The German soprano, Martina Schänzle, studied from 1985 to 1992 Lied and Oratorio at the Hochschule für Musik und Theater in Hamburg (Diploma in Lied and Oratorio, Diploma in Singing Education 1993; teachers: Professor Ingrid Kremling, Professor Verena Rauschnabel), later at the at the Akademie für Alte Musik in Bremen ((1993-1994) with Professor Harry van der Kamp. She also studied Alexander technique with Brian McKenna in Bremen, and teaching this technique at the Alexander Alliance (1999-2003, director: Bruce Fertman, graduated in 2003). Master-classes and other studies with Ingeborg Most, Ursula Böse, Sena Jurinac, Jessica Cash, Ute Niß, Wolfgang Palm and Hellen Kwon completed her training.
Martina Schänzle's operatic engagements have included: Salko in Der Basilisk by Christine Brückner - premiere (1990), Hochzeit bei Laternenschein by Jacques Offenbach (1991), Emilie in Egon und Emilie by Ernst Toch (1992) - all at Hochschule für Musik und Theater in Hamburg; Poppea in L’Incoronazione di Poppea by Claudio Monteverdi with the Akademie für Alte Musik, Bremen conducted by Stephen Stubbs in Bremen and Rome (1993); Euridyke in Orpheus und Euridyke by Christoph W. Gluck in Munich; 1. Stimme in Jacob Lenz by Wolfgang Rihm in Hamburg (1994); Merab in Saul by George Frideric Handel in Hamburg (1994); Venus in Venus und Adonis by J. Blow in Hamburg (1995); Cupido in Dafne by Giovanni A. Bontempi and Marco Gioseppe Peranda in Dresden, Halle, Hannover, Gotha with Lautten Compagney Berlin (1998); Vespetta in Pimpinone by Georg Philipp Telemann at the Internationale Musiktage in Freden with United Continuo Services (2000), also in Freden (2002), Munich (2003), Groß-Gerau (2004).
In the field of early music, Martina Schänzle worked both as a soloist and in ensemble. Concert engagements have included: 1992 “Minnelieder” by J. P. Ostendorf with Saxophonquartett, Hamburg (1992, live broadcast of NDR); J.S. Bach's Matthäus-Passion (BWV 244) with Le Parlement de Musique, Strassbourg conducted by Martin Gester (1995); Mass in C minor by W.A. Mozart with Madrigalchor Kiel condcuted by Friederike Woebcken (1997); Stabat Mater by Rossini with the Husumer Kammerchor conducted by Jens Weigelt (2001). She has also worked with ensembles and conductors like Chor des NDR, Berliner Rundfunkchor (since 2003), Les Arts Florissants under William Christie (1993-1994 Zauberflöte by W.A. Mozart in Aix-en-Provence, and Messias by G.F. Handel; 2002 Europe tour with Die Jahreszeiten by Haydn), La Chapelle Royale, Paris under Philippe Herreweghe (1994 France tour with Missa solemmnis by L.v. Beethoven), Kammerchor Stuttgart, Stuttgart under Frieder Bernius (1995 Mass by Jan Dismas Zelenka). Ensembles she has co-operated with include: canti amorosi (Hamburg), in illo tempore (Hamburg), Fiori musicali (Bremen), Gesualdo Consort Amsterdam, Lautten Compagney Berlin, Liuto concertato (Frankfurt), Hamburger Barockorchester (Hamburg), La ricordanza (Braunschweig), Compagnie Fontainebleau (Berlin), United Continuo Services UCS (Hannover), and ensemble resonanz (Hamburg).
With her colorful and virtuosic voice, Martina Schänzle conveys successfully dramatic but also playful in roles of Baroque opera and oratorio. Her rich repertoire includes roles as the Messagera in Orfeo or Vespetta in Pimpinone. She has also given numerous Lieder recitals (Mozart, Schubert, Felix Mendelssohn, Johannes Brahms, Dvorak).
Martina Schänzle has particpated in numerous CD and radio recordings. Her CD recordings include: Matthäus-Passion (BWV 244) by J.S. Bach with Le Parlement de Musique, Strasbourg conducted by Martin Gester (1995); Mass in C minor by W.A. Mozart with Madrigalchor Kiel conducted by Friederike Woebcken (1997); Musiques de Ballet with arias duets from Les Fetes d’Hebe, Castor et Pollux, Hippolyte et Aricie (Quelle plainte..) with Compagnie Fontainebleau conducted by Egon Mihajlovic (2003).
Martina Schänzle has taught singing since 1993 and Alexander Technique since 2003.