Hannah Ludwig

MEZZO-SOPRANO

Hannah Ludwig

American mezzo-soprano, represented by Sempre Artists

Academy of Vocal Arts
Artist Diploma, 2018
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Hannah Ludwig
is represented by
Kristin Cowdin
Sempre Artists

Schedule

Stabat Mater
Szymankowski

The National Symphony Orchestra, 2021


Maometto II
Calbo

Teatro Nuovo, 2021

Dawn of the Castra...
TBD

The Bochumer Symphoniker, 2021


Messiah
Handel

The Columbus Symphony, 2020

Il barbiere di Siv...
Rosina

Opera Louisiane, 2020


Anna Bolena
Giovanna Seymour

Baltimore Concert Opera, 2020

Alexander Nevsky C...
Prokofiev

The Colorado Symphony, 2019

La gazza ladra
Pippo

Teatro Nuovo, 2019

Il barbiere di Siv...
Rosina

Annapolis Opera, 2018

Messiah
Handel

The Baltimore Symphony Orchestra, 2017

Biography

The New York Times calls mezzo-soprano Hannah Ludwig “best in show” and further exclaims “Her tone chocolaty and large, yet with focus and agility, she captured the integral aspect of bel canto…expression emerging from a long, intelligently shaped musical line.” In the 2020-21 season, she will return to Teatro Nuovo for a third Rossini role debut with the company, Calbo in Maometto II—originally scheduled for last seaosn—and will join the Bochumer Symphoniker for her international debut in a solo program of bel canto repertoire originally written for the castrato fach. Her scheduled performances of Szymanowski’s Stabat mater with Gianandrea Noseda conducting the National Symphony Orchestra have been postponed due to the COVID-19 pandemic and will be scheduled in a future season. Last season, she sang her first performances of Giovanna Seymour in Anna Bolena with Baltimore Concert Opera and returned to Dritte Dame in Die Zauberflöte in her company debut with Dallas Opera. Unfortunately her debut with the Orquesta Filarmónica de Buenos Aires at the Teatro Colón Mahler's Das Lied von der Erde was also cancelled in the wake of COVID-19.

“best in show...Her tone chocolaty and large, yet with focus and agility, she captured the integral aspect of bel canto…expression emerging from a long, intelligently shaped musical line.”
— New York Times