Christiane Karg in an interview

"Luckily, I'm in the non-diva repertoire."

Born in Feuchtwangen, soprano Christiane Karg studied at the Mozarteum University of Salzburg with Heiner Hopfner and in the Lied class of Wolfgang Holzmair. She was awarded the Lilli Lehmann Medal for her Master's degree in Opera/Music Theatre. While still a student, she made her acclaimed debut at the Salzburg Festival. She performs the major roles of her repertoire worldwide and is also in high demand internationally for major concert parts. In addition to her numerous engagements, Karg conceives and directs her own concert series in her hometown of Feuchtwangen as artistic director of the KunstKlang Festival. She is also deeply committed to music education for children and young people through her project "be part of it! – Music for All." For her achievements, she has been awarded the Bavarian Culture Prize in the Arts category and the Brahms Prize of the Brahms Society of Schleswig-Holstein.

You made your highly acclaimed debut at the Salzburg Festival while still a student. How did your fellow students and professors at the music academy react?
2006 was the big Mozart year, in which all of Mozart's stage works were performed. The Mozarteum University took on the two early works, Apollo and Hyacinth and The Obligation of the First Commandment. I auditioned and got the lead role in both. I got to sing a Baroque princess and a pot-bellied devil. Today, I would never accept both roles. It was incredible and a huge opportunity! And I received a lot of support from my fellow students. Overall, I have to say that I very rarely experienced the much-talked-about cutthroat competition along the way.

You are the artistic director of the KunstKlang Festival, your own concert series in your hometown of Feuchtwangen. How did that come about, and what makes this concert series special?
I've always organized concerts, both large and small, in my hometown. Ten years ago, the then-head of the cultural affairs office and the mayor approached me about developing my own concert series. That's how KunstKlang (ArtSound) came about. Four concerts with top-notch performers, spread throughout the year. It's not always easy listening. But over the years, we've managed to attract a truly discerning, interested, and open-minded audience. From Handel arias to Hindemith's Marienleben (Life of Mary) to a string quartet by Mieczyslaw Weinberg, we offer a diverse program.

You're also deeply committed to music education for children and young people with your project "be part of it! – Music for All." What does that work look like in practice?
Similar to the KunstKlang series, which also includes readings and recitations, the "be part of it" project isn't limited to a specific format. It's always about children and young people seeing themselves as part of it. Be part. Participating in and being introduced to art. I visit schools, talk about my work, invite the students, and discuss the program with them. This year I started a singing project in kindergartens. Even the youngest children are participating with enthusiasm.

How do the children and teenagers react to it?
They've already met me. There's no stranger standing before them. And this personal connection is key. They're respectful, and I've noticed that there's little to no talking during the concert. They're truly engaged.

How interested are your own two children?
Of course, many musicians also come to our house. There's always some music playing. And sometimes the children want to join in. My son then brings over his little cello, which he can't play yet. And in the evenings, they ask for a lullaby. It's just part of life for children. A completely natural way of interacting with music.

You yourself seem very down-to-earth and don't have any diva-like qualities. Can that also be problematic when you're rehearsing with other soloists who are different in that respect?
Fortunately, I'm in the non-diva repertoire. There's no room for that in a Mozart ensemble or a Haydn mass. And the song repertoire is also very unpretentious. The focus is truly on the works themselves.

Which are your favorite roles, and which of them have you never sung publicly?
Actually, it's always the piece or role I'm currently singing. I have to be completely immersed in it and love the piece so that that feeling resonates with the audience.

What was your worst experience on stage and what was your best?
My fall at Glyndebourne during a performance, in which I broke my knee, was probably the worst thing I've ever experienced. Thankfully, there have been many wonderful experiences.

What passions do you have besides music?
I love music and my profession in all its facets: traveling, languages, reading poetry, learning, dancing, meeting colleagues, going out to eat, museums, and theater. Observing nature, moods, sounds, and colors are also part of it. So, there's hardly anything "besides" music. I can completely clear my head by swimming, hiking, and playing with my children at the playground.

Interview by Florian Schär | Classicpoint.net | August 1, 2023
Photo: Gisela Schenker

Next concerts

August 23, 2026 - SCHUBERTIADE SCHWARZENBERG: Lieder recital Christiane Karg, David Fray