Press

Handel’s Messiah (NY Philharmonic) – 2023

“Hannah Ludwig’s approach to Handel was much more text driven.  She has a voice of great beauty, but isn’t afraid to produce harsh, at times growling sounds, to elicit drama.  They were employed to great effect in both ‘But who may abide the day of his coming’ and hurling out the words ‘shame and spitting’ in an impassioned ‘He was despised’.” – New York Classical Review

 

 

 

 

 

Rigoletto (Utah Opera) – 2023

“Ludwig impressed as Maddalena, Sparafucile’s sister and partner in crime. Her powerful mezzo-soprano slipped from earthy and seductive in her scene with the Duke, to forceful and adamant in her scene with Sparafucile as she argued about who they should kill to fulfill Sparafucile’s contract.” – Utah Arts Review

 

 

 

 

 

 

L’Italiana in Algeri (Eroica Berlin) – 2022

“Adequate Rossini singing delivering the demands of the style is still a rarity despite many advances of the past decades. A pleasant exception to this can be experienced in Berlin with Hannah Ludwig. She entails many of the merits of a virtuoso Rossini voice, flaunts her glowing and well-blended tone as Isabella without having to force her lower register, has agility but also the necessary dramatic impulses. A singer who brings joy.” – Online Merker (translated)

 

“That one wouldn’t dare to perform Rossini operas without top notch personnel is self evident–as a representative, the contralto Hannah Ludwig has to be mentioned, secure in coloratura as well as her high and low ranges. (Cecilia Bartoli in her prime couldn’t have done it better than that.)” – Kultura (translated)

 

“As Isabella, Hannah Ludwig appropriately towered over the cast with a voluminous yet flexible voice, which she modulated with great imagination. ‘Per lui che adoro’–heard here in its alternative version with color cello in lieu of flute–was beautifully phrased, and the cabaletta to ‘Pensa alla patria’ was exhilarating….  Her explosive “Vanne al diavolo’ brought a grin to this listener’s face.” – Opera Magazine

 

 

 

 

 

 

Central Park Five (Portland Opera) – 2022

 

“…Hannah Ludwig, had the unsympathetic part of the pushy prodding white assistant district attorney. She shaped her lines flawlessly and moved like the late-’80s power person she portrayed. The New York Times called her voice ‘chocolatey and large yet with focus and agility,’ and I can’t do better than that.” – Oregon ArtsWatch

“Mezzo Hannah Ludwig, magnificent as the ruthless Assistant District Attorney, was never so shocking as when at curtain call she smiled at last.” – Opera News

 

 

 

 

 

Il barbiere di Siviglia – 2021

“… with a rich, dark voice she shaped supple phrases and conveyed the character’s mix of reticence and sass.” – The New York Times

 

“The bel canto riffing carried over to the vocal performances as well, especially when mezzo-soprano Hannah Ludwig rang her changes on Rosina’s aria ‘Una voce poco fa.’  Her voice is unusual, centered quite low in the range and quivering with a dark contralto timbre. Accordingly, she eschewed the customary giddy approach to this piece, instead choosing relaxed tempos and frequent excursions into a sumptuous, almost baritonal chest register…Even with the mounds of trills, leaps and roulades she heaped upon the aria, the result was so tasteful as to sound rather sober. In fact, as Ludwig portrayed her, this Rosina sounded like she might belong more plausibly in an opera seria like Semiramide instead of the sparkling comedy of Barbiere.” – The Observer

“Ludwig has a stunning, robust lower range which she dipped into frequently and to great effect. And while Rosina is a young woman, she’s no Gilda, powerlessly locked up and doomed. Ludwig’s voice quality reinforced this dichotomy, demonstrating aurally that Rosina is a take-charge woman who will win her ‘Lindoro,’ the penniless student with whom she’s fallen in love. Of course, Lindoro is the Count in disguise.  The best description of Ludwig’s Rosina is spunky. She’s a fighter who champs at the bit to be free of the old coot, Don Bartolo. For her showcase cavatina, ‘Una voce poco fa,’ Ludwig’s fresh ornamentation was exciting, taking advantage of the many opportunities Rossini provided for his Rosinas to shine. Overall, she breathed new life into a standard, infusing it with charming determination.  There are singers who interpolate Rosina’s Act two aria, ‘Contro un cor che accende amore’ into another showcase piece. I agree with conductor Joseph Rescigno’s assessment in his book, ‘Conducting Opera,’ that this isn’t a good path. The aria is marked maestoso, and that’s how it should be sung. This is one aria in which Rossini does not go crazy with fermatas. There are plenty of opportunities for Rosina to go full throttle within other numbers, and to me, the score is clear—sing the notes written and keep it majestic. Ludwig did exactly that while using the few spaces Rossini left open to keep it interesting.” – Opera Wire

 

 

 

 

La gazza ladra – 2019

Particularly starry was Hannah Ludwig in the male role of Pippo, her luxurious mezzo-soprano setting into sinfully rich chest tones without a whisper of vulgarity. – The Observer

Best in show, both of them, was the mezzo-soprano Hannah Ludwig as the faithful friend Pippo in “La Gazza Ladra.” Her tone chocolaty and large, yet with focus and agility, she captured the integral aspect of bel canto, the skill — or perhaps intuition — Mr. Crutchfield is trying to impart: expression emerging from a long, intelligently shaped musical line. – The New York Times

The performance’s most arresting voice belonged to Hannah Ludwig in the trouser role of Pippo, Ninetta’s gayish BFF. Her big, bold mezzo made one sit up and take notice that here was a special artist…

I wouldn’t be surprised if Pippo points the way to an important career for Ludwig in the way it did 60 years ago when Janet Baker performed it at the Wexford Festival. – Parterre Box

…best of all was Hannah Ludwig, whose velvety mezzo-soprano, stylistic confidence and dynamic stage presence made Pippo (Ninetta’s friend, a trouser role) the star of the show. – The Wall Street Journal

The most distinctive voice of all was that of mezzo-soprano Hannah Ludwig in the trouser role of Pippo. Not only was her “Tocchiamo, Beviamo” gorgeous but so were the tiniest of her interventions. – Bachtrak

Lucia di Lammermoor – 2018

The rich sound of mezzo Hannah Ludwig as Alisa in her brief but compelling exchanges with Lucia was a luxury. – Bachtrack

…there was excellent supporting work by…mezzo Hannah Ludwig (Alisa). Her rich and rounded sound confirmed the very positive impression she’s made while a student at the Academy of Vocal Arts. – Parterre Box

The promising mezzo-soprano Hannah Ludwig makes an impressive company debut as Alisa, Lucia’s devoted nurse. Her performance builds upon a series of fine portrayals during her student days at the Academy of Vocal Arts; if she continues to bring such distinction to comprimaria assignments, leading roles at major houses cannot be far behind. – Broad Street Review

Hannah Ludwig’s Alisa was served by an unusually plummy, opulent mezzo that made an especially notable contribution to the famous sextet – Opera Today

Hannah Ludwig (Alisa) made (a) terrific Opera Philadelphia debut – Schmopera

Tancredi – 2018

 

 

 

 

“Of the resident artists singing smaller roles, Hannah Ludwig stood out as Isaura, her mellow, handsome mezzo complemented by the exquisite solo playing of Mr. [Thomas] Carroll, the clarinetist, in her one aria.” – The Wall Street Journal

“Hannah Ludwig sang Isaura, the confidante as tower of strength, with an ample reserve one could easily imagine developing into an Amneris.” – Parterre Box

“As Isaura, a noblewoman sympathetic to Amenaide, Hannah Ludwig, mezzo-soprano had a natural ease on stage that was mirrored in her singing.” – Seen and Heard International

“Mezzo-sopranos Hannah Ludwig and Stephanie Sanchez, both drawn from Crutchfield’s training program, impressed with rich, resonant voices in the supporting cast.” – The Classical Review

Academy of Vocal Arts Farewell Recital – 2018


“Something of an MVP at AVA, Ludwig has demonstrated substantial breadth across a wide range of repertoire. Her lustrous, distinctively-colored mezzo soprano has a real sense of amplitude and musical class.

I don’t think that her prominence in the program (she opened and closed it) was an accident, and it included two arias from Bach’s “Ich habe genug” (both gorgeously sung with real flexibility); Rosenkavalier and Lakmé duets (with soprano Nowakowski) where Ludwig anchored the lower line with finesse; and a charming, theatrical vivid reading of “A Little Priest” from Sweeney Todd (with Nathan Milholin doing a good job as Todd).” – parterre box

Ariadne auf Naxos – 2018

” Ludwig riveted the audience with a heartfelt, gorgeously sung Komponist…her ability to play with vocal color and dynamic within phrases bespoke an exceptional artist.” – Opera News

“Among the standouts was mezzo-soprano Hannah Ludwig as the Composer, both for her plush tone and her agility. With good ideas about putting meaning to text, she is one to watch. ” – Philadelphia Inquirer

“Hannah Ludwig’s fulsome mezzo-soprano was gloriously potent in the Composer’s ardent music, even if the very highest notes call for more float…Ludwig also projected the text with transcribe-able clarity.” – Philadelphia Magazine

“Hannah Ludwig dazzles as the Composer, her richly colored mezzo easily dispatching the role’s high-lying tessitura…Ludwig communicates the young, headstrong musician’s passion for his composition, which he initially refuses to change to meet his patron’s demands…Even when Renner and Ludwig reappear silently in the second act, they command attention. These are artists ready to take their places on the international stage.” – Broad Street Review

Das Rheingold – 2018

“Exemplary in this regard were the specifically enacted and pointedly declaimed Alberich of Timothy Renner and Fricka of Hannah Ludwig, both sounding terrific.” – Opera News

“Pride of place goes to Hannah Ludwig, a sonorous, powerful Fricka, whose strikingly colored mezzo is evenly calibrate throughout a wide range; this is truly a star voice.” – Philadelphia Magazine

Il Trovatore – 2017

“The most finished and alluring voice belonged to Hannah Ludwig as Azucena, the infamous gypsy, with a rich-toned instrument that did fine with the big tunes assigned to her character but that was even better when revealing the soul of the character in recitatives, which had an ideal balance of lyricism and rhetoric. For her, surface elements of the character were only a doorway to what’s underneath, which is exactly what makes the theatrical absurdity of mid-period Verdi operas completely excusable” – Philadelphia Inquirer

“Hannah Ludwig is sensational as Azucena. The mezzo, in her fourth and final year at AVA, sings the role beautifully, with no screaming or barking yet with powerful, dramatic chest tones. There’s smooth transition as Ludwig navigates from thrilling top notes down the scale to deep tones at the bottom.” – DC Metro Theater Arts

“Hannah Ludwig’s finely sung and thoughtfully acted Azucena dominated, with nary a musical or vocal challenge unsurmounted. …she’s a mettlesome, career-ready artist.” – Opera Mazagine UK

La clemenza di Tito – 2017

“…with particular focus on Sesto, who is given one of Mozart’s mightiest arias, “Parto, parto.” Even before Hannah Ludwig began that showstopper, it was clear that hers is a major talent. Supported by Jane Glover’s spot-on conducting…and by Eddie Sundra’s warm clarinet, Ludwig found no trouble with those tricky low notes, nor with the leaps that explode without warning. Her impeccable handling of the Act II rondo, “Deh, per questo istante solo,” served further notice of an important young artist. – Opera News

“The star was mezzo-soprano Hannah Ludwig, whose stage presence, responsiveness to the other singers and sheer vocal sumptuousness made her every moment in the spotlight special. In the pants role of Sesto, Tito’s childhood friend and Vitellia’s lover, her Act I recitative, “Oh Dei, che smania è questa,” was a marvel of dramatic ambivalence, and her Act II aria, “Deh, per questo istante solo,” in which she protects Vitellia by taking responsibility for the plot against Tito, could have moved a real-life Caesar.” – The Aspen Times

The Demon – 2016

“The night’s best performances were HANNAH LUDWIG’s Nurse, with superbly rounded, individual mezzo timbre …”

Opera News, April 2017

L’Italiana in Algeri – 2014

“…mezzo HANNAH LUDWIG as Isabella has the stage presence and technical maturity of a major star.”

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