Ruth Welting: A Life in Opera
From the University of Memphis to the International Stage as One of the Opera World’s Most Acclaimed Coloratura Sopranos
“As a close friend and classmate, I find it remarkable to reflect that when Ruth performed as the Queen of the Night in a 1968 University of Memphis Opera production of Mozart’s “The Magic Flute,” she likely could not have imagined that 25 years later, she would reprise that iconic role in her final performance at the Metropolitan Opera in New York City.”
Ruth Lynn Welting (1948–1999) was born in Memphis, Tenn., and went on to dazzle audiences as one of the top coloratura sopranos of her time. Known for her stunning vocal range, incredible technical skill and captivating stage presence, she performed in the most prestigious opera houses around the world.
What many people don’t know is that before Ruth’s star rose, she was a proud Memphian who studied at the UofM (then Memphis State University) from 1966 to 1969. It was here that her extraordinary journey began.
A Musical Prodigy from Memphis
Welting grew up in the Sherwood Forest neighborhood near the UofM as the third youngest of four daughters born to William and Mary Welting. Music ran deep in the Welting household. Her older sister, Patricia, also became a celebrated opera singer, performing with the Metropolitan Opera.
Welting’s musical gifts were evident early on. At 19 months old, she could play “Mary Had a Little Lamb” on the piano with one finger, and by age five, she had already mastered the piano, organ and accordion.
Then, she added flute and guitar to her repertoire and won numerous awards. At 12 years old, she appeared on Ted Mack’s “Original Amateur Hour,” and at 15, she won the Mid-South Fair’s Youth Talent Contest Finals.
In high school, Welting shone in “The Sound of Music” and “Carnival,” but her true calling awaited her in opera.
Finding Her Voice at the University of Memphis
Welting earned a full music scholarship to the UofM, intending to be a concert pianist. But during her time there, she discovered her passion for singing. Guided by her voice teacher, Jerome Robertson, Ruth began to explore opera, diving into the demanding coloratura repertoire.
In 1968 when she portrayed the Queen of the Night in a UofM production of Mozart’s “The Magic Flute” (Die Zauberflöte) under the direction of George Osborn, then the UofM director of opera. Her flawless execution of the demanding aria “Der Hölle Rache,” with its iconic high Fs, foreshadowed the brilliance she would later bring to this role at the Metropolitan Opera.
Ironically, she reprised the role in her last performance at the Met on November 20, 1993.
In a UofM opera workshop performance in 1968, she charmed audiences as Miss Wordsworth in a production of Benjamin Britten’s “Albert Herring.”
Met Auditions Offer a Road to Stardom
In 1969, Welting’s talent earned her a win at the Metropolitan Opera National Council Auditions, a pivotal moment that secured her a spot at the Juilliard School in New York City.
Her Julliard studies soon took her to Italy, where, at the urging of composer and conductor Gian Carlo Menotti, she began her voice studies with the celebrated voice coach Luigi Ricci of Rome. Ruth once said, “If I climb the ladder of success, I owe it all to him.”
Welting spent much of her career studying with voice instructor Daniel Ferro in New York City and worked with Janine Reiss in Paris for a period.
Early in her journey, she had the privilege of studying briefly with the legendary cellist, composer and conductor Pablo Casals, who praised her voice for its “remarkable purity and flexibility.”
Her career took off in 1971 with her debut at the New York City Opera as Blondchen in Mozart’s “The Abduction from the Seraglio.” Soon after, she made her mark at the Metropolitan Opera in 1976, playing Zerbinetta in Strauss’ “Ariadne auf Naxos.”
A Global Sensation
Welting became an international star, performing in iconic venues like La Scala, the Royal Opera House, San Francisco Opera and the Vienna State Opera. She was celebrated for her dazzling high notes, agility, and emotional depth in roles like Lucia (Lucia di Lammermoor), Olympia (Les contes d’Hoffmann) and Lakmé (Lakmé).
She would sing the role of Lucia in “Lucia di Lammermoor” in the original key of F Major, which is rarely done. According to Ruth, “The key change gives the Mad Scene a lighter mood.
The reality of madness has drawn Lucia into her own world, a childlike, beautiful one in which everything’s just the way she wants it to be.”
“If God so wills that I’m a ‘big name,’ then fine, but it’s not the end of the world if I’m not. I’m grateful for the gifts I have.”
-Ruth Welting
A Humble Star
Despite her fame, Welting remained down-to-earth. She once said, “If God so wills that I’m a ‘big name,’ then fine, but it’s not the end of the world if I’m not. I’m grateful for the gifts I have.”
Life Beyond the Stage
By the mid-1990s, Welting had retired from her operatic career and shifted her focus to public service. She earned a degree from Syracuse University in 1998 and continued her education at its Maxwell School of Government.
A Profound Legacy
Welting left behind an incredible legacy of artistry and inspiration and several acclaimed opera recordings that showcase her extraordinary vocal talent.
She rests in Pleasant Hill Cemetery near Memphis, alongside her parents and two of her sisters. Ruth’s remarkable journey from a musically gifted child in Memphis to a UofM music scholarship student to one of the world’s leading sopranos remains a testament to her talent, passion, and indomitable spirit.
Photos courtesy of the Met Opera Archives and Robert Casper
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