Christa Ludwig;  Erik Werba;  Maazel  (St Laurent Studio YSL T-725)
Item# V2584
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Christa Ludwig;  Erik Werba;  Maazel  (St Laurent Studio YSL T-725)
V2584. CHRISTA LUDWIG, w.Erik Werba (Pf.): Songs by Schubert, Brahms & Dvorak - Live Performance, 30 April, 1975, Budapest; w.Maazel Cond.ORTF S.O.: Lieder eines fahrenden Gesellen - Nos. 1, 2 & 4 (Mahler) - Live Performance, 18 Oct., 1972, Paris. (Canada) St Laurent Studio YSL T-725


“There are great singers, and there are great artists. A great singer needs an exceptional voice, a masterful technique and the musicianship to conquer the most challenging repertoire. A true artist, of course, possesses these attributes, but there is something more - a soul-deep connection to the expressive content of the music; a sort of telepathic sympathy with the composer and a yearning to communicate that fire of inspiration to anyone who will listen. Christa Ludwig was blessed with all these things, and the opera world has been blessed in turn by her unerring ability to understand the characters she played, and to carry their joys and sorrows to the audience with such humanity and tenderness that we could not help taking her into our hearts. The beauty, warmth and radiance of her instrument seem inseparable from the beauty, warmth and radiance of the human spirit that breathes forth that wondrous sound. She made thrilling forays into dramatic-soprano territory, singing the Marschallin as well as Octavian in DER ROSENKAVALIER and giving performances of Leonore in FIDELIO that are now the stuff of legend. Perhaps most famously, she partnered her then-husband Walter Berry as the Dyer's Wife in DIE FRAU OHNE SCHATTEN.

Her Met début in 1959, as Cherubino, was not a great triumph, but by the time she bade farewell to the house, as Fricka in 1993 - her 119 performances of fifteen roles had made her one of the most beloved artists in the company's history.”

- Louise T. Guinther, OPERA NEWS, April 2014

“Lorin Maazel? . . . He knows how to capitalize on his limitations.”

- Martin Bernheimer, THE NEW YORK TIMES, 2 Oct, 2019