The German lyric tenor, Robert Wörle, studied with Leonore Kirschstein at the Leopold Mozart Conservatory in Augsburg from 1980 to 1983 and with Hanno Blaschke at the Musikhochschule in Munich from 1983 to 1987. In 1980 he received the Young Performer’s Award at the City of Augsburg.
From 1986 until 1996 Robert Wörle was a member of the ensemble at Staatstheater Stuttgart (guest contract from 1986; permanent engagement from autumn 1991), where he sang a varied repertoire including Haydn, W.A. Mozart, L.v. Beethoven, Strauss, Janacek, Mussorgsky, Weill and Paul Hindemith as well as numerous contemporary roles. His roles there have included Don Ottavio in Don Giovanni, Monostatos in Die Zauberflöte, Steuermann in Der Fliegende Holländer, Mime in Rheingold and Siegfried, Herodes in Salome, Wirt in Der Rosenkavalier, Andres in Wozzeck, Prinz/Kammerdiener/Marquis in Lulu, Dimitri in Mussorgsky's Boris Godunov, Hans Schwab in P. Hindemith’s Mathis der Maler, Walther von der Volgeweide in Tannhäuser, just to name a few. Since he left the ensemble, he has remained a frequent guest artist.
Further engagements have taken Robert Wörle to the Opera National de Paris at the Bastille in 1993, where he made his debut with Tichon in Katja Kabanowa, to the Semperoper Dresden, to the Deutsche Oper Berlin as Fatty in Mahagonny and Iro in Ulysse, to the Hamburgische Staatsoper as Hans Schwalb/Capito in Mathis Der Maler and Pedrillo in Entführung aus dem Serail, to the Munich State Opera in Ulisse and Lulu, to the Teatro Real Madrid, to the Deutsche Oper am Rhein, to Det Kongelige Teater Kobenhaven, to the Salzburg Festival as Guidobald in Die Gezeichneten, and to the Bregenz Festival as Jaquino in Fidelio), Gwidon in Der Goldene Hahn and Bobèche in Ritter Blaubart.
Robert Wörle has worked with such eminent conductors as Gerd Albrecht, Roger Norrington, Kurt Masur, Jeffrey Tate, Neville Marriner, Helmuth Rilling, Vladimir Fedoseyev, Peter Schneider and Michael Gielen. He continues to work with tage directors of renown such as Ruth Berghaus, Götz Friedrich, Harry Kuper, Willy Decker, Johannes Schaaf, Günther Krämer, Graham Vick, Achim Freyer and David Pountney.
Besides his success on the opera stage, Robert Wörle has established himself as a highly sought-after singer for concerts and recitals. His concert repertory is very extensive, ranging from Monteverdi’s Vespero della Beata Vergine, through oratorios by George Frideric Handel, J.S. Bach and Haydn, to Andrew Lloyd Webber’s Requiem.
Robert Wörle has made recordings for labels like Decca, BMG, Carus, Capriccio, Calig, Chrisopherus-Verlag, Orfeo and a wide variety of broadcasts complete his artistic body of work.