The return of a countertenor - Max Riebl

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2018 marks a decade since Paul Dyer first discovered countertenor Max Riebl who quickly became a Brandenburg Choir regular and an audience favourite. In 2013, Max took centre stage as the guest artist in Noël! Noël! where he thoroughly enchanted audiences – Max’s star was on the rise.

 

Fast-forward to 2018, Max is now a soloist in high-demand with an impressive résumé including performances in Sydney’s City Recital Hall, Melbourne Recital Centre, Hamer Hall, the Forum, the Vienna Musikverein and the Royal Albert Hall. He has also won top prizes in the Herald Sun Aria, the IFAC Australian Singing Competition, the London Handel Competition, the Chicago International Classical Singer Competition, and the Royal Philharmonic Arias.

 

 Click here to book tickets to Thomas Tallis' England, with Max Riebl, Brandenburg Orchestra & Choir.


Background
Max was born in Melbourne with music in his genes. When his family moved to Vienna for his sister's music studies, Max was offered the position of lead boy soprano with the Vienna Boys' Choir. He went on to study baroque and early music at the Schola Cantorum Basiliensis with the renowned German classical tenor, Gerd Turk. He currently coaches with Dermot Tutty in Melbourne. 
Sweeter than Roses by Purcell - adapted for voice and piano by B. Britten - Sung by Max Riebl with his sister, Rosie Riebl, on piano.

"He’s the real deal, an artist in every essence of the word, a musician capable of great things who can weave his way through style, genre and time, taking the audience on a musical history lesson with him"
- AUSTRALIAN STAGE

"Reibl’s voice is pure, with great clarity and another to add to the growing superb voices of countertenor ‘angels’"
- THE CULTURE CONCEPT

Repertoire
This February and March, Max once again takes to the Brandenburg stage delivering unforgettably emotive performances of enigmatic English repertoire. Max elaborates:
“I’ll be singing two beautiful songs by Gibbons, from the late Tudor to early Jacobean period, and an aria from Handel’s opera Orlando with lots of vocal fireworks. I’m probably most looking forward to singing Purcell’s Cold Song from King Arthur, a gut-wrenching masterpiece that is simultaneously epic and minimalist.”  

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