Christa Ludwig (born 16 March 1928) is a German mezzo-soprano (now retired)… Read Full Bio ↴Christa Ludwig (born 16 March 1928) is a German mezzo-soprano (now retired), distinguished for her performances of opera, Lieder, oratorio and other major religious works like masses and Passions, and solos contained in symphonic literature. Her career spanned from the late 1940s until the early 1990s.
Ludwig was born in Berlin to a musical family; her father, Anton Ludwig, was a tenor and an operatic administrator, her mother, the mezzo-soprano Eugenie Besalla-Ludwig who sang the Aachen Opera during Herbert von Karajan's period as conductor. Ludwig's first voice teacher was her mother.
Ludwig made her debut in 1946 at the age of 18 as Orlovsky in Die Fledermaus at Frankfurt, where she sang until 1952. She was a member of the Darmstadt Oper from 1952 to 1954, then sang the 1954–1955 season at the Staatsoper Hannover. She joined the Vienna State Opera in 1955, where she became one of its principal artists and was appointed Kammersängerin in 1962 and performed with the company for more than thirty years. In 1954, Ludwig made her debut at the Salzburg Festival as Cherubino in Le nozze di Figaro, and appeared there regularly until 1981. Ludwig made her debut as Brangäne in Tristan und Isolde at the Bayreuth Festival in 1966. In 1960, she performed as Adalgisa alongside Maria Callas as Norma, in Bellini's opera by the same title.
Ludwig made her American debut at the Lyric Opera of Chicago as Dorabella in Così fan tutte in 1959. That same year, she made her debut at the Metropolitan Opera in as Cherubino, and subsequently sang 121 performances until 1993, including the Met premiere of Die Frau ohne Schatten. Ludwig first appeared at the Royal Opera House, Covent Garden in 1969 as Amneris in Aida.
As Ludwig's voice matured, she expanded her repertoire from lyric and spinto mezzo-roles to dramatic roles. Her vast repertory eventually grew to encompass Carmen, Ulrica (Un ballo in maschera), Monteverdi's Octavia (L'incoronazione di Poppea), Dido (Les Troyens), Kundry (Parsifal), Klytemnestra (Elektra) and contemporary roles by von Einem and Orff. She also ventured briefly into the spinto and dramatic soprano repertory with performances of Verdi's Lady Macbeth (Macbeth), Strauss's Dyer's Wife (Die Frau ohne Schatten), the Marschallin (Der Rosenkavalier) and Beethoven's Leonore (Fidelio) .
In addition to her opera performances, Ludwig regularly gave recitals of Lieder and as a soloist with orchestras. Her performances of Schubert, Schumann, Brahms, Wolf, Mahler and Strauss are much admired. She also sang Bach and performed and recorded most of his major vocal works.
From 1957 to 1970, Ludwig was married to the bass-baritone Walter Berry; the couple performed together frequently, notably in Die Frau ohne Schatten. In 1972, she married the French stage-manager Paul-Emile Deiber.
In 1993–1994, Ludwig gave a series of farewell recitals in many cities and made her farewell appearance at the Metropolitan Opera, New York, as Fricka in Die Walküre.
Ludwig's final live operatic performance was Klytemnestra in Elektra for the Vienna State Opera in 1994.
The same year, Ludwig published a memoir with Peter Csobádi. Two English translations of the book are available.
Currently, Ludwig spends her time giving many Master Classes.
Ludwig was born in Berlin to a musical family; her father, Anton Ludwig, was a tenor and an operatic administrator, her mother, the mezzo-soprano Eugenie Besalla-Ludwig who sang the Aachen Opera during Herbert von Karajan's period as conductor. Ludwig's first voice teacher was her mother.
Ludwig made her debut in 1946 at the age of 18 as Orlovsky in Die Fledermaus at Frankfurt, where she sang until 1952. She was a member of the Darmstadt Oper from 1952 to 1954, then sang the 1954–1955 season at the Staatsoper Hannover. She joined the Vienna State Opera in 1955, where she became one of its principal artists and was appointed Kammersängerin in 1962 and performed with the company for more than thirty years. In 1954, Ludwig made her debut at the Salzburg Festival as Cherubino in Le nozze di Figaro, and appeared there regularly until 1981. Ludwig made her debut as Brangäne in Tristan und Isolde at the Bayreuth Festival in 1966. In 1960, she performed as Adalgisa alongside Maria Callas as Norma, in Bellini's opera by the same title.
Ludwig made her American debut at the Lyric Opera of Chicago as Dorabella in Così fan tutte in 1959. That same year, she made her debut at the Metropolitan Opera in as Cherubino, and subsequently sang 121 performances until 1993, including the Met premiere of Die Frau ohne Schatten. Ludwig first appeared at the Royal Opera House, Covent Garden in 1969 as Amneris in Aida.
As Ludwig's voice matured, she expanded her repertoire from lyric and spinto mezzo-roles to dramatic roles. Her vast repertory eventually grew to encompass Carmen, Ulrica (Un ballo in maschera), Monteverdi's Octavia (L'incoronazione di Poppea), Dido (Les Troyens), Kundry (Parsifal), Klytemnestra (Elektra) and contemporary roles by von Einem and Orff. She also ventured briefly into the spinto and dramatic soprano repertory with performances of Verdi's Lady Macbeth (Macbeth), Strauss's Dyer's Wife (Die Frau ohne Schatten), the Marschallin (Der Rosenkavalier) and Beethoven's Leonore (Fidelio) .
In addition to her opera performances, Ludwig regularly gave recitals of Lieder and as a soloist with orchestras. Her performances of Schubert, Schumann, Brahms, Wolf, Mahler and Strauss are much admired. She also sang Bach and performed and recorded most of his major vocal works.
From 1957 to 1970, Ludwig was married to the bass-baritone Walter Berry; the couple performed together frequently, notably in Die Frau ohne Schatten. In 1972, she married the French stage-manager Paul-Emile Deiber.
In 1993–1994, Ludwig gave a series of farewell recitals in many cities and made her farewell appearance at the Metropolitan Opera, New York, as Fricka in Die Walküre.
Ludwig's final live operatic performance was Klytemnestra in Elektra for the Vienna State Opera in 1994.
The same year, Ludwig published a memoir with Peter Csobádi. Two English translations of the book are available.
Currently, Ludwig spends her time giving many Master Classes.
Heimweh
Christa Ludwig Lyrics
We have lyrics for 'Heimweh' by these artists:
Amigos So schön, schön war die Zeit So schön, schön war die…
Andrew Fischer Heimweh Ich trink mein Glas aus und schau aus dem Fenster.…
Axel Fischer So schön, schön war die Zeit, so schön, schön war die…
Bernhard Brink (So schön, schön war die Zeit) (So schön, schön war die…
Black Messiah Einsam ist die Wacht Ich steuere mit bedacht Der Nordstern…
Casino Blackout Schwalben finden nicht herunter Die Kälte brach zu schnell h…
Cat Ballou Nur mim Rucksack noh Berlin Mit Interrail su viel jesinn Hat…
Die Lochis Jeden Tag ne neue Stadt Weil ich liebe was ich mach Von…
DJ Ötzi I bi wit wäg vo mim Vertroute Inna risengrosse Stadt Ufere s…
Element of Crime Brennend heißer Wüstensand; Fern, so fern dem Heimatland; …
Ewigheim Lässt die Sehnsucht Tränen fließen Hilft mir Cultellus imme…
Fard Heimweh, ich vermiss' dich, vermiss dich so unendlich F-A-R-…
Freddy So schön, schön war die Zeit So schön, schön war die…
Glasperlenspiel Bei euch bin Ich zuhause Vertraut und unmaskiert Wenn ich z…
Isabell Schmidt Kennst du dieses Gefühl, es beginnt leise in dir. Du liegst…
Kurdo Ja, genau, ich hab' jetzt Sachen, die sind wertvoll Doch ich…
Nils Koppruch Kinder im Garten Und alle singen gleich Neues Hemd, neue N…
Plüsch I bi wiit wäg vo miim Vertroutä, ire riisegrosse Schtadt uf…
QL I bi wiit wägg vo mim vertroute, ire riisegrosse schtadt, …
Quinn Freddy So schön, schön war die Zeit So schön, schön war die…
Ra'is Hah-ah-ah-oh-ah-ah Oho Ein Auge lacht, das andre Auge weint…
Rapsoul Ich vermiss meine Skyline vermiss das Daheim sein Vermiss di…
Schwarzwaldfamilie Seitz Ich wandre meine Strasse, die zu der Heimat fuehrt. Voll Ung…
Ton Steine Scherben Siehst du dort den roten Tropfen? Morgentau, brauchst du ih…
Voxxclub I bin weit weg von meinen Vertrauten Inna riesengroßen Stadt…
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Ein bayerischer Bürger
1994年，66岁的路德维希（Christa Ludwig）在维也纳举办了告别演唱会。演唱会的最后一首曲目，她选择了理查斯特劳斯的作品 “Morgen”。这是一首灵魂的告别曲，“默默，我们将四目注视，那傍着福祉的静默，从天而降”。动人心魄的演唱，感恩路德维希。
网上没看到准确的译文，自己译了一下：
Morgen!
Und morgen wird die Sonne wieder scheinen
und auf dem Wege, den ich gehen werde,
wird uns, die Glücklichen sie wieder einen
inmitten dieser sonnenatmenden Erde...
und zu dem Strand, dem weiten, wogenblauen,
werden wir still und langsam niedersteigen,
stumm werden wir uns in die Augen schauen,
und auf uns sinkt des Glückes stummes Schweigen...
明日！
那么，明日太阳将如常闪光
在我前行路，它将重新凝聚
你我幸福人儿
在这方吐纳阳光的星球。。。
我们将无声轻缓地从高处
走下沙滩
向着这片辽远、波涛之蓝
默默，我们将四目注视
那傍着福祉的静默，从天而降。。。
markpkessinger
This concert was in 1994, not 2003. No matter. For a singer to be in such fine form at age 66, after a 47-year singing career, is truly amazing. She is one of the great singers of all time -- and truly a musician's singer!
Pascal Meyer SJ
Möge ihre Stimme in den Chor der Engel einstimmen. RIP, Christa Ludwig...
Gerdt Bayer
Sie sang besser und schöner als die Engel, unsere Christa Ludwig. Danke! Danke für unvergessliche Stunden. Wolfram mit Margit, Gerd mit Margot.
She sang better and more beautiful than angels, our angel Christa Ludwig. Thanks! Thank you for unforgettable hours. Wolfram with Margit, Gerd with Margot.
GeoSF0926
I was lucky to be at this very concert in Vienna. (It was, by the way, 1994, not 2003.) Christa Ludwig's voice was sublime and radiant throughout the entire concert, and considering she was 66 years old, even more miraculous. During the last two encores -- Morgen and the Brahms Lullaby -- there was not a dry eye in the house, and you could have heard a pin drop. I have never understood, all these years, why the entire group of people sitting directly behind her onstage got up and unceremoniously left, with still two encores to go. (1:21:05) (Inexplicable.) (Maybe their tour bus was leaving.) But I can tell you, everybody else in the sold-out Musikverein never wanted to leave that hall, and never wanted her to end the concert. It was a transcendent experience for everybody present.
Gustavo Monastra | Opera Symphony & Classical | AR
@Georges E. Melki Edited. Fixed.
Georges E. Melki
But the title says 1994, not 2003!
Gustavo Monastra | Opera Symphony & Classical | AR
Most likely, those people in the front rows, wanted to be the first to greet Christa Ludwig in the immediate vicinity of the dressing room. Maybe they have been to a rehearsal and have already heard the encores. Given the prime location, I bet they were people close to her or the recital production.
Emmanuel Viala
Very lucky you are then ! Merci beaucoup from Paris France. Emmanuel
JJ Lungdoc
Your testimony is important and gives some kind of logic ( not a good reason) to explain why those people sitting behind CL were so rude as to leave the concert hall before the end.
Don Bosco
THIS recording will go into history as an example for german culture as it's best, performed by a real perfect singing ARTIST who's singing is pure SPIRIT. Christa Ludwigs perfect vocal technique and accurate pronunciation makes every single word understandable, in opposite of most singers from today who don't pronounce "ras" and "tis" and think that is the right way of doing it !!!!! She works with the beautiful german language like a sculpture and makes it thru her singing even more beautiful as it is already !!!! Her gestures also are a lesson for young singers, the first rule of an Lieder-singer with class is: "put your acting in your interpretation, not in your hands" WHAT A DIVINE SINGER .... GOD BLESS CHRISTA LUDWIG FOREVER !!!!