Christa Ludwig - Vienna State Opera
£29.40
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Label: Orfeo - Orfeo d'Or
Cat No: C758083
Format: CD
Number of Discs: 3
Genre: Opera
Release Date: 28th April 2008
Contents
Works
Fidelio, op.72 » Abscheulicher! Wo eilst du hin?
Wozzeck » Dort links geht's in die Stadt
Les Troyens » Pardonne, Iopas...O pudeur! Tout conspire
Carmen » Habanera 'L'amour est un oiseau rebelle' (Love is a rebellious bird) (Act 1)
Pelleas et Melisande » Voici ce qu'il ecrit a son frere (Act 1)
Das Herz mit deinem und meinem NamenCosi fan tutte, K588
» Ah guarda sorella
» Il core vidono
» Sento, o Dio
Le nozze di Figaro (The Marriage of Figaro), K492 » Non so piu cosa son, cosa facio
Palestrina » Schonste ungnad'ge Dame
La Cenerentola (Cinderella) » Nacqui all' affanno ...Non piu mesta
Ariadne auf Naxos, op.60 » Sein wir wieder gut
Capriccio, op.85 » Ich furchte, Frau Grafin Sie werden nach dieser Einfuhrung
Der Rosenkavalier, op.59 » Ach, du bist wieder da!
» Da geht er hin
» Die Zeit, die ist ein Sonderbar Ding
» Mir ist die Ehre widerfahren
Elektra, op.58 » Was willst du? Seht doch dort!
The Queen of Spades (Pique Dame), op.68 » Countess's Scene
Falstaff » Reverenza...Buon giorno, buona donna
Luisa Miller » Duchessa, Duchessa tu m'appelli!
Macbeth » La luce langue (Act 2)
» Nel di della vittoria ...Ambizioso spirto ...Vieni t'affretta! ...Or tutti sorgete (Act 1)
» Una macchia e qui tuttora (Act 4)
Das Rheingold » Weiche, Wotan, weiche!
Lohengrin » Elsa!... Wer ruft?
» Entweihte Gotter (Act 2)
» Erhebe dich, Genossin meiner Schmach!
Tannhauser » Geliebter, komm!
Artists
Christa Ludwig (mezzo-soprano)Choir and Orchestra of the Vienna State Opera
Works
Fidelio, op.72 » Abscheulicher! Wo eilst du hin?
Wozzeck » Dort links geht's in die Stadt
Les Troyens » Pardonne, Iopas...O pudeur! Tout conspire
Carmen » Habanera 'L'amour est un oiseau rebelle' (Love is a rebellious bird) (Act 1)
Pelleas et Melisande » Voici ce qu'il ecrit a son frere (Act 1)
Das Herz mit deinem und meinem NamenCosi fan tutte, K588
» Ah guarda sorella
» Il core vidono
» Sento, o Dio
Le nozze di Figaro (The Marriage of Figaro), K492 » Non so piu cosa son, cosa facio
Palestrina » Schonste ungnad'ge Dame
La Cenerentola (Cinderella) » Nacqui all' affanno ...Non piu mesta
Ariadne auf Naxos, op.60 » Sein wir wieder gut
Capriccio, op.85 » Ich furchte, Frau Grafin Sie werden nach dieser Einfuhrung
Der Rosenkavalier, op.59 » Ach, du bist wieder da!
» Da geht er hin
» Die Zeit, die ist ein Sonderbar Ding
» Mir ist die Ehre widerfahren
Elektra, op.58 » Was willst du? Seht doch dort!
The Queen of Spades (Pique Dame), op.68 » Countess's Scene
Falstaff » Reverenza...Buon giorno, buona donna
Luisa Miller » Duchessa, Duchessa tu m'appelli!
Macbeth » La luce langue (Act 2)
» Nel di della vittoria ...Ambizioso spirto ...Vieni t'affretta! ...Or tutti sorgete (Act 1)
» Una macchia e qui tuttora (Act 4)
Das Rheingold » Weiche, Wotan, weiche!
Lohengrin » Elsa!... Wer ruft?
» Entweihte Gotter (Act 2)
» Erhebe dich, Genossin meiner Schmach!
Tannhauser » Geliebter, komm!
Artists
Christa Ludwig (mezzo-soprano)Choir and Orchestra of the Vienna State Opera
About
The wide-ranging repertory in which Christa Ludwig appeared at the Vienna State Opera, often surprising her audiences over a period of many years, is central to the present set of three CDs. It begins with her Cherubino from Le nozze di Figaro and her Composer from Strauss' Ariadne auf Naxos, both of which she sang at the Salzburg Festival soon after her Vienna State Opera début in 1955.
Another of her early roles in Vienna was Dorabella, while Angelina in Rossini's La Cenerentola was a lyric mezzo-soprano part that she sang only infrequently but to which she brought a stupendous coloratura technique. Her increasingly dramatic roles are represented by excerpts from Fidelio, Wozzeck, Tannhäuser, Lohengrin and Verdi's Macbeth, which also demonstrate the astute use of her resources in those roles that extend well into the soprano register, without ever sacrificing any quality or intensity. Under Leonard Bernstein, the subdued melancholy of her Marschallin is even more overwhelming than it was in the studio.
No less impressive is the way in which Christa Ludwig was able to forge a successful working relationship with each of the very different conductors with whom she appeared, be it Karl Böhm, Herbert von Karajan, Lorin Maazel, Claudio Abbado or the conductor of the most recent New Year's Day Concert from Vienna, Georges Prêtre. Throughout her career, she retained a company spirit, happy to appear in smaller roles and, towards the end of her career, in character parts, including Klytämnestra in Elektra, the role in which she bade farewell to the stage in 1994.
This final appearance - almost 40 years after her Viennese début - also brings to an end our musical tribute to Christa Ludwig, recalling an altogether exceptional career by this honorary member of the Vienna State Opera.
Another of her early roles in Vienna was Dorabella, while Angelina in Rossini's La Cenerentola was a lyric mezzo-soprano part that she sang only infrequently but to which she brought a stupendous coloratura technique. Her increasingly dramatic roles are represented by excerpts from Fidelio, Wozzeck, Tannhäuser, Lohengrin and Verdi's Macbeth, which also demonstrate the astute use of her resources in those roles that extend well into the soprano register, without ever sacrificing any quality or intensity. Under Leonard Bernstein, the subdued melancholy of her Marschallin is even more overwhelming than it was in the studio.
No less impressive is the way in which Christa Ludwig was able to forge a successful working relationship with each of the very different conductors with whom she appeared, be it Karl Böhm, Herbert von Karajan, Lorin Maazel, Claudio Abbado or the conductor of the most recent New Year's Day Concert from Vienna, Georges Prêtre. Throughout her career, she retained a company spirit, happy to appear in smaller roles and, towards the end of her career, in character parts, including Klytämnestra in Elektra, the role in which she bade farewell to the stage in 1994.
This final appearance - almost 40 years after her Viennese début - also brings to an end our musical tribute to Christa Ludwig, recalling an altogether exceptional career by this honorary member of the Vienna State Opera.
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