Biography

Full Bio (718 words)

Lauded for his “mahogany baritone” (Early Music America), American baritone Harrison Hintzsche is celebrated for his warm lyric tone, nuanced musicality, and profound dedication to text. His dynamic career spans oratorio, art song, and chamber music, where he thrives on the challenge of interpreting a diverse repertoire and bridging a living connection between author and audience.

In the 2026–27 season, Hintzsche looks forward to performances of Monteverdi’s L’Orfeo with Tenet Vocal Artists (“Plutone”), Handel’s Messiah with Ensemble Altera, and Charis Vocal Ensemble, Howells’ Requiem with Voices of Ascension, and Mozart’s Regina Coeli and Haydn’s Lord Nelson Mass with the Choir and Orchestra of St. Ignatius Loyola. Hintzsche also anticipates performances of several masterworks by J. S. Bach, such as Christmas Oratorio with conductor Nicolas McGegan and Cantata Collective; St. Matthew Passion with Seattle Bach Festival (“Jesus”) and Upper Valley Baroque, St. John Passion with Tenet Vocal Artists and Philadelphia Bach Collective (“Jesus”); Mass in B Minor with Colorado Bach Ensemble; and cantatas 165, 178, & 185 with Cantata Collective. Hintzsche will also appear as a vocal chamber artist in collaborations with Variant 6, Tenet Vocal Ensemble, and Alkemie.

Recent performance highlights include J. S. Bach’s solo cantatas for bass voice: BWV 158, Der Friede sei mit dir with Cantata Collective, BWV 56, Ich will den Kreuzstab gerne tragen with Colorado Bach Ensemble, and BWV 82, Ich habe genug with Duke University and Marllarmé Music. Other highlights include Handel’s Messiah with Glacier Symphony, a one-on-a-part Mass in B Minor with The Sebastians, Bach’s St. Matthew Passion with Kent Tritle at the Cathedral of St. John the Divine, Duruflé’s Requiem with James O’Donnell and the Yale Consort, Mendelssohn’s Vom Himmel hoch with Riverside Choral Society, and Finzi’s In Terra Pax and Vaughan Williams’s Fantasia on Christmas Carols with the Choral Society of the Hamptons.

On the concert stage, Hintzsche has established himself as a trusted interpreter of eighteenth-century German Baroque repertoire, and is often noted for his care and attention to the German language. He regularly performs the music of J. S. Bach across the United States and was recently invited to serve as guest artist faculty at Duke University’s 2025 ChorWorks Emerging Artist Program. Hintzsche recorded the bass arias in J. S. Bach’s St. Matthew Passion, St. John Passion, Easter Oratorio, and Magnificat with Cantata Collective and conductor Nicholas McGegan, all released by AVIE Records. The BBC’s Record Review praised Hintzsche’s performance in St. John Passion for its “lightness and relaxed lyricism,” displayed in the aria “Mein teurer Heiland, lass mich fragen” with cellist William Skeen.

As a recitalist, Hintzsche has been recognized as a young champion of art song—his “first love” in classical singing—and has a particular affinity for German, Scandinavian, British, and American repertoire. His interpretation of Schubert Lieder at London’s Wigmore Hall with pianist Graham Johnson was noted by Opera Today for its “strong sense of narrative” and “gentle poignancy.” He received first prize in the 2018 Edvard Grieg Society of Minnesota Voice Competition and was the inaugural recipient of the William H. Halverson Award from the Edvard Grieg Society of America for exceptional performance of Grieg’s music. His interpretations of various Lieder by Luise Greger are available on the New Muses Project’s 2022 self-titled album.

A sought-after ensemble musician, Hintzsche has performed with some of the nation’s leading choral ensembles, including the Santa Fe Desert Chorale, Conspirare, Ensemble Altera, the Oregon Bach Festival Chorus, the Leonids, True Concord Voices & Orchestra, Yale Choral Artists, and the VocalEssence Ensemble Singers, among others. He has contributed to several recordings, including Santa Fe Desert Chorale’s Roots and Rivers, Ensemble Altera’s Dazzling Light, and True Concord’s GRAMMY-nominated album Dreams of the Fallen.

Hintzsche holds a Master of Music degree in Early Music Voice from the Yale School of Music, as well as a certificate from the Yale Institute of Sacred Music. At Yale, he studied voice with tenor James Taylor and performed with the Yale Schola Cantorum under conductors David Hill and Masaaki Suzuki, and was the 2020 recipient of the Margot Fassler Prize in the Performance of Sacred Music. He completed his Bachelor of Music in Vocal Performance at St. Olaf College in 2016, where he toured with Anton Armstrong and the St. Olaf Choir and studied with Dr. Robert C. Smith. Hintzsche has had the privilege of learning from distinguished musicians such as Peter Kooij, Peter Harvey, Masaaki Suzuki, Sanford Sylvan, Martin Katz, Håkan Hagegård, Arlene Shrut, François Le Roux, Roger Vignoles, and Patricia Caicedo, among many others.

Originally from DeKalb, Illinois, Hintzsche now resides in Brooklyn, New York.

Medium Bio (284 words)

Lauded for his “mahogany baritone” (Early Music America), baritone Harrison Hintzsche is celebrated for his warm lyric tone, nuanced musicality, and profound dedication to text. His dynamic career spans oratorio, art song, and chamber music, where he thrives on the challenge of interpreting a diverse repertoire and bridging a living connection between author and audience.

Hintzsche’s passion for music has led him to perform on world-class stages such as London’s Wigmore Hall, New York City’s Weill Recital Hall and Alice Tully Hall, and Seoul’s National Theater of Korea. He has worked closely with several celebrated leaders in music, such as Nicholas McGegan, Masaaki Suzuki, Graham Johnson, and Jos van Veldhoven. 

Recent performance highlights include Bach’s Mass in B Minor with The Sebastians, St. Matthew Passion with Kent Tritle at the Cathedral of St. John the Divine, bass solo cantatas Ich habe genug and Ich will den Kreuzstab gerne tragen with Philip Cave and Duke University; as well as Durufle’s Requiem with James O’Donnell and the Yale Consort, Mendelssohn’s Vom Himmel hoch with Riverside Choral Society, and Finzi’s In Terra Pax with the Choral Society of the Hamptons. He has recorded the bass arias in J. S. Bach’s St. Matthew Passion, St. John Passion, Easter Oratorio, and Magnificat with Cantata Collective and conductor Nicholas McGegan, all released by AVIE Records.

A sought-after ensemble musician, Hintzsche has performed with some of the nation’s leading choral ensembles, including the Santa Fe Desert Chorale, Conspirare, Ensemble Altera, the Oregon Bach Festival Chorus, the Leonids, Variant 6, and the VocalEssence Ensemble Singers, among others. He holds degrees in music from Yale University and St. Olaf College. Hintzsche is currently based in Brooklyn, New York, and hails from DeKalb, Illinois. 

Short Bio (156 words)

“Mahogany baritone” (Early Music America) Harrison Hintzsche is recognized for his warm lyric tone, nuanced musicality, and dedication to text. His passion for Baroque music, art song, and choral music has led him to perform on world-class stages such as London’s Wigmore Hall, New York City’s Alice Tully Hall, and Seoul’s National Theater of Korea; and collaborate with great leaders in music such as Masaaki Suzuki, Graham Johnson, and Nicholas McGegan. Recent recording credits include the bass arias in Bach’s St. Matthew Passion and St. John Passion with Cantata Collective, as well as various Lieder by Luise Greger on New Muses Project’s inaugural self-titled album. Hintzsche sings regularly with some of the nation’s leading choral ensembles, including the Santa Fe Desert Chorale, Ensemble Altera, and the Oregon Bach Festival Chorus, and holds degrees in music from St. Olaf College and the Yale School of Music. He hails from DeKalb, IL, and now resides in Brooklyn, NY.