The German–Italian baritone Jeffrey Herminghaus began his musical training with the renowned Tölzer Knabenchor. Alongside studies with Daniel Kotlinski, he commenced vocal studies in 2017 with Christoph Strehl at the Mozarteum Salzburg, further expanding his training from 2021 in the Lied class of Stephan Genz. Additional studies led him to Andreas Scholl and Andreas Schmidt. He was further shaped by masterclasses with Ian Burnside and Simon Lepper.
2025:
• Concert at the Künstlerhaus in Munich with Alban Gerhardt (cello), Amadeus Wiesensee (piano) and Katharina Strepp (violin); press:
“For some rarely heard gems, the ad hoc ensemble is joined by baritone Jeffrey Herminghaus, who particularly in Jules Massenet’s Élégie and in three witty arrangements of folk songs by Ludwig van Beethoven demonstrates vocal freshness and a talent for melting cantilenas.”
(Münchner Abendzeitung)
• Concert at the Künstlerhaus in Munich with Alban Gerhardt (cello), Amadeus Wiesensee (piano) and Katharina Strepp (violin); press:
“For some rarely heard gems, the ad hoc ensemble is joined by baritone Jeffrey Herminghaus, who particularly in Jules Massenet’s Élégie and in three witty arrangements of folk songs by Ludwig van Beethoven demonstrates vocal freshness and a talent for melting cantilenas.”
(Münchner Abendzeitung)
• Hamburg: Hoffmanns Erzählungen by Jacques Offenbach, role: Dr. Mirakel
• Ghent: concert featuring arias by Joseph Haydn under the direction of Philippe Herreweghe
• Ghent: concert featuring arias by Joseph Haydn under the direction of Philippe Herreweghe
2024:
• Title role of Mittenhofer in Elegie für junge Liebende by Hans Werner Henze at the Mozarteum Salzburg
• Appearance as a young performer in the award-winning Hamburg “Fußballoper” – the performance was highlighted in a NDR broadcast
• Friedl in Vanni Moretto’s opera Der Wassermann vom Grundlsee, world premiere at the Barocktage in Bad Aussee (Austria)
• Debut as Escamillo in Carmen by Georges Bizet with consistently positive reviews:
“Jeffrey Herminghaus stands out magnificently with his sonorous baritone, producing the richest colours of the evening with pronounced virility and vocal ease.”
(opera vision Magazin)
“Baritone Jeffrey Herminghaus has his greatest moment as Escamillo in the famous Toreador aria (...). Splendid — the audience goes wild.”
(Hamburger Abendblatt)
• Title role of Mittenhofer in Elegie für junge Liebende by Hans Werner Henze at the Mozarteum Salzburg
• Appearance as a young performer in the award-winning Hamburg “Fußballoper” – the performance was highlighted in a NDR broadcast
• Friedl in Vanni Moretto’s opera Der Wassermann vom Grundlsee, world premiere at the Barocktage in Bad Aussee (Austria)
• Debut as Escamillo in Carmen by Georges Bizet with consistently positive reviews:
“Jeffrey Herminghaus stands out magnificently with his sonorous baritone, producing the richest colours of the evening with pronounced virility and vocal ease.”
(opera vision Magazin)
“Baritone Jeffrey Herminghaus has his greatest moment as Escamillo in the famous Toreador aria (...). Splendid — the audience goes wild.”
(Hamburger Abendblatt)
2023:
• Design and performance of a Don Giovanni programme in Munich with lectures by musicologist Christian Begemann
• Renewed engagement with the Junge Oper Baden-Württemberg
• Soloist in Gabriel Fauré’s Requiem under Jörn Andresen
• Design and performance of a Don Giovanni programme in Munich with lectures by musicologist Christian Begemann
• Renewed engagement with the Junge Oper Baden-Württemberg
• Soloist in Gabriel Fauré’s Requiem under Jörn Andresen
2022 – first engagements:
• Soloist in a Schubert evening in Munich with philosopher Rüdiger Safranski
• Claudio Monteverdi’s Marienvesper with the Regensburger Domspatzen conducted by Jörn Andresen
• Baron Douphol in La Traviata by Giuseppe Verdi in a production of the Junge Oper Baden-Württemberg
• Lied recitals in Dublin, London and Paris as part of a European artists’ project; performances in Austria and Germany, including the Schumann-Haus in Bonn
• Soloist in a Schubert evening in Munich with philosopher Rüdiger Safranski
• Claudio Monteverdi’s Marienvesper with the Regensburger Domspatzen conducted by Jörn Andresen
• Baron Douphol in La Traviata by Giuseppe Verdi in a production of the Junge Oper Baden-Württemberg
• Lied recitals in Dublin, London and Paris as part of a European artists’ project; performances in Austria and Germany, including the Schumann-Haus in Bonn