Age, Biography and Wiki

Werner Güra was born on 1964 in Munich, Germany, is a singer. Discover Werner Güra's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is He in this year and how He spends money? Also learn how He earned most of networth at the age of 59 years old?

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Occupation Tenor in opera and concert Academic teacher
Age 59 years old
Zodiac Sign
Born 1964, 1964
Birthday 1964
Birthplace Munich, Germany
Nationality Germany

We recommend you to check the complete list of Famous People born on 1964. He is a member of famous singer with the age 59 years old group.

Werner Güra Height, Weight & Measurements

At 59 years old, Werner Güra height not available right now. We will update Werner Güra's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
Height Not Available
Weight Not Available
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Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

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Werner Güra Net Worth

His net worth has been growing significantly in 2022-2023. So, how much is Werner Güra worth at the age of 59 years old? Werner Güra’s income source is mostly from being a successful singer. He is from Germany. We have estimated Werner Güra's net worth , money, salary, income, and assets.

Net Worth in 2023 $1 Million - $5 Million
Salary in 2023 Under Review
Net Worth in 2022 Pending
Salary in 2022 Under Review
House Not Available
Cars Not Available
Source of Income singer

Werner Güra Social Network




In 2011, he performed the Liebesliederwalzer of Brahms and Spanische Liebeslieder op. 138 of Schumann with Ruth Ziesak, Anke Vondung and Konrad Jarnot at the Rheingau Musik Festival at Schloss Johannisberg.


In concert he performed in Mendelssohn’s Elijah with Philippe Herreweghe at the Salzburg Festival. He also collaborated with conductors such as Peter Schreier, Wolfgang Gönnenwein and Friedemann Layer. In 2002, he recorded the tenor arias in Bach's St Matthew Passion, conducted by Enoch zu Guttenberg, with Marcus Ullmann as the Evangelist and Klaus Mertens as Jesus. In 2004, he appeared at the Rheingau Musik Festival in Handel's Messiah, with che choir and orchestra Bamberger Symphony conducted by Rolf Beck in Eberbach Abbey, recorded live. In 2008, he sang in Mendelssohn’s Paulus with the Kammerchor Stuttgart and the Klassische Philharmonie Stuttgart, conducted by Frieder Bernius, at the Tonhalle Düsseldorf. In 2009, he appeared again at the Rheingau Musik Festival in Schumann's Das Paradies und die Peri.


In the field of historically informed performance, Güra was the tenor (Evangelist and arias) in a 1997 recording of Bach's Christmas Oratorio, conducted by René Jacobs, with the RIAS Kammerchor, the Akademie für Alte Musik Berlin, Dorothea Röschmann, Andreas Scholl and Klaus Häger. In 1998, he recorded the arias of the St Matthew Passion with Philippe Herreweghe, the Collegium Vocale Gent, Evangelist Ian Bostridge, Jesus Franz-Josef Selig, Sibylla Rubens, Andreas Scholl and Dietrich Henschel. In 2006, he was the Evangelist in Bach's Christmas Oratorio with Nikolaus Harnoncourt, the Arnold Schoenberg Chor, the Concentus Musicus Wien, Christine Schäfer, Bernarda Fink, Gerald Finley and Christian Gerhaher, recorded live in the Musikverein Vienna. In 2007, he recorded with the same ensemble Bach's cantata Wir danken dir, Gott, wir danken dir, BWV 29.


On the opera stage he performed as a guest artist at the Frankfurt Opera and the Theater Basel. He was a member of the Semperoper in Dresden from 1994 to 1999, singing especially parts of Mozart and Rossini. Since 1998 he has been a guest at the Staatsoper Berlin.


Werner Güra (born 1964) is a German classical tenor in opera, concert and Lied, also an academic teacher in Zurich.


Werner Güra is a notable singer of Lieder, mostly accompanied by Christoph Berner. Their recording of Schubert's Winterreise, using a Rönisch fortepiano of 1872, was reviewed in The Times by Hugh Canning in 2010: