GüntherGroissböck

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  • Bass

About Günther

Austrian bass Günther Groissböck has established himself as one of the most sought-after singers of his time. Günther regularly performs major roles on stages such as Wiener Staatsoper, the Metropolitan Opera, Opéra national de Paris, Teatro alla Scala, Gran Teatre del Liceu, Bayerische Staatsoper, Semperoper Dresden, Deutsche Oper Berlin, Staatsoper Berlin, Arena di Verona and Bayreuther Festspiele. He regularly collaborates with conductors including Zubin Mehta, Christian Thielemann, Kirill Petrenko, Andris Nelsons, Antonio Pappano and Philippe Jordan. An avid recitalist, Günther often performs Lieder with Malcolm Martineau and Julius Drake.

In the 2024/25 season, Günther returns to Wiener Staatsoper for Hermann in a new production of Tannhaüser, Gurnemanz Parsifal, Heinrich der Vogler Lohengrin, Baron Ochs Der Rosenkavalier, and Papst Pius IV Palestrina. He also sings the roles of Baron Ochs Der Rosenkavalier and Hunding Die Walküre at Teatro alla Scala, Heinrich der Vogler in a new production of Lohengrin at Gran Teatre del Liceu, and König Marke Tristan und Isolde at Bayreuther Festspiele. On the concert stage, he sings Shostakovich’s Symphony No. 13 with the Gewandhausorchester and Andris Nelsons in Leipzig; and a Mozart, Widor and Bruckner concert with the Slovak Philharmonic and Stefan Vladar.

Recent highlights include Hermann Tannhäuser and König Marke Tristan und Isolde at Bayreuther Festspiele; König Marke Tristan und Isolde and Gurnemanz Parsifal at Deutsche Oper Berlin; Veit Pogner Die Meistersinger von Nürnberg, Gurnemanz Parsifal, Orest Elektra, Colline La bohème, Sarastro Die Zauberflöte, König Marke Tristan und Isolde, and Peneios Daphne at Wiener Staatsoper; and Heinrich der Vogler Lohengrin and Baron Ochs Der Rosenkavalier at Staatsoper Berlin. On the concert stage, he recently sang the role of Boris Lady Macbeth of Mtsensk with the Boston Symphony Orchestra and Andris Nelsons at Carnegie Hall and Boston Symphony Hall; Beethoven’s Symphony No. 9 with the Vienna Philharmonic and Riccardo Muti; and sang recitals at the Wiener Musikverein, Wigmore Hall and Elbphilharmonie Hamburg.

Günther is based in Ticino

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Contact

Charlotte Bateman

Charlotte Bateman

Assistant Artist Manager

Representation

Worldwide general management with Askonas Holt

Season Highlights

Oct 2024
Teatro alla Scala, Milan
Der Rosenkavalier (Der Baron Ochs auf Lerchenau) Kirill Petrenko (conductor) Harry Kupfer (director)
Dec 2024
Wiener Staatsoper
Palestrina (Papst Pius IV) Christian Thielemann (conductor) Herbert Wernicke (director)
Feb 2025
Teatro alla Scala, Milan
Die Walküre (Hunding) Christian Thielemann (conductor) David McVicar (director)
Mar 2025
Gran Teatre del Liceu, Barcelona
Lohengrin (Heinrich der Vogler) Josep Pons (conductor) Katharina Wagner (director)
Apr 2025
Wiener Staatsoper
Parsifal (Gurnemanz) Axel Kober (conductor) Kirill Serebrennikov (director)
May 2025
Gewandhaus Leipzig
Shostakovich Symphony No. 13 Andris Nelsons (conductor)
May 2025
Wiener Staatsoper
Tannhäuser (Hermann) Philippe Jordan (conductor) Lydia Steier (director)
Aug 2025
Bayreuther Festspiele
Tristan und Isolde (König Marke) Semyon Bychkov (conductor) Thorleifur Örn Arnarsson (director)

Photos

Selected Repertoire

Beethoven

Fidelio (Rocco/Don Fernando)

Dvořák

Rusalka (Vodnik)

Halévy

La juive (Cardinal of Brogni)

Händel

Orlando (Zoroastro)   •   Giulio Cesare in Egitto (Achilla)

Lortzing

Der Waffenschmied (Hans Stadinger)

Mozart

Die Zauberflöte (Sarastro)   •   Don Giovanni (Commendatore)   •   La clemenza di Tito (Publio)

Mussorgsky

Boris Godunov (title role)

Peri, J.

Euridice (Plutone)

Pfitzner

Palestrina (Papst Pius IV)

Puccini

La bohème (Colline)

Rossini

Guillaume Tell (Gesler)   •   La Cenerentola (Alidoro)

Saint-Saëns

Samson et Dalila (Abimelech/Old Hebrew)

Shostakovich

Lady Macbeth of Mtsensk (Ghost of Boris Timofeyevich/Boris Timofeyevich Izmailov)

Smetana

Prodaná nevěsta (Kecal)

Strauss

Der Rosenkavalier (Baron Ochs of Lerchenau)   •   Elektra (Orest)   •   Daphne (Peneios)

Tchaikovsky

Eugene Onegin (Prince Gremin)

Verdi

Nabucco (Zachary)   •   Macbeth (Banquo)   •   Otello (Lodovico)   •   Don Carlo (The Grand Inquisitor/Philip II)   •   I vespri siciliani (The count of Vaudemont)   •   Rigoletto (Sparafucile)   •   Stiffelio (Jorg)   •   Aida (The King of Egypt/Ramfis)   •   Simon Boccanegra (Jacopo Fiesco)

Von Weber

Der Freischütz (Caspar/Hermit)

Wagner

Die Walküre (Hunding)   •   Lohengrin (Henry the Fowler)   •   Der fliegende Holländer (Daland)   •   Tannhäuser (Hermann)   •   Das Rheingold (Fasolt/Fafner/Wotan)   •   Die Meistersinger von Nürnberg (Veit Pogner/Nightwatchman)   •   Parsifal (Titurel/Gurnemanz)   •   Tristan und Isolde (King Mark)   •   Die Walküre (Hunding)   •   Rienzi, der letzte der Tribunen (Steffano Colonna)

News

Press

  • Shostakovich’s Lady Macbeth of Mtsensk (Boris)

    Wiener Staatsoper
    Jun 2023
    • As a stage animal it is difficult to take one’s eyes off Günther Groissböck whenever he is on the stage and his Boris was suitably menacing in both voice and personality although not too many steps removed from his much-admired Baron Ochs in Der Rosenkavlier.

  • Recital with Malcolm Martineau

    Wigmore Hall
    Sep 2023
    • Groissböck was at his most engaging here, exuding a sense of yearning at the start of Auf dem Hügel sitz ich, spähend (I sit on the hill gazing), his rich, dark bass lending an uncommon sense of gravitas to the vocal line...It is testament to his artistry, and technique that he is able to sing so introspectively given he possesses such a huge voice.

  • Shostakovich’s Lady Macbeth of Mtsensk (Boris)

    Carnegie Hall
    Feb 2024
    • And Günther Groissböck, mostly repulsive and sinister as Boris, Katerina’s lecherous father-in-law, used his rich and vigorous bass – powerful but never rough – to uncommonly moving effect in the Act 2 courtyard scene where he reminisces about his youthful romantic conquests.

  • Rosenkavalier

    Teatro alla Scala
    Oct 2024
    • Günther Groissböck is a veteran Baron Ochs and performed it with confidence and a smooth, booming bass. Traditionally, Ochs is portrayed as a comic figure, exaggerated in his philandering, but ultimately harmless. In this production, Kupfer chooses to emphasise his true nature and Groissböck followed suit, portraying a crass, predatory, arrogant Baron... Groissböck's performance was spot on.