Press & Reviews

"Marcus Merkel, one of the most interesting young German conductors of the present day, has taken on the overall musical direction."

MDR Klassik: "Von Chemnitz in die Welt" - Konzertankündigung, in: mdr.de, Feb 15, 2025, mdr.de [retrieved Mar 21, 2025]

"... But the focus here is also on what can be heard - and the Koblenz Theatre, which traditionally shoulders more than one would expect from its size when it comes to Wagner, does this with great honour. On the one hand, there is the Rheinische Philharmonie under the direction of Marcus Merkel: this combination has already proved to be a happy combination in "Parsifal". Merkel shows himself to be a very undogmatic interpreter of the "Ring", daring to take surprisingly brisk tempi as well as savouring the lengths - and can rely on a very attentive, brilliantly organised orchestra. Many of the orchestral highlights, such as the beginning of the first act of "Die Walküre", Wotan's "Feuerzauber", "Siegfried's Death and Funeral March" and finally the final world conflagration in "Götterdämmerung", from which the love motif shines out as a sign of hope, are moving goosebump moments. ..."

Claus Ambrosius: Loriots "Ring"-Version macht Lust auf mehr, in: Rhein Zeitung, Feb 10, 2025, p. 10

"... In this piece, Merkel achieves a perfect balance between large sound arcs and finely crafted details, providing the singers with an acoustic stage for the best possible performances. ..."

Claus Ambrosius: Verdis „Don Carlo“ als Opernspektakel, in: Rhein Zeitung, Dec 03, 2024, p. 9

"... The Staatsorchester Rheinische Philharmonie performed in the orchestra pit of the Rokokotheater under the direction of Marcus Merkel with a wide-awake presence and delivered a lively and crisp sound that did Mozart proud. ..."

Uwe Rauschelbach: Rebellion im Rokokotheater bei Schwetzinger Mozartfest, in: Schwetzinger Zeitung, Oct 13, 2024, schwetzinger-zeitung.de [retrieved Oct 14, 2024]

"... The discovery of the evening, however, was the conductor, a young artist who is able to switch between the academicism of a David, the Offenbachian splendour, the biblical and oriental cancan of a Don Camille, the decadent exaltation of a Massenet and the monumentality of a Wagner. Thus he caressed us with familiar, cosy pages such as the Bacchanal, the Barcarolle and the Meditation to offer us a memorable overture to Die Meistersinger von Nürnberg, clean in its structure, balanced in the voices and, above all, a summit of cantabile and melodic heights. Even Wotan's farewell was not lacking in heartfelt emotion and expressive vigour. ..."

Blas Matamoro: MADRID / Ludovic Tézier y Markus Merkel: Un dúo estelar, in: scherzo, Oct 04, 2024, scherzo.es [retrieved Oct 04, 2024]

"After the opera hits Fidelio, Tosca and Carmen, Marcus Merkel, the soul of the now annual opera summer spectacle on the Graz Kasemattenbühne, has topped the special once again for August 2024: This year, Richard Wagner's "Ring des Nibelungen" is on the programme [...] The festival orchestra, made up of members of the Graz Philharmonic Orchestra and a few guests, performs superbly under Merkel's direction and masters the tricky Wagner concentrate, at times excessively, but in any case admirably. ..."

Paul Stepanek: Ein wahrlich spektakuläres „Ring-Konzentrat“ in Graz, in: Oberösterreichisches Volksblatt, Aug 19, 2024, volksblatt.at [retrieved Aug 20, 2024]

"... The Rhine began to flow out of nowhere. A lush "Ride of the Valkyries" resounded like an impressionistic forest weave" and a roaring "Siegfried's Rhine Journey", as well as a rousing "Funeral March": members of the Graz Philharmonic Orchestra under their always animating Marcus Merkel, who was also responsible for this musical version, created multi-layered colours, rich dynamic gradations and a splendour of sound ..."

Helmut Christian Mayer: Graz: "The Best of" Wagners "Ring" mit hochkarätiger Besetzung, in: Kurier & Opera Online, Aug 20, 2024, opera-online.com [retrieved Aug 20, 2024]

"...Reveling in the finesse of the sound - also because the multi-layered music is in good hands with the theatre's principal conductor Marcus Merkel. The very special orchestral instrumentation sounds full of colour [...] always beautiful in sound and revelling in the finesse that the score has in store. And Merkel supports the singers to the best of her ability, never letting anyone go under. ..."

Claus Ambrosius: Wenn E- und U-Musik in der Oper kollidieren, in: Rhein Zeitung, Apr 22, 2024, rhein-zeitung.de [retrieved Apr 23, 2024]

"...It is a great pleasure to experience this late-romantic Wagner appropriation interpreted in such a differentiated way as in the new Koblenz production: even in the prelude, the Koblenz chief conductor Marcus Merkel on the podium of the Staatsorchester Rheinische Philharmonie does not go into full swing, emphasising the secondary voices, shaping the tonal fairytale forest more lightly than threateningly. Then, as the piece progresses, it always has reserves for the upswing to the really big note and secures this opera its great amplitudes between children's folk song and stage Christmas festival. ..."

Claus Ambrosius: Theater Koblenz zeigt „Hänsel und Gretel“ in der Weihnachtsbäckerei, in: Rhein Zeitung, Nov 19, 2023, rhein-zeitung.de [retrieved Nov 20, 2023]

"... Judging by the clearly differentiated premiere applause, the greatest praise goes to the performance of the Staatsorchester Rheinische Philharmonie under the direction of the theatre's chief conductor Marcus Merkel. The way they managed to combine such different sound worlds in the pit, while still creating a convincing Mozart sound - that is a fine achievement ..."

Claus Ambrosius: Klangprächtiges Plädoyer für Mozart, in: Rhein Zeitung, Oct 11, 2023, rhein-zeitung.de [retrieved Oct 12, 2023]

"...Conductor Marcus Merkel emphasises the work's origins in the French tradition anyway, preferring to paint fine colours rather than lay it on thick. The project orchestra (mainly members of the Graz Philharmonic Orchestra) is outstanding..."

Martin Gasser: Elina Garanča als Carmen in Graz: Zwischen Stern- und Schäferstunde, in: Kleine Zeitung, Aug 21, 2023, kleinezeitung.at [retrieved Aug 24, 2023]

"...Conductor Marcus Merkel's interpretation of "Carmen" is not too heavy or pompous for the summer temperatures and leads the orchestra, made up of members of the Graz Philharmonic Orchestra, through the work with playful ease...."

Christoph Hartner: Elina Garanca in Graz: Carmen hat die Hosen an, in: Kronen Zeitung, Aug 21, 2023, krone.at [retrieved Aug 24, 2023]

"...Conductor Marcus Merkel challenges the orchestra made up of members of the Graz Philharmonic Orchestra to brilliant performances, builds up a broad dynamic spectrum and awakens the Andalusian flair in the audience's imagination with Bizet's sparkling rhythms...."

Paul Stepanek: Graz: Weltstars feiern „Carmen“, in: Oberösterreichische Nachrichten, Aug 21, 2023

"...But this Carmen production did have clear added value. In this case, it came from the conductor Marcus Merkel. He was Kapellmeister in Graz until last year and is now chief conductor at Koblenz Theatre. He seems to have developed a special affinity with Bizet's orchestration skills since he conducted Die Perlenfischer in Graz. In a quasi-concertante rendition of Carmen, one becomes aware of the special features of the score, especially in scenes where the stage fuss would otherwise be distracting. The tobacco workers take their break in the first act with such picturesque sounds! Marcus Merkel has worked out the ensembles in Lila Bastia's dive particularly vividly and lovingly, not only vocally, but also with dignified orchestral colours. The "Spanish" in Carmen is more or less only the surface garnish. The style of the Carmen music is also French, as only it can be. And Marcus Merkel brings this out finely...."

Rainer Kriechbaum: Ein Kuss und dann ein Femizid hinter der Bühne, in: Drehpunkt Kultur, Aug 21, 2023, drehpunktkultur.at [retrieved Aug 24, 2023]

"...The sparks also fly in the orchestra pit, Marcus Merkel draws a lively Mozart sound from the Rheinische Philharmonie...."

Florian Oberhummer: Kleine Wunder führen zu großer Oper, in: Salzburger Nachrichten, Jul 21, 2023, p. 14

"...Marcus Merkel and the local Rheinische Philharmonie state orchestra provide the emotional pull of Adams' minimalist music, which repeatedly escalates into memorable melodies to great effect. It is easy to imagine that the acoustics in such a venue are a particular challenge, but the balance was right for the premiere performance and the voices of the excellent protagonists remained on the undulating orchestral sound carpet throughout...."

Roberto Becker: In der Halle des Volkes, in: Die Deutsche Bühne, May 20, 2023, die-deutsche-buehne.de [retrieved May 22, 2023]

"...All this is realised by the chief conductor of the Koblenz theatre, Marcus Merkel, on the podium of the Rheinische Philharmonie with great care and a tightly woven red thread of sound. This is not inferior to productions of this demanding music at other, much larger theatres..."

Claus Ambrosius: Theater Koblenz siegt haushoch im Auswärtsspiel, in: Rhein Zeitung, May 20, 2023, rhein-zeitung.de [retrieved May 22, 2023]

"...This is due to the second strong level of this new production. Strong applause for a conductor even before the prelude: after his first two Koblenz productions of "Parsifal" and "Der Freischütz", word seems to be getting around that the Koblenz Theatre has made a special engagement with Marcus Merkel. The advantages of the theatre's new chief conductor, which we have already had the opportunity to get to know, also come into their own in "Traviata": breathing along with the singers, their best possible presentation leads to delightful moments. The Rheinische Philharmonie, just like the opera choir, is perfectly prepared and follows with the utmost attention: this is how Italian opera can be enjoyed at a German municipal theatre...."

Claus Ambrosius: „La traviata“ in Koblenz: Ein aufschlussreicher Abend, in: Rhein Zeitung, Feb 05, 2023, rhein-zeitung.de [retrieved Feb 05, 2023]

"...The young Marcus Merkel, chief conductor at Koblenz Theatre since this season, also frees the score from this [kitsch], creating - conducting from memory! - sometimes almost chamber music-like intimacy, which alternates with impressive sound bombast full of Italianità...."

Jochen Rüth: Koblenz: „La Traviata“, Giuseppe Verdi, in: Der Opernfreund, Feb 05, 2023, deropernfreund.de [retrieved Feb 05, 2023]

"...It is immediately noticeable that the conductor Marcus Merkel [...] has not set up a podium with a score. The young maestro conducts everything from memory. He has the score well memorised, so that he leads the orchestra and soloists excellently and has everything firmly under control...."

Sander Boonstra: Ook Zonder Decors en Kostuums Een Sterke Zauberflöte, in: Sander Boonstra Blog, Jan 23, 2023, sanderboonstra.nl [retrieved Jan 25, 2023]

"...Conductor Marcus Merkel [...] puts himself entirely at the service of the music and supports the singers. He ensures balance and vivid, natural phrasing. The orchestra plays wonderfully light-footed. When the High Priest speaks, the accompaniment is solemn but never heavy. With Papageno, it bounces around carefree...."

Jenny Camilleri: Die Zauberflöte moet het doen zonder decor of kostuums, maar tegen het einde ben je dat vergeten, in: De Volkskrant, Jan 22, 2023, volkskrant.nl [retrieved Jan 23, 2023]

"...What is convincing, however, is the musical realisation by Marcus Merkel and the Graz Philharmonic Orchestra. They sweep through the score with speed, but also show the many nuances that Weill incorporated into his work...."

Michaela Reichart: Ein nur leichter Hauch von Venus an der Oper Graz, in: Kronen Zeitung, Dec 18, 2022, krone.at [retrieved Dec 23, 2022]

"...Under the precise orchestral direction of Marcus Merkel, the musical language of Kurt Weill, who fled from the Nazis and became world-famous with the music to the "Threepenny Opera", sounds characterised by the respective country of residence and the joy of assimilation...."

Elisabeth Willgruber-Spitz: Nebelhauch männlicher Fantasien, in: Kleine Zeitung, Dec 19, 2022, kleinezeitung.at [retrieved Dec 22, 2022]

"...Marcus Merkel tickles a lot of idiomatic sound out of the Graz Philharmonic Orchestra, that is the basic capital of this performance. Merkel has welded the singers into a Broadway-worthy troupe. A special compliment for such conductorial prudence!..."

Rainer Kriechbaum: Fremd in dieser Welt, in: Wiener Zeitung, Dec 22, 2022, wienerzeitung.at [retrieved Dec 23, 2022]

"...Fortunately, there was a real ray of hope in the orchestra pit: Under the direction of Marcus Merkel, the Graz Philharmonic made Weill's music sparkle. It is an extremely exciting score, which seems like a mix of the composer's old and new realities - elegant Broadway sounds à la Cole Porter and reminiscences of the (revue) operettas of the 1920s meet echoes of early Weill. The musicians impressed with the light-footed swing elements as well as the elegantly celebrated waltzes and demonstrated their stylistic versatility. The interlude after the interval was a real highlight, combining musical accuracy, playful lightness and sparkling charm."

Isabella Steppan: Weit entfernt von Broadwayglamour: Ein Hauch von Venus in Graz, in: bachtrack, Dec 19, 2022, bachtrack.com [retrieved Dec 22, 2022]

"...The most pleasing aspect of this Graz musical evening is the orchestra under the direction of Marcus Merkel. Whether Broadway sound or Berlin Threepenny Opera echoes, this American Kurt Weill with all his style-defining peculiarities and ingeniously orchestrated by himself is performed by the Graz Philharmonic Orchestra with verve and great skill. The rousing medley from the prelude to Act 2 is a first-class listening experience. That alone would be worth a visit to this performance series...."

Manfred A. Schmid: Das famose Orchester spielt Weill, auf der Bühne geht alles in Trümmer, in: Online Merker, Dec 18, 2022, onlinemerker.com [retrieved Dec 22, 2022]

"...By now it had also become clear that the Antwerp Symphony Orchestra under the young German conductor Marcus Merkel has become an outstanding Wagner orchestra. Here they did not play on autopilot, but with a great sense of dynamics and agogic differentiation. The overture to Die Meistersinger was given an excellent, jubilant finale. The impeccably playing brass players glorified the Ride of the Valkyries. The magic of fire resounded with a great sense of detail and musicality. ..."

Jos Hermans: Goden en Demonen, in: Leidmotief, Oct 18, 2022, p. 48

"...Merkel's conducting is expansive and elegant and, based on his own experience as a singer, he has a great understanding of vocal issues in opera, which distinguishes him fundamentally from many colleagues. And, conducting from memory, he realises clear accents on a small scale (folk song tone in corresponding scenes, dramatic attacks in the Wolfsschlucht scene) just as richly in detail as on a large scale.
Merkel does not attempt to emulsify "Der Freischütz" with a generous helping of romantic sound magic, but instead allows the piece's unruliness to stand as such. This may, can and must sound out. Even the overture of the premiere evening, with all the aforementioned advantages and a breathtakingly fast final curve, is something you would like to put in your virtual record cabinet..."

Claus Ambrosius: „Der Freischütz“, oder: Das Böse ist in uns selbst, in: Rhein Zeitung, Oct 10, 2022, rhein-zeitung.de [retrieved Oct 10, 2022]

"... Marcus Merkel (born in 1991) will initially hold the post of Chief Conductor at Koblenz Theatre for three seasons from the 2022/2023 season. This is no small coup for the Koblenz theatre, and for the young Berliner, whose career is being followed with great interest by experts, it is another piece in the mosaic of a consistent career. [...] Marcus Merkel has not only made a name for himself on the podium - he also composes with considerable success. His works have won several competitions, and he has also won prizes as a singer and pianist. He has been a scholarship holder of Yehudi Menuhin Live Music Now Berlin since 2014. In 2013, he founded the Junge Philharmonie Berlin, of which he is artistic director. [...] However, the selection committee ultimately agreed on Merkel's artistic merits without exception. This applies in particular to his Koblenz auditions, which he - like other applicants - had taken over during repertoire performances. In particular, his "completely natural and pianistically beyond any doubt" performance of the fortepiano part in Mozart's "Don Giovanni" clearly made a lasting impression on the commission. Marcus Merkel will introduce himself to the Koblenz audience before the start of the coming season and thus still in the role of guest conductor and designated chief conductor at the end of this season: He will take over the musical direction of the new "Parsifal" production."

Claus Ambrosius: Marcus Merkel - Chefdirigent fürs Theater Koblenz, in: Rhein Zeitung, Sep 22, 2021, p. Ausgabe Koblenz, S.25

"... the new chief conductor in Koblenz from the 2022/23 season, Marcus Merkel, conducted the Staatsorchester Rheinische Philharmonie with a steady hand - as if he had never conducted anything other than "Parsifal" - whose musicians obviously read his every wish from his lips. Great clarity and conciseness in the prelude, carefully constructed crescendos in the transformation scenes of the outer acts, a poignant Good Friday magic and much more, with a full-bodied string section and plenty of substance and harmony in woodwind and brass..."

Klaus Billand: Parsifal - Premiere 15. April 2022, in: Klaus Billand, Apr 15, 2022, klaus-billand.com [retrieved Sep 26, 2022]

"...To summarise his performance in two words: inspiring respect. The young conductor (born in 1991) conducted the huge work by heart, if the view from the rank is not misleading. [...] In Merkel's case, however, it leads to a fluent reading close to the singers. He consistently makes a lively pulse of the work perceptible - which is an achievement in itself, holds the unavoidable lengths together and lets the orchestra run to great form: a great prelude to Merkel's new Koblenz office, which is duly applauded enthusiastically by the premiere audience...."

Claus Ambrosius: „Parsifal“: Eine Odyssee im Weltall, in: Rhein Zeitung, Apr 19, 2022, p. 29

"...The Staatsorchester Rheinische Philharmoniker sits at the back of the stage and, under the direction of Marcus Merkel, provides a more than respectable, a flawless, light Good Friday magic..."

Judith Sternburg: „Parsifal“ in Koblenz: Karfreitagszauber im All, in: Frankfurter Rundschau, Apr 22, 2022, fr.de [retrieved Sep 26, 2022]

"...The new chief conductor Marcus Merkel, who comes from Graz Opera and is only in his early thirties, leads the Rheinische Philharmonie, choir and soloists through the score with somnambulistic precision and fine balance. An important detail, which is only noticeable because he stands on stage with his baton clearly visible for four hours: Marcus Merkel conducts Parsifal from memory. He and the orchestra already seem like a unit at the start. Koblenz is rightly celebrating its new opera chief conductor..."

Henning Hübert: Der neue Chefdirigent Marcus Merkel stellt sich vor: „Parsifal“ in Koblenz, in: SWR 2 Journal am Mittag, Apr 16, 2022

"... In the orchestra pit, the Graz Philharmonic Orchestra under the direction of Marcus Merkel seemed to work magic on this premiere evening. The sound shimmered and shone in countless colours - the absolute highlight in this respect was undoubtedly the great duet in the first act, but also its central motif, which runs through the entire work and which Merkel and the orchestra provided with exactly the right dose of schmaltz, so that it achieved an enchantingly romantic, but not overly kitschy effect. The seething of the sea and the storm were also ideally emphasised in the musical design, with Merkel also allowing the orchestra to really turn up the volume in these passages. With a love of detail and fine dynamic gradations, Bizet's music was made to float and all the facets of the characters' conflicting emotions, which the production team failed to convey, could be experienced in the music."

Isabella Steppan: Im dritten Anlauf an Land gezogen: Les pêcheurs de perles in Graz, in: bachtrack, Dec 19, 2021, bachtrack.com [retrieved Dec 21, 2021]

"... Under the baton of Marcus Merkel, the Graz Philharmonic Orchestra allows the exotic colouring to blossom again and again with a wonderful sound. The music is nuanced, with the finest pianos but also dramatic outbursts, balanced and singer-friendly. ..."

Helmut Christian Mayer: Georges Bizets „Die Perlenfischer“ an der Oper Graz: Stimmenglanz aber wenig szenische Ideen, in: Opera Online, Dec 20, 2021, opera-online.com [retrieved Dec 21, 2021]

"... Fortunately, there is still the music and those who realise it so masterfully. Conductor Marcus Merkel, for example, who only rarely lets the highly disciplined orchestra thunder, but instead sets numerous intimate moments against the stage spectacle. ..."

Michaela Reichart: „Perlenfischer“: Innigkeit im blutigen Spektakel, in: Kronen Zeitung, Dec 18, 2021, krone.at [retrieved Dec 19, 2021]

"... Conductor Marcus Merkel creates the right mood for this work with its ominous exoticisms, he lets the melodies blossom, but keeps the action in pulse and demonstrates that this music, a melange of sounds from early Wagner, Grand Opéra and Offenbach, is not sentimental. Those who concentrate on the music will experience an impressive evening ..."

Martin Gasser: „Perlenfischer“: Klangpoesie im Opernmuseum, in: Kleine Zeitung, Dec 18, 2021, kleinezeitung.at [retrieved Dec 19, 2021]

"... the Graz Philharmonic Orchestra as well as the members of the opera chorus and the Singschul' also give a great performance this evening under the usual careful and dynamic direction of conductor Marcus Merkel..."

Christoph Hartner: „TOSCA“ AM SCHLOSSBERG, Kaufmann und Opolais begeistern Grazer Publikum, in: Kronen Zeitung, Aug 22, 2021, krone.at [retrieved Sep 26, 2022]

"...Marcus Merkel as musical director leads the orchestra consisting of members of the Graz Philharmonic Orchestra and the choirs consisting of members of the Graz Opera Chorus and Singing School to an impressive high performance and is thus a guarantor for a good musical basis on which the singers can develop. Thunderous, enthusiastic, standing ovations as thanks for an extraordinary evening of opera..."

Manfred A. Schmid: GRAZ / Kasematten: Giacomo Puccinis TOSCA.Halbszenische Aufführung lässt keinen Wunsch nach Bühnenbild und Regie aufkommen, in: Online Merker, Aug 23, 2021, onlinemerker.com [retrieved Aug 25, 2021]

"...Conductor Marcus Merkel creates with the excellent Graz Philharmonic Orchestra not a groovy, but a fine realisation of the score: very lyrical, tenderly melting, multi-coloured..."

Martin Gasser: „Tosca“ in Graz - Klassiksterne leuchteten unterschielich hell, in: Kleine Zeitung, Aug 22, 2021, kleinezeitung.at [retrieved Aug 25, 2021]

"...The star tenor's fans cheered, the orchestra consisting of members of the Graz Philharmonic gave a solid performance under Marcus Merkel's baton..."

APA: Szenisch minimale „Tosca“ mit Jonas Kaufmann in Graz, in: Salzburger Nachrichten, Aug 24, 2021, sn.at [retrieved Sep 26, 2022]

"...Marcus Merkel on the podium did much more than accompany the prominent voices. Remarkably for a performance at such a venue (the roof of the casemates was closed, of course), many lovingly formulated instrumentation details could be heard. A more than convincing performance by the conductor."

Reinhard Kriechbaum: Wohin springen vom Konzertpodium? GRAZ / TOSCA, in: DrehPunktKultur, Aug 25, 2021, drehpunktkultur.at [retrieved Aug 25, 2021]

"...The fact that it all came together to form a convincing whole is largely thanks to the 30-year-old conductor Marcus Merkel. It is absolutely admirable how he accompanies the soloists with tremendous attentiveness and breath, giving them enough room for interpretation and at the same time never losing sight of the big picture - and as always conducting from memory. [...] The fact that they were not sitting in the orchestra pit, but on stage, made it possible to follow the subtle detail work carried out by conductor and orchestra clearly and with pleasure (for example in the prelude to Act 3). [...] - Scarpia Ludovic Tézier chatted animatedly with concertmaster Josef Mostetschnig, the modest Marcus Merkel was warmly acclaimed by the international soloists, but also by the orchestra, and the world stars were noticeably happy about this evening, which they clearly also enjoyed..."

Hermann Becke: WELTKLASSE-FREILUFT-TOSCA IN GRAZ. Kristīne Opolais – Jonas Kaufmann – Bryn Terfel/Ludovic Tézier, in: Der Opernfreund, Aug 26, 2021, deropernfreund.de [retrieved Sep 26, 2022]

"...But the real "miracle" came from two instances that harmonised perfectly, the conductor and the director, who was evidently a fundamentally musical person. I was quite surprised by the former, as Marcus Merkel had not conducted the premiere, but as he confidently controlled the musical events without a score in front of him, the stage was obviously just as important to him as the sound results from the pit. I would say: all in all, it was a mutual handshake, not just from scene to scene, but from phrase to phrase, between word and sound, step by step and face to face. Everything that Mozart and da Ponte conjured up in their masterpiece became tangible, as it were. [...] Marcus Merkel does not turn the overture into a prestissimo, which Mozart did not intend. The first presto/pp bar sets the essential tone: Strings and bassoon amuse themselves, secret machinations are in preparation, play within play. After decisive entries, Merkel knows exactly where to let go. He masters this perfectly. But he also knows how to create suspense, how to use general pauses for this purpose, how the recitatives accompanied by the fortepiano primarily serve the verbal messages or the progress of the plot, but also arouse emotional interest. A constant alternation, as Mozart naturally intended, between striking statements (on the part of the stage, textually and vocally) and devotion to great feelings satisfies the mind and soul. Above all, however, I was delighted that the orchestral sound - great praise also to the Graz Philharmonic Orchestra! - was always round and beautiful, from the first to the last bar of the opera. That is and remains the basis for Mozart's success from the very beginning..."

Sieglinde Pfabigan: GRAZ: LE NOZZE DI FIGARO. Ein Mozart’sches Gesamtkunstwerk, in: Online Merker, Mar 19, 2018, onlinemerker.com [retrieved Sep 26, 2022]

"...The overall very positive vocal performances were undoubtedly also possible because the 30-year-old Marcus Merkel was an outstanding musical director for the evening. As in all his performances, Marcus Merkel conducted from memory and also accompanied the recitatives himself from the fortepiano. He always led his group of singers very considerately, without ever losing the necessary intensity [...] The anxious question remained: how long will Graz be able to keep the highly talented Marcus Merkel? I can unreservedly confirm what Klaus Billand wrote almost a year ago in an interview worth reading: "I firmly believe that Marcus Merkel is a great talent in the European conducting firmament and will go very far. We wish him every success for his future work, which is sure to be interesting and challenging..."

Hermann Becke: Muskalisch sehr erfreulicher Opernalltag!, in: Der Opernfreund, Jun 06, 2021, deropernfreund.de [retrieved Sep 26, 2022]

"...under the musical direction of Marcus Merkel, the Graz Philharmonic literally revelled in Mozart's sound worlds, with the melancholy moments in particular captivating with transparent elegance and the music seeming to literally float. From the podium, Merkel not only led the orchestra to a balanced sound and contributed the harpsichord parts to the recitatives, he also paid conspicuous attention to the singers - he carefully coordinated the ensemble scenes and saved some singers from tricky parts of their arias..."

Isabella Steppan: Liebe und Intrige im Märchenschloss: Le nozze di Figaro in Graz, in: bachtrack, Jun 01, 2021, bachtrack.com [retrieved Sep 26, 2022]

"...Markus Merkel is a confident conductor who brings the magical, spiritual score to powerful fruition and is himself sensitive and finely accentuating on the fortepiano. The Graz Philharmonic really blossoms under his direction. From the fourth row of the marvellous Graz Opera House, you can see how they go about their work in the orchestra pit with full concentration and great joy and enthusiasm..."

Manfred A. Schmid: Ein toller Tag - eine tolle Aufführung - ein tolles Ensemble, in: Online Merker, May 31, 2021, onlinemerker.com [retrieved Sep 26, 2022]

"... In contrast to the premiere conductor, Merkel gave Mozart's music and above all the voices enough space to breathe naturally and flow freely, without ever losing coherence or tension. The Graz Philharmonic Orchestra was very well organised and allowed the woodwinds, for example, to blossom beautifully. The transitions from the recitatives - accompanied by Merkel herself - to the arias and ensembles were also never abrupt, but rather were organised at the ideal tempo depending on the situation..."

Hermann Becke: DON GIOVANNI, Musik dickes Plus!! - Regie dickes Minus!!, in: Der Opernfreund, Sep 25, 2020, deropernfreund.de [retrieved Sep 26, 2022]

"...The spiritus rector of this courageous undertaking is the extremely talented 28-year-old Marcus Merkel from Berlin [...] One thing can be said in advance: the venture was worthwhile - after months of a forced break, we finally experienced great musical theatre again, strong stage personalities and a compact and effective performance! [...] The young, up-and-coming generation - all of whom, fortunately, can be attributed to Graz - was of course led by Marcus Merkel, who, as always, conducted from memory and in naturally flowing tempi in an unmannered manner. All the threads came together with him..."

Hermann Becke: FIDELIO AUF DEM GRAZER SCHLOSSBERG - Endlich wieder großes Musiktheater, in: Der Opernfreund, Aug 21, 2020, deropernfreund.de [retrieved Sep 26, 2022]

"... For a series of three concert performances, Merkel was able to engage a high-ranking cast in cooperation with the venues in Graz [...] Members of the Graz Philharmonic Orchestra and the Graz Opera Choir, some of whom sang with masks, followed the emphatic impulses of their conductor Marcus Merkel, who conducted from memory, with verve and emphasis..."

Karl Harb: Opernstars abseits der Metropolen: Beethoven in schwüler Grazer Luft, in: Salzburger Nachrichten, Aug 23, 2020, sn.at [retrieved Sep 26, 2022]

"...The evening was musically conducted by the conductor of the Graz Opera, the multi-talented Marcus Merkel from Berlin. With the help of the technology required due to the problematic acoustics of the casemates, the orchestra, consisting of members of the Graz Philharmonic Orchestra, was skilfully and enthusiastically conducted by Merkel and was also atmospherically effective..."

Kultur: Beethovens „Fidelio“ auf Schloßbergbühne, in: Steiermark ORF.at, Aug 21, 2020, steiermark.orf.at [retrieved Sep 26, 2022]

"...Determined and confident, the young Graz conductor Marcus Merkel took to the podium of the members of the Graz Philharmonic Orchestra in the impressive casemates of the Schlossbergbühne Graz at 8 pm sharp and conducted Beethoven's third version of his "Fidelio" from 1814 without any notes (!) [...] with a musical self-assurance that was bound to impress even a world star like Sir Bryn Terfel. [...] Accordingly, the protagonists endeavoured to achieve consistently successful and at times even scenically exciting interaction with intense body language and facial expressions, which captivated the audience with the tension constantly maintained by Marcus Merkel and the orchestra [...] The way he encouraged the musicians to perform at their best with the determination and precision of his conducting must be acknowledged as a very special personal achievement. [...] You could tell at every moment that the musicians had put their heart and soul into the performance and had rehearsed well even under limited conditions. The orchestral sound, also favoured by the surprisingly good acoustics of the Kasematten, was clear and concise, and individual instrumental performances were always easy to hear. Merkel's five years of experience with this ensemble of musicians could be seen and heard on this evening."

Klaus Billand: GRAZ/Kasematten: FIDELIO. Sir Bryn Terfel debutiert unter Marcus Merkel in Graz mit Pizarro!, in: Online Merker, Aug 24, 2020, onlinemerker.com [retrieved Sep 26, 2022]

"...The driving force of the performance was conductor Marcus Merkel. His sound ideas were full of poetry and rhythmic precision. He conveyed them so convincingly that a fascinating symbiosis of all the musicians was created despite the break in the playing. His concept was characterised by a flowing, lyrical intensity and dramatic density. He left enough space for intimate moments, presented sombre passages at a slow tempo and then set a breathtaking pace in dramatic attacks. This already pervaded the prelude, which gave a preview of the coming action and his reading of the score. With this sounding out and savouring of the score, Fidelio became a tension-filled drama. His phenomenal musicality and his ability to transfer his feeling for the dramatic developments to all the performers is unrivalled. The sound and suspenseful arcs were captivating from the first to the last minute. An exceptional conductor who captivated and inspired..."

Michael Stange: Fidelio – Schlossbergbühne Kasematten . Graz - „Namenlose Freude“ umrahmt von berstender Musikalität, in: Ioco - Kultur im Netz, Aug 28, 2020, ioco.de [retrieved Aug 30, 2020]

"...It was one of the most musically beautiful "Fidelio" performances I have heard. Unbelievable? Yes, perhaps for outsiders. But what the young conductor Marcus Merkel managed to achieve could only arouse great enthusiasm.[...] Of course, we 'Merkers' had long since discovered Marcus Merkel as an extraordinary talent. Whether in Mozart, Verdi ("Don Carlo"), Rossini ("Barbiere"), Johann Strauss ("Fledermaus") or "Kiss me Kate", a musician who has also won prizes as a composer, pianist and singer. [...] The maestro conducted without notes. What was astonishing at first was how relaxed the overture was. It promised a humane piece with a happy ending. It did not fall into several parts. General pauses were used to build up new tension. No tempi were forced. They all seemed to come completely naturally. Always in the service of the theatrical action and in keeping with the character of the person singing. A natural tension never let up throughout the entire evening, which lasted less than two hours. With very simple signalling, Merkel gave each singer complete security, just as he suggested what the next musical number should express [...] Merkel managed to make a compelling whole out of it, with appropriate emotional restraint, but effortlessly understandable for the audience [...] The happy climax of tension was then - without interludes - the "namenlose Freude!", which I haven't heard as tear-jerking in the jubilant crescendos as now under Marcus Merkel since Peter Schneider's "Fidelio" conductors..."

Sieglinde Pfabigan: GRAZ/ Kasemattenbühne Schlossberg: FIDELIO. Dem grollenden Himmel zum Trotz: erhebendes Musiktheater!, in: Online Merker, Aug 24, 2020, onlinemerker.com [retrieved Aug 30, 2020]

"...But Mozart's brilliantly multi-layered music held its own in the chamber version of the orchestral part by Vladimir Beleaev, excellently performed by Marcus Merkel..."

Klaus Kalchschmid: Überraschend, in: Süddeutsche Zeitung, Dec 04, 2019, sueddeutsche.de [retrieved Sep 26, 2022]

"...Markus Merkel [sic!] leads the Graz Philharmonic Orchestra through the snappy overture without shying away from flashy effects. Throughout the evening, he remains the rock in the surf..."

Michaela Reichart: „Fledermaus“: Diese Party läuft aus dem Ruder, in: Kronen Zeitung, Oct 20, 2019, krone.at [retrieved Sep 26, 2022]

"...As so often in recent times in Graz, the musical performances save the evening! Let's start with the young Berlin conductor Marcus Merkel [...] who once again proved not only his striking musical talent, but also his ability to hold the orchestra, choir and soloists together with an energetic hand and enable balanced music-making. This was certainly not easy this time due to the unusual circumstances. [...] Marcus Merkel conducted completely from memory without a podium or score. The fact that there were no major mishaps is thanks to his talent for coordination and improvisation. [...] the conductor led the soloists attentively. So: great compliments to the orchestra and conductor!..."

Hermann Becke: Die Fledermaus. K(r)ampf im Boxring und Schwißhaus!, in: Der Opernfreund, Oct 20, 2019, deropernfreund.de [retrieved Sep 26, 2022]

"...The Graz Philharmonic Orchestra under Marcus Merkel, on the other hand, was a pure delight and was already heavily acclaimed for the overture. And rightly so, because the way the orchestra moved in the waves of music, played with tempi and dynamics and made the notes sparkle and shimmer was admirable. Moved from the pit to parquet level, the musicians were also even closer to their audience, convincing not only as prudent accompanists for the singers, but especially in the orchestral passages. Merkel performed the polka Unter Donner und Blitz free of clichés, young and fresh and with the necessary drive. However, the orchestra never laid it on too thick, but always maintained a differentiated design [...] Nothing is more difficult than the light muse, they say. [...] the musical realisation of the Graz Philharmonic under Marcus Merkel disproves it..."

Isabella Steppan: Die Fledermaus zwischen irrem Trip und erhobenem Zeigefinger in Graz, in: bachtrack, Oct 20, 2019, bachtrack.com [retrieved Sep 26, 2022]

"... This was mainly due to the excellent conductor Marcus Merkel and the superbly organised Graz Philharmonic Orchestra. There was enthusiastic applause for the perfectly successful, snappy overture and the conductor and orchestra maintained the high standard right to the end. The conductor not only managed to keep the orchestra, choir and soloists together on stage and in the auditorium, but also succeeded in realising the score perfectly overall with the right tempi and dynamic gradations, to which a few pieces by Johann Strauss were added ..."

Walter Nowotny: „Die Fledermaus“ - Pr. 19.10., in: Der neue Merker, Print Ausgabe 11/2019, Nov 01, 2019, p. 45

"...As my colleague Walter Nowotny also noted in his review of the premiere, the stars of the evening were the conductor [...]. [...] The young, Berlin-born conductor Marcus Merkel, whose "Figaro" in Graz had already thrilled me, knew how to get everything out of the Johann Strauss score in terms of enjoyable message, exhilaration, cantabile, humour, wit, irony and - pure beauty. Easy-going, transparent, without any loss of tension, not even in the transition between spoken scenes and musical numbers, he not only gave the necessary cues, but also offered the kind of fascination that could be described as a re-creation of the original. Watching him conduct must have made even deaf visitors realise what was being played [...]. Merkel (a pleasure for the "Merker!") knows how to turn a general pause or even just a pause for breath into a new moment of tension at every point where Strauss changes in dynamics, from one motif, one key or time signature, one tempo to another, or a singer switches between different vocal statements. Tempi are never artificial, never over-excited, but in accordance with the musical score. The fact that he conducts "Die Fledermaus" from memory reinforces the impression that he has memorised everything the composer has written down. The fact that he mostly does it with a cheerful countenance adds to the pleasure of watching him. For me, the directorial team's best idea was to place the orchestra at the same height as the stalls, so that the maestro standing in front of them was the centre of attention..."

Sieglinde Pfabigan: „Die Fledermaus - 28.10.“, in: Der neue Merker, Print Ausgabe 11/2019, Nov 01, 2019, p. 46

"...It is thanks to Marcus Merkel's conducting that a brilliant performance was achieved despite the difficult acoustics of the Berlin Cathedral. [...] The conducting of the choir and orchestra was characterised by fire and power, but also by quiet grandeur and intimate moments. Merkel elicited a sophisticated golden lustre and a beauty of sound from the orchestra that is second to none. A gifted young exceptional musician stood at the podium, conducting a glorious performance with immense mastery. Graz is lucky to have this conductor at its opera house..."

Michael Stange: Große Messe in c-Moll, KV 427  – Wolfgang Amadeus Mozart. Junge Philharmonie Berlin - Mit Feuer, Elan und Hingabe, in: ioco, Kultur im Netz, Mar 16, 2019, ioco.de [retrieved Sep 26, 2022]

"...The performance of the 27-year-old conductor Marcus Merkel was also very pleasing. He held the orchestra and stage securely and tightly together and, above all, made the famous Rossini crescendos completely seamless. But he also always gave the soloists and the Graz Philharmonic's instrumental solos, which were characterised by beautiful performances, enough space to develop musically, without compromising the overall coherence. You don't have to be a prophet to predict a gratifying career for Marcus Merkel, which he has already begun internationally..."

Hermann Becke: „Il Barbiere di Siviglia“, in: Der Opernfreund, Oct 06, 2018, deropernfreund.de [retrieved Oct 08, 2018]

"...For it was gratifying to see the stylistic confidence and taste with which the Graz Philharmonic Orchestra and the homogeneous singing choir of the house under Marcus Merkel devoted themselves to the score and the rousing verve and rhythmic precision with which the work was realised."

Helmut Christian Mayer: „Candide“: Bernsteins mitreißendes Meisterwerk, in: Kurier, Mar 13, 2018, p. 25

"... The result is great fun, not only for the audience, but also visibly and tangibly for the ravishing soloists, the chorus, the orchestra and the energetic conductor Marcus Merkel. [...] A stunningly funny Iris Vermillion, the enchanting Sieglinde Feldhofer and the marvellous singers/comedians David McShane, Manuel von Senden and Dariusz Perczak as well as a perfectly rehearsed choir with great soloist performances by some of the gentlemen and a visibly animated orchestra under the energetic and very confident direction of Marcus Merkel make this stylistically diverse work a well-rounded whole that is not only musically convincing but also highly entertaining...."

Michaela Reichart: Konzertante Aufführung von Leonard Bernsteins „Candide“ an der Grazer Oper: Riesenspaß in der besten der Welten, in: Kronen Zeitung Stmk, Mar 12, 2018, p. 35

"...The stand-in Marcus Merkel managed a very convincing performance, because the bombastic Cinemascope ham [...] was not inflated any further, but relied on the power of the music..."

Martin Gasser: Orchesterkonzert im Musikverein Graz, Fulminanter Solist, in: Kronen Zeitung Stmk, Jan 24, 2018

"...Marcus Merkel conducted the Graz Philharmonic Orchestra in this performance, laying the pulsating, always verve-driven foundation for the vocalists' performances. [From the very first bars of this "Norma", smooth, eloquently phrased sounds made the audience sit up and take notice. Marcus Merkel characterised the calls for war and other Bellini eruptions with more energy than with pure volume. In contrast, he painted the intimate scenes with orchestral colours that were as vibrant as they were finely differentiated..."

Heidemarie Klabacher: Die Liebe in Zeiten der Besatzung, in: DrehPunkt Kultur, Jun 01, 2017, drehpunktkultur.at [retrieved Sep 26, 2022]

„…Musically, things are just as enjoyable. In the pit, Marcus Merkel conducted the North Netherlands Orchestra in a performance that expertly balances finesse and liveliness. The musicians were audibly inspired and the woodwinds especially played exquisitely…“

Nicolas Nguyen: Ariadne’s centennial: a feast at Nederlandse Reisopera, in: bachtrack, Oct 08, 2016, bachtrack.com [retrieved Sep 26, 2022]

"...With consistently brisk tempi and a strikingly orgiastic increase in sound in the finale, Marcus Merkel confidently holds the apparatus of soloists, chorus and orchestra together; incidentally, he conducts the entire opera from memory, a feat rarely achieved since Karajan's time..."

Günther Greb: Fürther "Fidelio" im Dunkel syrischer Gefängnisse, in: Fürther Nachrichten, Jul 14, 2016, nordbayern.de [retrieved Sep 26, 2022]