Peter Ludwig
Singing is breathing out.
Bass-baritone Peter Ludwig was cited for his “warm and persuasive singing” and “his skills as a wonderful singing actor” (The New York Concert Review ), while the Bangor Daily News praised his “rich, deep baritone.” Recent appearances include Horace Giddens in "Regina" (Marc Blitzstein), Doctor Bartolo in "Il Barbiere di Siviglia" (Rossini), Abbot/Astrologer in "The Burning Fiery Furnace" (Britten), Pistol in "Sir John in Love" (Vaughan Williams), King in "Aida" (Verdi), and Don Sebastiano in "La Zingara" (Donizetti).
His repertoire includes comic and dramatic character roles: Drs. Bartolo and Dulcamara, Don Basilio, the Seneschal Donizetti's Gianni di Parigi (American premiere), Dick Deadeye (HMS Pinafore), Talpa (Il Tabarro), the Sacristan (Tosca), and ten world or US premieres of new works.
Peter has sung at Carnegie Hall as bass soloist in the Mozart Requiem and Coronation Mass, Vaughan Williams' Dona Nobis Pacem, and the world premiere of Gerald Busby's song cycle Creatures Like Us (Weill Hall). He sang the world premiere of Mein Lebenslauf by Georg Schoenberg (son of Arnold Schoenberg) at the Austrian Cultural Forum, NY. He was bass soloist in the American premiere of Rossini's Messa di Gloria, and has appeared in recital and concert in Kaufman and Buttenwieser Halls (92nd Street Y), and other venues in the U.S., Italy, and Switzerland.
He has sung principal roles with Pensacola Opera, Chattanooga Opera, Stonington (ME) Opera Arts, Encompass Theater, Vineyard Theater, and at the historic Smith Opera House, Geneva, NY. As an actor, he portrayed Alan in No Moves Back by Martin Halpern (Equity Workshop production), and Moloch in Lark Ascending’s dramatization of Milton's Paradise Lost.
Peter maintains a voice studio in New York, and is Treasurer of the New York Singing Teachers’ Association. He taught at the 92nd Street Y, master classes in Greece, and at La Guardia HS of the Arts, where he directed the Opera Workshop; alumni and students pursue distinguished performing careers at the Met, Covent Garden, on Broadway, etc.
Teaching Philosophy
Singing with an open heart...
The capacity to sing is given by nature to every healthy human being. My teaching is grounded in principles of Italian bel canto and modern voice science, and informed by the Szamosi Libero Canto approach. This leads to insights that apply to singing across many musical styles and genres.
A fundamental principal is to sing with released flow of breath, without pushing, interfering, holding back the breath or darkening the voice.
Students are guided to let go of compensatory tensions in the body; to perceive subtler physical sensations associated with singing, along with enhanced ease and spontaneity, the feeling that one’s singing is personal.
A sense of playfulness helps to keep things in balance.
Singing is a human behavior which blends imagination, intention, musical artistry, and physicality. Singing enhances personal growth and self knowledge.
My studio includes students of varying age and proficiency, from beginner to artist level. Current students are performing classical, operatic, Broadway, tango, and pop.