Matthias Rexroth was described by the Kölnische Rundschau after a concert at the Köln Philharmonie, „A new star in the firmament of the early music scene...he possesses a voice of generous depth and a brilliant effortless top, capable of wonderfully tender piani and of perfect articulation: one could not stop marvelling at this exceptional singer”. Of his Tancredi BBC’s Graeme Kay wrote: „Matthias made one simply forget about the exigencies of counter-tenor voice production and concentrate on the music.”

He is the only countertenor who won two important international vocal competitions: the 37th Francesco-Viñas in Barcelona (first Prize and the special Prize as best countertenor) and the 19th Hans-Gabor-Belvedere-Competition in Vienna (first Prize as well as eight additional special Prizes).

Of his recent concert of Admeto arias in the Prinzregententheater in November 2005, the Süddeutsche Zeitung wrote: “Matthias Rexroth has given his long overdue Munich debut at last. And the listeners went out of their skins with enthusiasm, after the famed “Ombra mai fù” the applause continued for a second encore, “Vivi tiranno” from Rodelinda. Whether joy…hope… yearning, grief or anger…, Matthias Rexroth’s voice, with its beautiful ringing low register, intensive warm middle voice and a well ringing top, unlocks many facettes. Cleanly sung coloraturas are a given for baroque music-making, yet the ornamentation of the first part of Da-Capo arias is an art unto its own. Rexroth masters this technically and musically to perfection, and seems to gain through the virtuosity even greater clarity, colour and courage.”

His recent performances in Stefan Herheim’s production of Giulio Cesare at the Norwegian State Opera garnered rave reviews. (Opernglas 4/2005: ”...Matthias Rexroths Caesar, ...Star of the evening, ...convincing in all vocal demands, subtle, rich in colors, dynamic, as a proud conquerer...”).

Other highlights this past season included his Vienna Philharmonic debut with Orff’s Carmina Burana at Vienna’s Musikverein under Riccardo Muti, concerts under Fabio Luisi and Nicola Luisotti with the Accademia di Santa Cecilia Rome, Ottone in Monteverdi’s Poppea at the Hamburg State Opera, appearances with the Freiburger Barock Orchestra and Concerto Köln, Bernstein’s Chichester Psalms with the Orchestra RadioTelevisione Española as well a Baroque gala with the Münchener Kammerorchester im Prinzregententheater.

A frequent collaboration with Nikolaus Harnoncourt includes Hamor in Handel’s Jephta, Didymus in Handel’s Theodora and Purcell’s Ode for St. Cecilia’s day, performed at the Vienna’s Musikverein and the Styriarte in Graz.

Born in Nürnberg he studied at the Musikhochschule Karlsruhe, the Schola Cantorum Basiliensis, with Marilyn Horne in New York and since 1999 with Eytan Pessen at the Stuttgart Opera, where he gave his operatic debut in the same year in Purcell’s King Arthur.

Concert appearances include the worldwide televised b-minor-Mass with the Gewandhausorchester Leipzig, Oberon in Britten’s A Midsummer Night’s Dream and the title part in Rossini’s Tancredi, a ‘Rising Star’ recital tour with performances in major concert houses, concert appearances with Concerto Köln, Freiburger Barock Orchestra, the Akademie für Alte Musik Berlin, at the Festivals of Schwetzingen, Innsbruck, Ludwigsburg, Rheingau, Baden-Baden and Shanghai as well as the Styriarte Graz. Recordings have been made with all the major broadcasting companies in Germany including the BR, DLR, HR, NDR, SFB, SWR and the Deutsche Welle.

Upcoming performances include various concerts and opera performances with the orchestra of the Stuttgart State Opera, a tour through Germany with Concerto Köln, recitals in Vienna as well as at the Belcanto Festival Rossini in Wildbad, Bach’s St. John’s Passion at the Gewandhaus in Leipzig and Handel’s Jephtha with the Bachakademie Stuttgart.

Of his debut as the ailing king in Handel’s Admeto, Re di Tessaglia at Halle’s Handel Festival the Opernglas magazin 09/ 2006 wrote: „ Brilliant the accomplishment of Matthias Rexroth, whose male alto voice rendered perfect eloquence and musicality to the title role - its timbre of alluring richness- and who was able to portrait this otherwise rather monochrome figure with a distinct profile.”.

His portrait CD ‘Stimme der Könige’ has just been released as well as his recording of the title role of Rossini’s Tancredi of which Opernwelt magazine 8/2004 wrote: „Matthias Rexroth is the pulsating musical center... beyond the mere mastery of Belcanto stylistics, he excels in the art of dramatical phrasing and accurate declamation while his dark colored voice preserves its luxurious timbre up to the ringing-sumptuous top.” The Radio- and TV Broadcast of Admeto from the Handel Festival will be released on CD as well on DVD in fall 2006.

He received awards and scholarships from the 'Studienstiftung des Deutschen Volkes', the Richard Wagner Society, the Franz-Grothe foundation, the 'Kunststiftung Baden-Württemberg' as well as the culture-prize from the City of Coburg.