OperaMetro has the privilege to talk to Hannah Ludwig (HL), who will star as Rosina in Teatro Nuovo’s performances of Rossini’s immortal Il barbiere di Siviglia at Lincoln Center’s Damrosch Park. Though fully vaccinated, OM conducted this interview via email so as not to in any way compromise the health of the Teatro Nuovo artists. However, as always, OM reserves the right to make it seem more conversational.

OM: Hello Hannah, thank you for agreeing to answer my questions!

HL: No problem, my pleasure!

OM: You’re performing the lead role of Rosina in Rossini’s Il Barbiere di Siviglia.

HL: That’s correct.

OM: Have you done this role before?

HL: This will be my third time performing the role.

OM: What differences, if any, separate your preparation for this Teatro Nuovo production from previous preparations?

HL: In this production I’m challenging myself to truly bring in the romantic aspects of the character rather than the comedic ones. Since Teatro Nuovo focuses so heavily on the musical preparation rather than stage antics, it gives me a liberating feeling of exploring how she really feels.

OM: You’ve been with Teatro Nuovo before; I remember from our interview in 2019.

HL: Yes, this is my third summer with Teatro Nuovo. They really have had a major impact on my technique. My vibrato is faster, I’m more confident singing ornaments, and I’m constantly focused on creating a sound similar to the greats we here on records from the 20’s and 30’s.

OM: We’ll get back to the 20’s and 30’s! I too very much enjoy recordings from the past. But first, tell me about your decision to follow a career singing opera: at what age and circumstances did you discover you had a voice that could be operatic?

HL: I guess the decision to pursue opera really came during my undergraduate studies at the University of the Pacific. I was a voice major and knew I wanted a performance career but wasn’t sure how to proceed. My teacher, Burr Cochran Phillips, really put me on the path toward opera performance. He really made me feel that opera is where I belonged.

Mezzo Hannah Ludwig plays Rosina in Rossini’s Il barbiere di Siviglia with Teatro Nuovo — Mezzo Hannah Ludwig plays Rosina in Rossini’s ***Il barbiere di Siviglia*** with ***Teatro Nuovo***

OM: Tell me about support (emotional, professional, etc.) you’ve received and why it’s important.

HL: Most of my support comes from my partner and my family. I also have an incredible manager who is with me every step. During the pandemic, support was honestly all I had to keep me going. There were so many moments that is felt like I was never going to perform again. These people kept me going.

OM: What early experiences cemented your decision to focus on opera? Tell me about magic: what are some of the highpoints in your path to the present moment?

HL: In terms of high points, so far singing in the Academy of Music with Opera Philly and with Dallas Opera have been the biggest highlights so far. Those where moments where I truly felt like I had made it.

OM: Not being a singer myself, I can only admire the artistry of others. But for me, probably for everyone, some singers are more admirable, more personable, more endearing than others. Who makes your list of endearing, impactful singers? What recordings or videos you would recommend to the newcomer to opera, as in “Listen up, this is what it is all about!!”

HL: There are so many to choose from! I listen to Christa Ludwig, Giulietta Simionato, and Tatiana Troyanos a lot. Of current singers, I love hearing Lisette Oropesa and Anita Rachvelishvili.

OM: On my list as well!

HL: In terms of favorite performances, the ones that stand out were seeing Oropesa singing in La Traviata at Opera Philly in 2015 and seeing Stephanie Blythe do one of her Kate Smith recitals in Sonoma back in 2012. Of recordings, absolutely listen to 1958 La Scala’s La bohème with Callas and Di Stefano. Who doesn’t love that recording?

OM: No one I know. Her aria albums from that period are special too. Amazing artist. I remember Kate Smith from early TV.

As to that, what are three ‘dream roles’ you look forward to learning and performing?

HL: I really want to do Isabella in L’Italiana in Algeri and Charlotte in Werther again. I did those years ago and now that I’m almost 30, I want to take another crack at them since my voice has changed so much.

OM: Werther is one of my favorite operas, hands down! Dream roles?

HL: I want to do Carmen soon. The timing feels right. I feel like I’m starting to find my true voice and color and there are some parts that I want to try because they seem like they would really fit.

OM: A challenging role, for sure, both dramatically and vocally.

Okay, now we talk about survival. Tell me about your routine during the pandemic. How did you keep in vocal shape? What deprivations were particularly tough to deal with?

HL: I sang throughout the pandemic. It was the only way I got through the day. It kept me in shape for this show now and I’m so glad I kept up my practice. I lost all my contracted work so financially it was very difficult. I lost jobs that would have possibly put me on another level and they are now gone. In some ways it feels like I’m starting my career all over again since I was just really getting started when this all happened.

OM: It sounds, though, that you kept at what is essential to stay at a professional level. What do you do when you’re not singing, studying, quarantining, on stage. What does an opera singer do to unwind?

HL: Speaking for myself, I love to read and I’m very much into fitness. During the pandemic, I got very into cooking and baking and those have become therapeutic activities. Tips to stay in shape: drink tons of water

OM: On the other side of this question, what should an opera singer avoid so as to prevent damage to the voice, to keep it in tip top shape?

HL: Make sure to take at least one day off from singing a week. It’s a marathon, not a sprint.

OM: Thank you, Hannah for sharing your insightful answers. Wishing you all the best in your performances, hoping that you take the step toward Carmen.

Il barbiere di Siviglia by Rossini will be presented on the stage of Damrosch Park, at Lincoln Center, on Tuesday, July 27th July at 7pm and Wednesday, July 28th at 7pm. We have also reserved Thursday, July 29th as a rain date.

The following links will take you to the Lincoln Center Box Office.

TICKETS:

July 27th, 2021 at 7pm:
https://tickets.lincolncenter.org/booking/production/bestavailable/22482

July 28th, 2021 at 7pm:
https://tickets.lincolncenter.org/booking/production/bestavailable/22483

You can also book your tickets by calling the Lincoln Center Box Office at (212) 721-6500

Enjoy!! Support local Opera!