Christiane Karg


Born to a family of confectioners in Bavaria, Christiane Karg studied singing at the Salzburg Mozarteum and at the International Opera Studio in Hamburg before joining the ensemble of the Frankfurt Opera. An outstanding recitalist and concert artist, in 2018 she was awarded the prestigious ‘Brahms Prize’. Glorious on stage, she has received tremendous accolades for her interpretations of Mélisande, Blanche, Pamina, Susanna, Fiordiligi, Countess, Sophie, Zdenka and Micaëla, amongst others.

Highlights in Christiane’s 2020/21 season include Fiordiligi/Cosi fan tutte and Pamina/Die Zauberflöte at the Bayerische Staatsoper and Pamina at Opera de Paris in a production staged by Robert Carsen. On the concert platform Christiane appears in Haydn’s The Creation at the Wiener Musikverein with Andrés Orozco-Estrada / Wiener Symphoniker, two Scandavian/European tours with Leif Ove Andsnes and the Norwegian Chamber Orchestra/Mahler Chamber Orchestra, respectively and Brahms Requiem with Christopher Eschenbach / Danish National Symphony Orchestra in Copenhagen. This autumn she releases her first solo recital disc with Harmonia Mundi, “Erinnerung” featuring Lieder by Gustav Mahler.



Video & Audio

From The Green Room


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    Mahler: Erinnerung

    Label: Harmonia Mundi

    Release Date: 09 Oct 20

    Christiane Karg, soprano
    Malcolm Martineau, piano

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    Brahms: Ein Deutsches Requiem

    Label: Harmonia Mundi

    Release Date: 06 Sep 19

    Christiane Karg
    Matthias Goerne
    Daniel Harding
    Swedish Radio Symphony Orchestra

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    Label: Berlin Classics

    Release Date: 07 Apr 17

    David Afkham

    Christiane Karg

    Bamberger Symphoniker

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    MOZART: Le nozze di Figaro

    Label: Deutsche Grammophon

    Release Date: 08 Jul 16

    Vocal ensemble Rastatt and Chamber Orchestra of Europe.

    Luca Pisaroni, Christiane Karg, Sonya Yoncheva, Thomas Hampson, Angela Brower, Anne Sofie von Otter, Maurizio Muraro, Rolando Villazón and  Yannick Nézet-Séguin.

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    Label: Berlin Classics

    Release Date: 15 May 15

    Arias by Haydn, Mozart, Beethoven and Mendelssohn.

    Arcangelo, Christiane Karg and Jonathan Cohen

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    SCHUMANN: Faust Scenes

    Label: BR Klassik

    Release Date: 29 Sep 14

    Symphonieorchester des Bayerischen Rundfunks

    Christian Gerhaher, Christiane Karg, Alastair Miles and Daniel Harding.


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    RAMEAU: Hippolyte Et Aricie

    Label: Glyndebourne Opera

    Release Date: 30 Jun 14

    Glydnebourne Festival Opera and Chorus, Orchestra of the Age of Enlightenment.

    Ed Lyon, Christiane Karg, Sarah Connolly, Stéphane Degout and William Christie

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    Heimliche Aufforderung, Secret Invitation

    Label: Berlin Classics

    Release Date: 14 Mar 14

    Richard Strauss Lieder: Christiane Karg, Felix Klieser and Malcolm Martineau.

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    MENDELSSOHN: Symphony No. 2 '

    Label: Harmonia Mundi

    Release Date: 10 Mar 14

    Symphonieorchester des Bayerischen Rundfunks
    Christiane Karg, Michael Schade and Pablo Heras-Casado

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    Wigmore Hall Live Recital

    Label: Wigmore Live

    Release Date: 02 Sep 13

    Christiane Karg sings Strauss, Fauré, Debussy, Poulenc, Wolf & Berg with Malcolm Martineau.

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    MOZART: Apollo et Hyacinthus (DVD)

    Label: Deutsche Grammophon

    Release Date: 19 Nov 12

    Salzburger Festspiele Productions

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    WAGNER: Die Feer

    Label: Berlin Classics

    Release Date: 02 Oct 12

    Frankfurt Opera and Museum Orchestra

    Alfred Reiter, Tamra Wilson, Anja Fidelia Ulrich, Juanita Lascarro, Burkhard Fritz, Brenda Rae, Michael Nagy, Christiane Karg, Thorsten Grümbel, Simon Bode, Sebastian Geyer, Simon Bailey and Sebastian Weigle

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    Label: Berlin Classics

    Release Date: 24 Aug 12

    Arias by Mozart, Gluck and Grétry

    Arcangelo, Jonathan Cohen

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    Wenn Ich Ein Vöglein Wäe

    Label: Sony

    Release Date: 20 Aug 10

    Eric Schneider, Helmut Deutsch, Stella Doufexis, Klaus Florian Vogt and Christiane Karg.

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    Verwandlung - Lieder eines Jahres

    Label: Berlin Classics

    Release Date: 12 Mar 10

    Christiane Karg and Burkhard Kehring

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    MENDELSSOHN: Symphony No.2 ‘Lobgesang’

    Label: Berlin Classics

    Release Date: 06 Mar 09

    Deutsche Kammerphilharmonie Bremen, Frieder Bernius

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    09 Oct 20 MAHLER Erinnerung
    CD (Harmonia Mundi)

    “Karg’s artistry, distinguished by natural intelligence and vivid sense of communication, is an ideal complement to Martineau’s. Her voice is beautiful, more velvety than diamantine, and, with her supremely sensitive partner, she never has need to push it…This is lieder performance of wonderful freshness and intelligence; a delightful album, highly recommended.”
    Gramophone, November 2020

    “I’ve been crossing my fingers for an all-Mahler disc from the elegant German soprano Christiane Karg for quite some time – ten years, in fact, as I remember my appetite being whetted very shortly after I began working at Presto when the composer’s ‘Frühlingsmorgen’ made an appearance on her lovely Songs of a Year album on Berlin Classics. Her vernal, coolly sensual sound worked a very particular magic in the composer’s depiction of a springtime wake-up call, and a decade down the line that same vocal freshness is very much in evidence across this entrancing recital of songs from the early Lieder und Gesänge aus der Jugendzeit and Des Knaben Wunderhorn as well as the Rückert-Lieder.”
    Katherine Cooper, Presto Classical, 23 October 2020

    “Karg’s singing is always acutely sensitive, and she ends the disc with a fascinating novelty, two songs in which she is “accompanied” by Mahler himself.”
    Andrew Clements, The Guardian, 5 November 2020

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    07 Mar 20 BERLIOZ Carmen
    Deutsche Staatsoper Berlin

    “Christiane Karg, a flawless Micaëla”
    “Christiane Karg als makellose Micaëla”
    Schlatz, Opern- & Konzertkritik Berlin, 12 March 2020

    “Karg’s gorgeously chill Micaëla”
    Elyse Lyon, Opera Wire, 19 March 2020

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    26 Jan 20 MOZART Le nozze di Figaro
    Salzburg Internationale Mozartwoche

    “Als Gräfin überraschte Christiane Karg mit stimmlichem Aplomb und ausgefeilter Diktion. Erfolgreich hat sich die einstige Mozarteum-Absolventin international etabliert und sich mit der Gräfin aus höheren Soprangefilden ins lyrischere Fach entwickelt. Zum persönlichen Höhepunkt machte sie ihre große Arie “Dove sono”.”

    “As Countess, Christiane Karg was vocally assured and sang with sophistication and immaculate diction. The former Mozarteum graduate (with a successful international career) has developed as a lyric soprano, as we see here in this Countess. A personal highlight was her glorious aria “Dove sono”.”
    Elisabeth Aumiller, Berchtesgadener Anzeiger, 28 January 2020

    “Untadelig waren jedenfalls die Sängerleistungen: … Christiane Karg gab eine in ihren verletzten Gefühlen erstarrte Contessa di Almaviva, die ihren Arien lebendiges Timbre und feinen Glanz noch im Pianissimo der höchsten Lagen schenkt.”

    “The vocal performances were impeccable… Christiane Karg gave a Contessa di Almaviva frozen by her emotional injuries, which gives her arias vivid timbre and shine, even in the high pianissimo passages..”
    Heidemarie Klabacher, Der Standard, 27 January 2020

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    01 Nov 19 MOZART Le nozze di Figaro
    Hamburgische Staatsoper

    “Letztendlich schwebte über allen Solisten jedoch die nuancenreiche, vibratofreie Stimme von Christiane Karg in der Rolle der Contessa, der Gräfin Almaviva. Durch ihr gemächlich-bedachtes Schreiten wirkte sie als Ruhepol des Ensembles und erlangte Bühnenpräsenz eben durch ihr Umsichtiges und wohlüberlegtes Handeln inmitten einer aufgewühlten Gesellschaft.”

    “Ultimately, however, hovering above all the soloists, the nuance-rich, vibrato-free voice of Christiane Karg in the role of Contessa, the Countess Almaviva. Through her leisurely thoughtful striding, she acted as the calming point of the ensemble and attained stage presence precisely through her prudent and deliberate actions in the midst of a troubled society.”
    Phillip Richter, Opern Magazin, 12 November 2019

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    20 Sep 19 MAHLER Symphony No. 4 in G Major
    Grosser Saal

    “[Mahler’s Fourth Smphony] was sung resplendently by Christiane Karg, who combined clarity of diction with exactly the type of ringing buoyancy and full-voiced agility Mahler demands.”
    Chanda VanderHart, Bachtrack, 23 September 2019

    “Christiane Karg’s soprano falls… gracefully on the ear…”
    Peter Quantrill, Gramophone

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    21 Aug 19 SCHUBERT Recital
    The Queen's Hall Edinburgh

    “She had to be in a programme that consisted entirely of Schubert. Repeatedly she showed an impressive ability to shade a line, or even to colour an individual word, in a way that showed acute sensitivity to the text and its meaning.”
    Simon Thompson, Seen and Heard International, 21 August 2019

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    02 Apr 18 CAVALLI La Calisto
    Bayerische Staatsoper

    “Christiane Karg managed to convey all the different aspects of Calisto; her high, silvery soprano was perfectly suited to the character, and her acting was always on point.”
    Laura Servidei, BachTrack, 03 April 2018


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    07 Dec 17 MOZART Le nozze di Figaro
    Metropolitan Opera Company, New York

    “The main treat was the Met debut of the German soprano Christiane Karg as Susanna. Her voice has beguiling sheen and clarity, like a classic lyric soprano. Yet when Susanna became agitated with the count, or exasperated with her beloved Figaro, Ms. Karg sang with dusky textures and a piercing sound rare for a lyric voice, and commanded the stage with vibrant, sassy acting.”

    Anthony Tommasini, New York Times, 7 December 2017

    “Christiane Karg was superb in her company debut as Susanna; her lively voice showed a hard edge here and there, but was an excellent fit for her feisty portrayal of the chambermaid. As effective as her clear, flowing top was, most impressive was her rich middle voice, faintly smoldering, almost like a chanteuse. Her account of “Deh vieni, non tardar” was more than a little sultry, an unusual and striking interpretation.”

    Eric C. Simpson, New York Classical Review, 7 December 2017

    “As the opera had its season premiere at the Met, Christiane Karg made a propitious debut as this central figure. Her gorgeous, incandescent soprano highlighted a role that one might easily forget. Where others have been cloying and tacky as the Countess’ maid, Karg was charismatic, fresh, and realistic, spontaneously playing each scene for its dramatic intent: her primary concern seemed to be the work of storytelling, not soliciting attention from the audience via cutesy antics.”

    Patrick Clement James, Parterre, 8 December 2017

    “Christiane Karg’s Susanna is full of innocence, her voice of clarity and beauty, and her every move seemed spontaneous and natural.”

    ★★★★ Felix Mathers, Classical Source, 9 December 2017

    “Christiane Karg, making the Met debut as Susanna, impressed with her assertive voice that was powerful, colorful and expressive. Her high notes opened with melting beauty, her aria late in the opera being one of the highlights.”

    ★★★★ Ako Imamura, Bachtrack, 10 December 2017


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    12 Oct 17 DEBUSSY Pelleas et Melisande
    Wiener Staatsoper

    “Gänzlich vokaler Luxus war Christiane Kargs Melisande: Sie schuf Töne wie weich schimmernde Juwelen, die sie zu geschmeidigen Kantilenenketten aneinanderreihte.”

    “Christiane Karg’s Melisande was vocally luxurious: her tone was like shimmering jewels forming a supple and elegant melodic line.”   

    Der Standard, 13 October 2017

    “Schließlich die beiden Hauptcharaktere: Christiane Karg zeigte die Figur der verzweifelten Melisande mit weichem Timbre sowie durchdringendem Piano in allen Facetten … Beide harmonierten in ihren Debüts an der Staatsoper perfekt miteinander.”

    “Finally, the two main characters: Christiane Karg portrayed the desperate Melisande with her soft and tranquil timbre in all facets … [Bernard Richter and Karg] harmonised perfectly with each other.”

    Malina Meier, Wiener Zeitung, 13 October 2017

    “Richter und Karg harmonieren aufs Schönste miteinanderund gestalten das Liebesduett in seiner ganzen ekstatischen Schönheit, die mehr auf Dekomposition denn auf emotionale Maximierung zielt … Wobei Kargs Leistung – gekrönt von einer leuchtkräftig und selbstvergessen schön modellierten A-Cappella-Melodie im Augenblick des Alleinseins am Beginn desdritten Akts – durchaus sensationell genannt werden darf. Darstellerisch wie vokal bringt sie ungeahnte Facetten an Introversion ins Spiel, verschreckt, scheu, aber auch kokett, verspielt, hintergründig – eine Rätselfrau …”

    “Richter and Karg harmonious duet conveys the ecstatic beauty in the music, reaching emotional epiphany through emotional decomposition … Karg’s performance in the third act – luminous and self-indulging unaccompanied singing – may be called sensational. Karg’s singing brings a mysterious side of Melisande: introverted, timid, frightened but yet flirtatious, playful and enigmatic …”

    Von Wilhelm Sinkovicz, Die Presse, 14 October 2017



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    24 May 17 MAHLER Symphonie No 2 'Resurrection'
    Philharmonie de Paris

    “Christiane Karg est ici aussi une interprète de rêve. …. Karg toujours aussi rayonnantes…”

    “Christiane Karg is a dream interpreter… [she] sounds radiant.”

    Alexander Jamar, Forum Opera, 24 May 2017

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    30 Apr 17 HANDEL Ariodante
    Ariodante Tour with The English Concert

    Carnegie Hall, New York

    “Christiane Karg shone brilliantly as Ginevra, sporting a lovely, liquid, and lightly tart soprano. A combination of filial duty and strong will, she displayed crackling fire in her rapid, fierce excoriation of Polinesso, “Orrida agli occhi miei,” and flashed spectacular, pinpoint coloratura of her own in the sparkling aria “Volate, amori.””

    Eric C. Simpson,New Tork Classical Review, 1 May 2017

    “Christiane Karg’s darkly shining lyric soprano has placed her high in current Mozart/Strauss pantheon in Europe. If not exactly Italianate, her voice’s liquid roundness and impressive control stood her in good stead for the marathon  of lamenting arias Ginevra undertakes, as well as in two joyously flowing duets with the title hero.”

    David Shengold, Operanews, July 2017

    Barbican Centre, London

    “Technically she was flawless … Karg controlled the line expertly and her soprano had well-defined colour and a strong core. Ginevra’s quiet introspection was an asset, too, in ‘Il mio crudel martoro’; condemned as a whore by her father, the King of Scotland, Ginevra’s inner despair was palpable, immune to Dalinda’s consolatory solace.”

    Claire Seymour, Opera Today, 19 May 2017

    “…Christiane Karg as Ariodante’s wronged lover, Ginevra, was a model of subtle radiance and artful control that made her a great pleasure to listen to.”

    Curtis Rogers, Classical Sources, 16 May 2017

    Theatre des Champs Elysees, Paris

    “Pour Christiane Karg, cette Ginevra est l’une des étapes d’une évolution vocale qui doit la porter vers des rôles de plus en plus exigeants. Virtuosité impeccable et beauté du timbre sont ici ses deux grandes armes…”

    Ginevra represents for Christiane Karg one of the steps towards a more and more demanding vocal repertoire. The perfect virtuosity and the beautiful timbre are here two of her greatest assets…

    Laurent Burry, Forum Opera, 18 May 2017

    “Christiane Karg è una Ginevra incantevole, per canto e per figura. Viene brillantemente a capo delle agilità di “Volate amori” e trova accenti di grande forza drammatica nel recitativo che precede la grande aria a conclusione del secondo atto, cosicché “Il mio crudel martoro” diviene uno dei vertici della serata”

    “Christiane Karg is an impeccable Ginevra, for both her singing and acting. She showed precise agility in “Volate amori”, whilst finding great dramatic strength in the recitativo before the final Aria in Act II: “Il mio curedel martoro” which was the highlight of the night.”

    Daniele Galleni, Operaclick, 18 Maggio 2017

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    Bamberger Symphoniker

    “La voix, elle, présente les mêmes qualités que l’on a eu l’occasion d’apprécier chez Mozart ou chez Richard Strauss : sourire et couleurs argentées, expressivité sans rien d’histrionique.”

    Her voice has the same qualities one can hear in her Mozart and Strauss: bright, with silvery colours, and an expressiveness without any exaggeration.

     Laurent Bury, Forum Opera, 19 May 2017

    “…it works, intoxicatingly.”

    ★★★★ Erica Jeal, The Guardian, 4 May 2017

    “…Karg’s Voice is allowed to emerge in its splendour and fullness”

    Tim Ashley, Grammophone, July 2017


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    11 Nov 16 BRAHMS Ein Deutsches Requiem
    Chicago Symphony Orchestra

    “The shining purity of her singing brought out the warm, womanly compassion in her section with chorus.”
    John von Rhein, Chicago Tribune, 11 November 2016

    “Sweet soprano lines from Karg, who along with Nagy was making her CSO debut, elevated ‘Ihr habt nun Traurigkeit’, and she was particularly effective in the gently flowing melismas.”
    Sam Jacobson, Bach Track, 11 November 2016

    “[Christiane Karg] singing with golden tone and a restrained feeling that made her single solo even more moving.”
    Lawrence A. Johnson, Chicago Classical Review, 11 November 2016

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    28 Oct 16 MOZART Concert Arias
    Berlin Philharmonic

    “Christiane Kargs… Sopran eignet sich sehr gut für Mozarts Musik…
    Ein Mozart, nach dem man wie aus einem schönen Traum erwacht.”

    “Soprano Christiane Karg … is a very well suited for Mozart’s
    music… A Mozart, after which one wakes from a beautiful dream.”
    Felix Stephan, Berliner Morgenpost

    “She sang both with impeccable taste, her lovely lyric
    soprano under complete control.”
    Von Hugo Shirley, Bachtrack

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    06 Sep 16 MOZART Le nozze di Figaro
    Ducth National Opera, Amsterdam

    “As sympathetic as her mistress, Christiane Karg’s Susanna looked like an attractive, sensible schoolteacher. Karg’s focused, biting soprano put across both Susanna’s pragmatism and her frustration with the menfolk. Wonderful performer that she is, her controlled sensuality made the nocturnal ballad “Deh, vieni non tardar” the highlight it deserves to be.”

    Jenny Camilleri, Bachtrack, 8 September 2016

    “…elle prouve ici encore toute son adéquation dans le répertoire mozartien…”

    …she again proves to be a perfect singer for the Mozart repertoire…

    Laurent Bury, Forum opera, 6 Septmber 2016

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    01 Sep 16 MOZART Le nozze di Figaro
    Yannick Nézet-Séguin & Chamber Orchestra of Europe

    “‘…this is a pacy account of the composer’s most popular opera, with wonderful woodwind playing. The casting is optimal for Figaro — Luca Pisaroni, the finest on disc for his relish of the text’…’and Susanna, a pointed and beautiful Christiane Karg. Her Act IV aria is a highlight’…’Angela Brower is an enjoyable Cherubino’…’The ensembles zing.”
    Hugh Canning, The Sunday Times, 24 July 2016

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    04 Jun 16 STRAUSS Der Rosenkavalier
    Teatro alla Scala, Milan

    “As his intended, Christiane Karg was an unusually rich-voiced Sophie, with crystalline high notes that were absolutely beautiful. Each one bloomed above the orchestra under Mehta’s baton, seemingly suspended in time.”

    Rick Perdian, Seen and heard, 28 June 2016

    “Christiane Karg è una delicatissima Sophie, fresca e disinvolta scenicamente, dolce ma al tempo stesso determinata, energica, di gran personalità. La voce è cristallina, non di immenso volume ma molto ben proiettata, con puntature sempre a fuoco in grado di sovrastare con facilità il nutrito corpo orchestrale.”

    “Christiane Karg is a delightful, fresh Sophie. Her Sophie is both sweet and stubborn and has great charisma. Her crystalline voice is not the bigger, but very well projected. Her high notes are always focused and easily audible over the orchestra.”

    Camilla Simoncini, GB opera, 14 June 2016

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    02 Apr 16 Debut U.S Recital Tour
    Atlanta, San Francisco, Washington & New York

    “Karg is diminutive in stature, but possesses striking features and an intensely expressive countenance. She leans into the audience with hunched shoulders, drawing us in. At times one has to choose between being swept away by her visual storytelling or just listening to the elegant beauty of the voice with eyes closed. Karg’s light-lyric voice is seamless from top to bottom and possesses a smoky, languid character in the middle voice that is ideally suited to French mélodie. Whether Charles Koechlin’s tonally ambiguous Mélodies sur des poèmes de Shéhérazade or Francis Poulenc’s Hôtel, Karg transported us to a self-indulgent, attitude of leisure.”
    Stephanie Adrian, Arts Atlanta, 3 April 2016

    “‘Karg’s ability to seize listeners with the emotional integrity of her open-mouthed outpourings proclaimed her a successor to a long line of great soprano art song specialists’…’Karg’s instrument is strong and free, with an understated but nonetheless thrilling, shimmering vibrato on high that recalls, to some extent, the young Dawn Upshaw’s top. Although not the voice of a fragile flower or naive innocent, it is capable of sweetness as well as weight and depth. Even more important, she possesses an instrument that, like the voices of all great art song specialists, resonates from her soul.'”
    Jason Victor Serinus, San Francisco Classical Voice, 11 April 2016

    “‘These works are done often, but rarely so sensitively as by the rising German soprano Christiane Karg, who sang four of the songs on Friday in an exquisite New York recital debut at Weill Recital Hall.’…’Ms. Karg’s Hahn had an elegance that was never placid, full of nuances of volume and speed, tender yet cleareyed.’…’Her tone isn’t soft — there’s flint in there — but it’s smooth and flexible, and she handles it with a cool control that never tilts into chilliness or stiltedness. She’s sophisticated but not mannered, and emotion, be it melancholy or delight, reads easily in her voice.’…’This program, with healthy helpings of Wolf, Duparc, Ravel, Charles Koechlin and Poulenc, was a perfumed universe, one Ms. Karg made dreamy yet lucid. She had just the right combination of vivacity and silkiness in Wolf’s ‘In dem Schatten meiner Locken,’ and in a rare outing for Jesús Guridi’s charming ‘Seis canciones castellanas,’ her Spanish-style ornaments had flair, not touristic tackiness.’…’I can’t wait to hear her again’.”
    Zachary Woolfe, The New York Times, 18 April 2016

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    20 Mar 16 SCHUMANN Faust-Szenen
    Barbican Centre

    “Christiane Karg was in lovely, supple, responsive form as Gretchen, Faust’s lover in Part 1.”
    Peter Quantrill, The Arts Desk, 21 March 2016

    “A fine supporting cast of singers was headed by two complimentary sopranos, Christiane Karg as a Gretchen of diamond-cut purity and the softer Lucy Crowe.”
    Richard Fairman, Financial Times, 22 March 2016

    “Christiane Karg was a touching Gretchen.”
    Andrew Clements, The Guardian, 22 March 2016

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    28 Nov 15 SCHUBERT Recital
    Wigmore Hall

    “‘Christiane Karg spun the beautiful melody with total control every time, in subtle gradations of pianissimo’… ‘Here we discovered that Christiane Karg’s vocal tone could flare out magnificently, as it did in the anger and hurt of Love has Lied.’ ”
    Ivan Hewett, The Telegraph, 29 November 2015

    “Karg demonstrated a stunning technique and miraculous breath control and she manipulated the text in the stylish, uncontrived way that probably only a mother-tongue speaker would do.”
    Ruth Hansford, Planet Hugill, 30 November 2015

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    05 Oct 15 MOZART Le nozze di Figaro
    Lyric Opera of Chicago

    “Christiane Karg delivered a spunky, perky Susanna, floating her silvery upper register easily above rowdy ensembles. Her second-act aria, ‘Venite, inginocchiatevi,’ flaunted attractive phrasing and a delicate vocal tone.”
    MJ Chen, The Chicago Maroon, 1 October 2015

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    15 Jun 15 HAYDN, MOZART, BEETHOVEN Scene!
    The Arcangelo Ensemble, Jonathan Cohen & Malcolm Martineau

    “‘Karg lives each nuance of the abandoned heroine’s fluctuating emotions, from vengeful outrage to morbid pathos. She burns into the Italian consonants in the recitative, spins a tender legato in the aria’s slow opening section, then flares thrillingly into accusatory fury in the Allegro. Throughout, Karg holds vocal finesse and expressive intensity in near-ideal equipoise’…’Karg brings it alive in a way I have never heard before, making the coloratura sound desperate, in the right sense, rather than merely brilliant’…’Karg brings each of these distraught heroines excitingly, individually alive'”
    Richard Wigmore, Gramophone Magazine, July 2015

    “Karg’s soprano has a metallic gleam that cuts through the buoyant ensemble playing of Arcangelo, who, directed by Jonathan Cohen, are responsive to all the scenery-chewing moodswings.”
    Erica Jeal, The Guardian, 25 June 2015

    “Well planned and superbly executed, with nothing putting Karg beyond her comfort zone, even as she steps into a dramatic fach, which she says is new to her. It’s a wonderfully clear, expressive soprano, beautifully accompanied by Arcangelo.”
    Andrew McGregor, BBC Radio 3 CD Review, 12 June 2015

    “There’s a lovely sense of exploration and discovery about this project, both in terms of the repertoire and Karg’s own vocal qualities…we’re clearly in the presence of a singer who knows her instrument inside out and husbands her resources judiciously in service of the music rather than blowing a gasket trying to emulate her predecessors.”
    Katherine Cooper, Presto Classical, 22 June 2015

    “For lovers of quality singing, this is simply unmissable, and a brilliant addition to Ms Karg’s growing discography.”
    Europadisc – CD of the Week 

    “‘It’s a sign of the times that the outstanding light lyric soprano of her generation – unrivalled in Mozart’s and Strauss’s ‘soubrette’ roles, and a lieder interpreter second to none – records not for DG, Decca or Sony, but for the niche label Berlin Classics. Her fourth BC album – and her second recorded with the London period ensemble Arcangelo – comprises recitative and aria sequences tailor-made for specific sopranos as concert repertoire.’…’Karg’s lighter timbre is tested, not uncomfortably, by the music’s range and intensity, but she comes into her own in Mozart’s sublime Ch’io mi scordi di to – his farewell offering to the first Susanna…'”
    Hugh Canning, The Sunday Times, 5 July 2015

    “This soprano’s latest recital recording of six concert arias has everything one could wish for. Her refined voice is wonderfully pliable, her sense of text acute. Haydn and Mozart dominate, but there’s a welcome push toward repertoire normally associated with a heavier voice in Beethoven’s ‘Ah! perfido’ as well as a rarity, Mendelssohn’s radiant, later stormy ‘Infelice pensier.’ Add the stylish, often tumultuous playing of Mr. Cohen’s period orchestra and a charming guest appearance on fortepiano by Malcolm Martineau in Mozart’s ‘Ch’io mi scordi di te?’ and this disc makes an immediate impression.”
    David Allen, The New York Times, 21 July 2015

    “I like the courage, the ardour and momentum with which Christiane Karg exceeds the possibilities of the lyric soprano. Without fear and with striking exaltation she addresses a perilous programme on this concert arias disc. She treats the text as the master and sings opera with a technique that remains accurate, precise, and subtle.”
    Jean-Charles Hoffelé, Artalinna, 29 July 2015

    “Always an exciting singer, Christiane Karg brings fire, grace and intense involvement to these assorted heroines in extremis, not least in her fearless account of Mendelssohn’s over-the-top Moartian pastiche. Everything she does is specific, individual, alive, while the players of Arcangelo match her all the way in dramatic flair.”
    Richard Wigmore, Gramophone Magazine, December 2015

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    28 Feb 15 MOZART Die Zauberföte
    The Royal Opera House, Covent Garden

    “Lyric soprano of the moment Christiane Karg caught all the light and the beauty of phrasing in the heroine’s aria of bewilderment at Tamino’s trial-inflicted silence in ‘Ach, ich fuhls’.”
    David Nice, The Arts Desk, 1 March 2015