Christiane Karg


Christiane Karg was born in Feuchtwangen, Bavaria.  She studied singing at the Salzburg Mozarteum with Heiner Hopfner and Wolfgang Holzmair, where she was awarded the Lilli Lehmann Medal, and at the Music Conservatory in Verona.  In 2009, she was named Young Performer of the Year by Opernwelt magazine.  She has twice been awarded the prestigious Echo Klassik prize: in 2010 for her debut Lied CD ‘Verwandlung – Lieder eines Jahres’, accompanied by Burkhard Kehring and in 2016 for her disc of concert arias “Scene!” with Jonathan Cohen and Arcangelo.

She was a member of the International Opera Studio at the Hamburg State Opera before joining the ensemble of the Frankfurt Opera in 2008 where her roles included Susanna, Musetta, Pamina, Servilia, Zdenka and the title role of La Calisto.  She returned to Frankfurt in 2013 to sing Mélisande to great critical acclaim in Claus Guth’s new production of Pelleas et Mélisande and in 2015 to sing Sophie in Der Rosenkavalier.

In 2006, she made an auspicious debut at the Salzburg Festival and has returned to sing Amor/Orfeo ed Euridice with Riccardo Muti and Zerlina/Don Giovanni with Yannick Nézet-Séguin.  She is a regular guest at the Theater an der Wien where she has sung Ismene/Mitridate, Telaire/Castor and Pollux and Hero/ Béatrice et Bénédict. At the Bayerische Staatsoper Munich she has sung Ighino/Palestrina, Pamina and Blanche/Les Dialogues des Carmelites.  At the Komische Oper Berlin she has sung Musetta/La bohème and Norina/Don Pasquale and at the Opera de Lille, Anne Trulove/The Rake’s Progress.  At the Dresden Semperoper she has sung Sophie with Christian Thielemann.  Last season she made house debuts at the Royal Opera House, Covent Garden, singing Pamina; at the Teatro alla Scala, Milan, singing Sophie and her US operatic debut singing Susana at the Lyric Opera, Chicago; she returns to the Lyric Opera this season for Pamina/Die Zauberflöte.

In concert, Christiane Karg has appeared with Nikolaus Harnoncourt and Concentus Musicus Wien; Daniel Harding with the London Symphony Orchestra, Vienna Symphony Orchestra and the Dresden Staatskapelle on tour in the USA; Mariss Jansons in Tokyo with the Bayerischer Rundfunk Orchestra; Christian Thielemann at the Salzburg Easter Festival and with the Berlin Philharmonic; Yannick Nézet-Séguin with the Rotterdam Philharmonic, Philadelphia Orchestra, Berliner Philharmoniker and at the Mostly Mozart Festival, New York; Jonathan Nott with the Bamberg Symphony; Andrés Orozco-Estrada with the Accademia Santa Cecilia Orchestra; Ivor Bolton at the Salzburg Mozartwoche and Laurence Equilbey at the Salzburg Festival.  2016/2017 engagements include the Chicago Symphony (Brahms’ Requiem), Orchestre de Paris (Schumann’s Das Paradies und die Peri) and Swedish Radio Symphony Orchestra (Schumann’s Szenen aus Goethes Faust).  Christiane will also tour to Asia with the London Symphony Orchestra (Mahler’s Symphony No. 4) and to the USA with The English Concert (Ariodante/Ginevra).  She is Artist in Residence at the 2017 Würzburg Festival.

Christiane Karg is a committed and distinguished recitalist and has appeared at the Vienna Musikverein, Schwarzenberg Schubertiade, Wigmore Hall and the Edinburgh International Festival (where she was awarded the Herald Angel award).

Other appearances include the Mozarteum Salzburg, Vienna Konzerthaus, Essen, Cologne, Schwetzingen, Hamburg, Innsbruck, Amsterdam, Frankfurt and Stuttgart.  2015/2016 recital highlights included Schwarzenberg Schubertiade, the Wigmore Hall and her Japanese and USA recital tour debuts with Malcolm Martineau, including an NHK television broadcast at Oji Hall and Carnegie’s Weill Hall, New York.

For an up-to-date biography, please contact Henry Lindsay.

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Lyric Opera of Chicago, CHICAGO

MOZART: Die Zauberföte

Conductor: Rory Macdonald
Director: Neil Armfield

Queen of the Night: Kathryn Lewek
Sarastro: Christop Fischesser

Lyric Opera of Chicago, CHICAGO

MOZART: Die Zauberföte

Conductor: Rory Macdonald
Director: Neil Armfield

Queen of the Night: Kathryn Lewek
Sarastro: Christop Fischesser

Seoul Arts Centre, Seoul

MOZART: Overture: The Marriage of Figaro


MAHLER: Symphony No 4

Daniel Harding conductor
Håkan Hardenberger trumpet
Christiane Karg soprano
London Symphony Orchestra

For tickets and more information click here.

Symphony Hall, Shanghai

SIBELIUS Violin Concerto


MAHLER Symphony No 4

Daniel Harding conductor
Nikolaj Znaider violin
Christiane Karg soprano
London Symphony Orchestra

For more information and tickets visit the link here.

Berwaldhallen, STOCKHOLM

SCHUMANN: Das Paradies und die Peri


Soprano: Ida Falk Winland
Baritone: Ludwig Mittelhammer

Swedish Radio Symphony Orchestra and Choir

Rudolfinum, PRAGUE

MOZART: Symphony No. 33 in B Flat Major KV 319
STRAUSS: Four Last Songs
*** Interval ***
DVORAK: Symphony No. 8 in G Major, Op. 88

Conductor: Manfred Honeck


Czech Philharmonic Orchestra

Rudolfinum, PRAGUE

MOZART: Symphony No. 33 in B Flat Major KV 319
STRAUSS: Four Last Songs
*** Interval ***
DVORAK: Symphony No. 8 in G Major, Op. 88

Conductor: Manfred Honeck


Czech Philharmonic Orchestra

Rudolfinum, PRAGUE

MOZART: Symphony No. 33 in B Flat Major KV 319
STRAUSS: Four Last Songs
*** Interval ***
DVORAK: Symphony No. 8 in G Major, Op. 88

Conductor: Manfred Honeck


Czech Philharmonic Orchestra

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A German 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, 11th 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, 11th 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, 11th November 2016

Mozart 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.’

Berliner Morgenpost/ Felix Stephan

‘She sang both with impeccable taste, her lovely lyric soprano under complete control.’

Bachtrack/ Von Hugo Shirley


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, 24th July 2016

Debut U.S Recital Tour, April 2016

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, 3rd 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, 11th 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, 18th April 2016



Barbican Centre

"Christine Karg was in lovely, supple, responsive form as Gretchen, Faust’s lover in Part 1." Peter Quantrill, The Arts Desk, 21.03.2016
"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, 22.03.2016
"Christiane Karg was a touching Gretchen." Andrew Clements, The Guardian, 22.03.2016


Recital - 28th November 2015

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, 29th 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, 30th November 2015


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, 1st October 2015

Haydn, Mozart, Beethoven

Scene! CD

The Arcangelo Ensemble, Jonathan Cohen & Malcolm Martineau

Editor's Choice July 2015

'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, 25th 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, 12th 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, 22nd 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. 
Beethoven's famous Ah, perfido (1796), usually associated on disc with dramatic sopranos such as Regine Crespin or Birgit Nilsson, was written for Josepha Duschek, a friend of Mozart, who supplied concert arias for her. 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, for whom he played the keyboard obbligato, exquisitely performed by Martineau here. Haydn's Scena di Berenice and Mendelssohn's Infelice are sung with an intensity to match Janet Baker's. Fabulous. 
Hugh Canning, The Sunday Times, 5th 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, 21st 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, 29th July 2015
Critics' Choice December 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


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, 1st March 2015


Der Rosenkavalier

Dresden Semperoper

Christiane Karg singt eine herrlich lyrisch-poetische Bürgerstochter. Sie macht den Generationenwechsel der Sinne und erotischen Faszination in ihrer Attraktivität für Octavian immerhin neben einer Marschallin des Zuschnitts der Anja Harteros durchaus glaubhaft.  Dr. Ingobert Waltenberger, Der Neue Merker, December 2014


Scenes from Goethe's Faust

Bavarian Radio Symphony Orchestra

Christiane Karg's radiant Gretchen is the finest on disc.  Hugh Canning, The Sunday Times, 9th November 2014
Christiane Karg is the touching Marguerite Andrew Clements, The Guardian, 15th October 2014
'Christian Gerhaher and soprano, Christiane Karg in these two roles are extremely fine with Gerhaher’s baritone voice full and strong, bringing a sense of the older Faust and Karg a young innocent Gretchen. They blend extremely well.'...'Christiane Karg’s beautifully musical voice in this particularly lovely section, so beautifully controlled and expressive as she sings'...'Christiane Karg brings a sense of fear and distress before the choir and orchestra intone the ‘Dies irae’ (‘Day of Wrath’) in this impressive section.'...'This is a tremendous performance of a much underrated work that is full of dramatic and beautiful moments.' Bruce Reader, The Classical Reviewer, 12th November 2014

Recital 20th July 2014

Ryedale Festival

'She established such immediate and total rapport with her audience that we were eating out of her hand before she had finished her opening salvo, Schoeck’s In Memoriam'...'Karg is the complete package. She looks right into the eyes of her listeners. She exudes a delightful, unfussy charisma'... 'Her creamy legato and impeccable diction are riveting. She was engagingly contained in four songs from Wolf’s Spanish Songbook. Her tone was beautifully internalised, too, in five Baudelaire settings by Debussy, singing as if within a trance in Le Jet d’Eau, and devastatingly accurate in her octave leap to finish Recueillement (recollection)'...'Lieder recitals should always be like this.' Martin Dreyer, The York Press, 24th July 2014

Recital 12th July 2014

Wigmore Hall

'Her programme, meanwhile, allowed her to traverse an exceptionally complex stylistic range, which she did in ways that often came close to perfection.'...'Karg's recent UK appearances have tended to suggest a specialism in baroque music, yet she is perfectly at ease in lieder. Her voice sounds opulent in the Wigmore, though a hint of metal in the tone, carefully deployed, permits her infinite dramatic potential. There's an uninhibited quality to her singing'...'Her hovering, smoky pianissimo takes your breath away, but gains its meaning through its context: in Falla's Lullaby it sounds infinitely maternal and intimate; transferred to the melismatic filigree of Ravel's Cinq Mélodies Populaires Grecques, it sounds provocatively sensual. ' Tim Ashley, The Guardian, 16th July 2014


La Finta Giardiniera

Glyndebourne Festival Opera

Christiane Karg’s diamantine purity of tone and impeccable technique put her at the forefront of lyric sopranos Rupert Christiansen, The Telegraph, 29th June 2014
The countess-as-garden-girl who can’t help loving her assailant is taken with plenty of character and stylistic beauty by the very classy Christiane Karg David Nice, The Arts Desk, 29th June 2014
...not as strong as Christiane Karg, who sings Sandrina with a mixture of soft gleam and incisive edge. Erica Jeal, The Guardian, 29th June 2014
..Christiane Karg’s ardent Sandrina.. Richard Morrison, The Times, 30th June 2014
Christiane Karg sings Sandrina with beautiful, bell-like clarity Hugo Shirley, The Spectator, 12 July 2014
Gleaming-toned Christiane Karg is an appealingly fragile Sandrina Clare Colvin, Sunday Express, July 6 2014
Christiane Karg, returning after a stand-out performance last year in Rameau’s Hippolyte et Aricie, proves once again just how exciting a singer she is, carving long and elegant phrases from Mozart’s music and lending it the gravity and dignity it never quite attains. Her darker-hued soprano is set here against Joelle Harvey’s pert Serpetta – poised and knowing, and never more than skin-deep. It’s a masterly comic performance. Alexandra Coghlan, New Statesman, 10 JULY 2014


'Heimliche Aufforderung' Secret Invitation CD

Christiane Karg & Malcolm Martineau

Karg is the pick of the younger generation of light-voiced German sopranos so beloved of the big-label executives today. Her silver-tinged, creamy sound is perfect for Strauss, and here she displays her prowess in a selection of his most loved songs, including the “Secret Invitation” of the title track. She captures the rapt sense of resignation and wonderment in Morgen — better known, perhaps, in its orchestral version — and the sublime Allerseelen (All Souls’ Day) in their long-breathed, soaring phrases. There’s conspiratorial mischief in her Ständchen (Serenade), while she handles the coloratura flourishes of “Ich wollt’ ein Sträußlein binden” (I wanted to make a little bouquet) with bright-eyed brio. The three Ophelia-Lieder are latish Strauss, making a nod to the post-Romantic idiom of Berg and Schoenberg, which Karg and Martineau deliver with (psycho-) analytical musical and verbal clarity. While Karg is not always as distinct in Strauss’s lusher Romantic vein (Das Rosenband, Die Georgine), she compensates with gorgeous, imaginatively coloured tone. There’s also a fine “guest” appearance from Klieser in the rarely heard Alphorn. In sum, one of the best Strauss Lieder recitals ever. Hugh Canning, The Sunday Times, 8th June 2014
“…amongst my favourite new releases of the week is a recital of Strauss songs… the beautifully clear, well focussed and flexible soprano voice of Christiane Karg who for me is close to ideal for many of the songs in this recital with pianist Malcolm Martineau. The way she nurtures the text and applies her vibrato sparingly and colourfully and encompasses the emotional and dynamic range of some of the bigger songs…Das Rosenband,  Ständchen , Freundliche Vision and  Zueignung are wonderful  with Martineau’s sensitivity to every phrase the range of tone he deploys to match Karg. I think this is an outstanding Strauss recital, new from Berlin Classics.” Andrew McGregor, BBC Radio 3 CD Review, 7th June 2014
Christiane Karg has a bright, expressive timbre, she is a wonderful interpreter of Strauss Dr. Christiane Bayer, Magazin Klassik, 17th June 2014
The Bavarian soprano is a delectably light, idiomatic Straussian, and the covered, pearly underside of her voice is the perfect instrument with which to recreate the secret moments and intimacy of the songs she has selected here. 

Hilary Finch, BBC Music Magazine, July 2014
The Strauss soprano voice of today is unquestionably that of Bavarian Christiane Karg, whose ravishing tone nudges that quest for perfection ever-nearer realisation in this gorgeous collection of songs: a stream of Strauss favourites and masterpieces; Morgen, Standchen, Heimliche Aufforderung (Secret Invitation) Traum durch die Dammerung, Die Nacht, Befreit, Freundliche Vision; they're all here, spiced with a few fascinating early pieces. And I have never heard a less-overblown version of Zueignung, with Karg finding subtlety where few do. This is a great disc from a wonderful singer Michael Tumelty, The Herald Scotland, 13th July 2014


Der Rosenkavalier

Théâtre des Champs- Elysées. 18th March 2014

"Christiane Karg was a divine surprise arrival at the last minute, replacing Mojca Erdmann"..."this young German soprano has so far had little opportunity to perform in France, and it is hoped that this unexpected return to the Théâtre des Champs- Elysées will encourage many more returns to treat the Parisian public." Laurent Bury, Forum Opera, 18th March 2014
"Christiane Karg conquers the role of Sophie with her bright, crystal like soprano, yet equally soft and tender. In the third act her final duet with Sophie Koch (Octavian) is overwhelmingly emotional, as both timbres combine beautifully..."

Marie Charlotte Mallard, Toute La Culture, 20th March 2014
[Christiane Karg] "displays treasures of crystalline purity and musicality, with an experienced creamy and ethereal voice." Christian Merlin, La Figaro, 25th March 2014


Der Rosenkavalier

Les Theatres de la Ville de Luxembourg

Christiane Karg, whose Sophie withstands even the highest expectations. Dieter Lintz, Volks Freund, 26th February 2014
Christiane Karg played a cute Sophie, her character shining; a bright and beautiful soprano.  Marc Weinachter, Tageblatt Zeitung fir Letzebuerg, 27th February 2014
Christiane Karg was charming as Sophie. Her voice seems to have matured slightly, with more heat and creative power. With pure and easy intonation, her voice full of nuances, she amazed her audience. Her purity shone beguilingly, and the text was clear throughout the house.  Manfred Langer, Der Opernfreund, 1st March 2014


Der Rosenkavalier

Vlaamse Opera

Christiane Karg presents Sophie with a confident silvery light soprano Regine Müller, Nacht Kritik, 15th December 2013
It is hard to believe that Christiane Karg was here giving her role debut as Sophie. When she sung the famous Rose duet with Stella Doufexis (Octavian) her fabulous voice shone with subtle wonder.
Werner Theurich, Spiegel Online Kultur, December 16th 2014
The confident Christiane Karg was as clear as a bell Joachim Lagne, Die Welt, 16th December 2013

Recital - September 2013

Leeds Lieder

The brilliant young Bavarian soprano Christiane Karg brought sumptuous tone and a glittering top register to Hugo Wolf's suite of four Mignon Lieder; though the highlight was Henri Duparc's plaintive expression of unrequited passion. In the words of a more recent addition to the Mignon canon – Angela Carter's Nights at the Circus – Karg "seized hold of the song in the supple lasso of her voice". Alfred Hickling, The Guardian, 13th October 2013

Live Recital CD

Wigmore Hall

Karg is a performer who makes the act of singing seem utterly straightforward. With a voice that’s tightly focused (no pitch is ever even slightly indistinct), Karg gives the impression that she can turn to reach any note or shift into any mood with effortless ease. Her approach is not so much to project outwards to her listeners as to draw them in, as if everyone is sharing a space in which nothing needs to be exaggerated. The style may be too cool for some listeners, but the sense of communicative intimacy is wonderful. Michael Dervan, The Irish Times, 25th October 2013
This is a lovely disc, showcasing Karg's intelligent handling of these songs as well as her beautifully silvery voice with a superb sense of control in the vocal line.  Malcolm Martineau accompanies with sympathy and finesse throughout. Highly recommended. Robert Hugill, 9th November 2013
'Vocally and interpretatively Karg can already bear comparison with the finest light-soprano Lieder specialists of the past four decades'...'Karg proves how effortlessly her timbre adapts itself to French'...'Light sopranos don't invariably excel in Wolf, but Karg has all the right instincts for this most challenging of Lieder composers.'

'Here is a singer poised to become a major player in art-song performance internationally. Biographies, texts and translations are included. Warmly recommended.'  Roger Pines, International Record Review, December 2013


Hippolyte et Aricie - June 2013

Glyndebourne Festival Opera

'The star act though was Christiane Karg as Aricie. ... Karg's ability to control and colour her vocal line, making every ornament, every delicious port de voix and coulez, tell within the context of the words, meant she manipulated us as much as they her.' Igor Toronyi-Lalic, The Arts Desk

‘With the Orchestra of the Age of Enlightenment supplying sinuous instrumental timbres, and vocal delights also coming from Katherine Watson’s Diana and Christiane Karg’s Aricia, Rameau’s music is one reason to hasten to East Sussex.’

Richard Morrison,The Times June 30 2013
'Christiane Karg and Ed Lyon look and sound alluring as the titular lovers, her mellifluous soprano blending with his plaintively expressive high tenor.' Barry Millington, Evening Standard July 2013
 Ed Lyon and Christiane Karg are stylish and good-looking titular fiancés, and François Lis has exactly the sepulchral tones needed for the nether gods, Pluto and Neptune.  Hugh Canning, The Sunday Times, 07 July 2013
'Aricia, Hippolytus’ true beloved, also has lovely and touching music, and could hardly be better portrayed than by Christiane Karg.' Michael Tanner, The Spectator 3rd August 2013


Béatrice et Bénédict - April 2013

Theater an der Wien

The excellent lyric soprano Christiane Karg sings beautifully in Héro’s aria, unruffled by the physical busyness, and makes a bittersweet moment of the duo-nocturne George Loomis, NY Times, 23 April 2013
Schnippisch sind sie alle, mehr noch als Ernman die Héro der Christiane Karg. Wunderbar ihr Piano sowie die Leichtigkeit und Intensität ihres Soprans. Diese Héro ist eine gefühls- und selbstsichere junge Frau, die Berlioz' Sommernachtstraum sowohl in den erotischen wie auch in den eingedunkelten Momenten grandios erfüllt Reinhard J. Brembeck, üddeutsche Zeitung, 19.4.2013

Recital - February 2013

Oper Frankfurt

Ein edles, ein hochgestimmtes Bild der Frau wurde dem Frankfurter Publikum also beschert von einer Sängerin, die gerade erst in der Neu-Inszenierung von Claude Debussys Oper Pelléas et Melisande geglänzt hatte in der Rolle des somnambulen, rätselhaften weiblichen Wesens aus dem Wald.

Jetzt erwies sich Kargs in gedecktem Register in großer Homogenität zu weiten Vokalzügen befähigter Sopran als ideal für den konzentrierten Ausdruck des Weiblichkeits-Charakters dieses Abends, wie er von Franz Schubert, Johannes Brahms, Richard Strauss und Hugo Wolf sowie Camille Saint-Saëns, Henri Duparc und Reynaldo Hahn vermittelt wurde.

Bernhard Uske, Frankfurter Rundschau, 14 February 2013


Pelléas et Mélisande – November 2012

Oper Frankfurt

There was enthusiastic applause for Christiane Karg and Christian Gerhaher who sang and played the impossible lovers brilliantly. It is a smart, modern interpretation, especially when played and sung so convincingly by Christiane Karg… her multifaceted lyric soprano and the splendour of Gerhaher’s baritone make the evening an unforgettable experience. Darmstaedter Echo, 6 November 2012
Christiane Karg as Mélisande is the equal of Gerhaher as Pelleas …so true in her expression of every sound and every dynamic as if the role was written for her girlish, tender, yet clear and bright voice. Monika Beer, Fraenkischer Tag, 7 November 2012
Mélisande is portrayed by the brilliant young-soprano Christiane Karg, a gorgeous, gifted singer and actress. Together, Karg and Gerhaher are a perfect couple… Eleonore Büning, Frankfurter Allgemeine Zeitung, 6 November 2012
The clear soprano of the delicate Christiane Karg… Olga Lappo-Danilewski, Gießener Allgemeine Zeitung, 6 November 2012
There were well- deserved bravos for the magical, elusive, enduring Mélisande of Christiane Karg… this is a first Mélisande on a world scale. Landshuter Zeitung / Straubinger Tagblatt, November 2012
Another Frankfurt casting coup is Christiane Karg. In this fragile Mélisande, everything is audible and visible: the girlish tenderness, the bittersweet, futile determination… Muenchner Merkur, 6 November 2012
The capricious and mysterious Mélisande is sung by Christiane Karg, her soprano embedded lovingly into Debussy’s language… Klaus Ackermann, Offenbach-Post, 6 November 2012
Christiane Karg (Mélisande) and Christian Gerhaher (Pelléas) find a sure and stylish balance between declamation and singing, with an awareness of Debussy’s language that only two genuine singers of song can bring. Karg is a wonderfully somnambulistic Mélisande with her delicate, fragile soprano, delivering passion, vulnerability and disunity in equally convincing measure. Rhein Necka Zeitung Heidelberg, November 2012
In the graceful Christine Karg as fragile Mélisande and in the delicate Christian Gerhaher as enchanted, eccentric Pelléas, Claus Guth finds the best possible singers to play the soul mates: she with bell-clear soprano, he with excellent, beautiful enunciation, both of them bathing in the impressionistic tones of the orchestra... Ursula Böhmer, SWR 2 Journal am Morgen, 5 November 2012 would be difficult to fault Karg or Gerhaher.  The soprano certainly conjured up the necessary girlish purity in singing of exquisite clarity. Hugo Shirley, Opera, Feburary 2013


La Calisto – December 2011

Oper Frankfurt

The undisputed star of the evening is Christiane Karg who is second to none as Calisto - she unites quiet suffering and blazing passion with her warm soprano... Bettina Kneller, Main-Echo Aschaffenburg, 2 January 2012
Especially touching in the title role is the young Christiane Karg, whose voice has a clear, bright and warm timbre and whose passionate singing is as convincing as her suffering and sacrifice Hans-Klaus Jungheinrich, Frankfurter Rundschau, 26 December 2011




Concert arias by Mozart, Beethoven, Haydn and Mendelssohn. 

Christiane Karg
, soprano
Malcolm Martineau, hammerflügel
Jonathan Cohen, director
The Arcangelo Ensemble

Berlin Classics

Rameau: Hippolyte Et Aricie

Glyndebourne Festival Opera

Hippolytus, Ed Lyon
Aricia, Christiane Karg
Phaedre, Sarah Connolly
Theseus, Stéphane Degout

Orchestra of the Age of Enlightenment
The Glyndebourne Chorus
Conductor, William Christie
Director, Jonathan Kent
Glyndebourne Opera

Symphony no.2 'Lobgesang'

Felix Mendelssohn Bartholdy

Symphonie Nr.2 'Lobgesang'

Christiane Karg, Soprano
Christina Landhamer, Soprano
Michael Schade, Tenor
Chor des Bayerischen Rundfunks, Kammerchor
Symphonieorchester des Bayerischen Rundfunks, Symphony Orchestra
Pablo Heras-Casado, Leitung
Harmonia Mundi


Eric Schneider, Klavier (Nr. 2)
Helmut Deutsch, Klavier
(Nr. 17, with Stella Doufexis)
(Nr. 19, with Stella Doufexis and Klaus Florian Vogt)