qui garde sa barbe noire peinte) vu comme un petit chef de bande qui se bat vraiment avec Siegfried: point de Dragon puisque le serpent est en nous.“ wanderer.blog.lemonde.fr

Die Walküre, Ungarische Staatsoper

"Andreas Hörl's dark timbre and booming voice saved some of the menace of Hunding otherwise completely undermined by the staging.” bachtrack.com

"Andreas Hörl lent his sedate bass to the unloved Hunding." Der neue Merker

Der Rosenkavalier, Innsbruck

"Andreas Hörl is a noticeable young Ochs. He is singing powerfully, without ever being earthy." opernnetz.de

"The young, tall singer from Bavaria with international reputation fills in the role with lively color and intensity and knows how to use his remarkable bass both in parlando and in the melodic scenes." Der neue Merker

Eugen Onegin, Wuppertal

"In the smaller parts, Andreas Hörl was thrilling with profound bass in his big aria in the 3rd act, in which he singing about his love for Tatiana" omm.de

"Andreas Hörl sings a respectable Gremin with impressive, dark depth" opernnetz.de

"Andreas Hörl, who created with sonorous, sophisticated bass a still young Gremin - who is totally in love with Tatiana." Das Opernglas

El Cid, Opernhaus Zürich

“The young bassist Andreas Hörl knows to inspire as Don Diegue […].” art-tv

“Especially the warm flowing voice of Andreas Hoerl gave this tragicomic father figure an aura of its own.” Zürichsee-Zeitung

“In his first major role Andreas Hörl’s soft and big, dark bass pleased […].” Der Bund

Lohengrin, Hamm

“As guarantor of the opulent bass power of King Henry the noble Andreas Hörl convinced again.” Der neue Merker

“Andreas Hörl convinced as voice rich king and gives the enormous Heinrich big reflective power and presents a very assertive baritone voice.” Opernnetz


Tristan und Isolde, Hamm

“The surprise of the evening was the encounter with the very young protégé from Kurt Moll, Andreas Hörl, stunning as King Marke. Without copying his master, you could hear his art of phrasing in each measure. With one of the finest black bass with the most noble lyricism in the voice-leading Hörl managed a poignant characterization of the Gram diffracted monarch. Stupendously the subtle enchased Piani in precise diction. Is it presumptuous to attest this young bassist, proceeding his way to this conclusion, to have a similar career like his mentor?” Der Neue Merker

Tannhäuser, Oper Köln

“Almost the premiere would have burst, if not Andreas Hoerl, who stayed by chance on the Rhein, would have been stepped in within six hours. His melodious Landgraf acquiesced as the striking chorus seamlessly into the fabulous wealth of musical performance.” www.kulturportal.de

Il barbiere di Siviglia, Oper Köln

“[…] Andreas Hörl as grumpy Basilio and Insun Min as saucy housekeeper Marcellina gave their roles a clear profile.” Kölnische Rundschau

"As excellent Buffos proved also Renato Girolami as Bartolo and Andreas Hoerl as (blind or blind sham) Basilio – both refreshing and gleefully completed trips to dramatically realistic roles.” Kölner Stadtanzeiger

Don Giovanni, Opernhaus Zürich

“And last but least: Andreas Hörl adds wonderful round bass sounds to the desecent into hell of Don Giovanni.” Oper aktuell

Die Zauberflöte, Klagenfurt

"And the Sarastro of Andreas Hörl leads in the heights of his bass a beautiful volume and last but not least an impressive appearance." derstandard.at

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