The best Maria Ewing’s movies
Today we present the best Maria Ewing’s movies. If you are a great movie fan, you will surely know most of them, but we hope to discover a movie that you have not yet seen … and that you love! Let’s go there with the best Maria Ewing’s movies.
Bizet Carmen
8.2/10
Bizet's masterwork, Carmen, directed for stage by the Spanish actress Núria Espert.
The Marriage of Figaro
8.3/10
Mozart's Marriage of Figaro is a comedy whose dark undertones explore the blurred boundaries between dying feudalism and emerging Enlightenment. Herman Prey's Figaro is admirably sung in a firm baritone and aptly characterized. So too, is his antagonist, Dietrich Fischer-Dieskau as the Count perpetually frustrated by the scheming wiles of Figaro and Susanna, here the perky Mirella Freni, who sings and acts like a dream. The Countess is creamy-voiced Kiri Te Kanawa, and the Cherubino, Maria Ewing, looks just like the horny, teenaged page she's supposed to be. The all-star leads are complemented by worthy supporting singers, the Vienna Philharmonic at the top of its form, and the experienced Mozartian, Karl Böhm conducting a stylishly fleet performance.
Dido and Aeneas
7.1/10
Maria Ewing, as Dido, heads an outstanding cast of young British singers in a film adaptation of Henry Purcell’s much-loved tragic opera. With spectacular sets, this intense tale of heroism, passion, betrayal and ultimate tragedy is played out against a backdrop of fiery rituals, evil spells and pageantry.
Dialogues des Carmélites
In this legendary production, director John Dexter and designer David Reppa brilliantly captured the stark drama of Poulenc’s only full-length opera, which tells the story of a group of nuns caught in the maelstrom of the French Revolution. Maria Ewing is Blanche de la Force, an aristocratic novice who flees her convent when it is desecrated, only to return and join her fellow nuns as they are led to their execution. The legendary Régine Crespin, in her final Met appearance, is Madame de Croissy, the prioress whose agonizing death haunts Blanche. Jessye Norman sings Mother Lidoine, the new prioress, and Florence Quivar is the comforting Mother Marie. French maestro Manuel Rosenthal conducts.
Pelléas et Mélisande
Prince Golaud finds Mélisande, a mysterious young woman, lost in a forest. He marries her and brings her back to the castle of his grandfather, King Arkel of Allemonde. Here Mélisande becomes increasingly attached to Golaud’s younger half-brother Pelléas, arousing Golaud’s jealousy. Golaud goes to excessive lengths to find out the truth about Pelléas and Mélisande’s relationship, even forcing his own child, Yniold, to spy on the couple. Pelléas decides to leave the castle but arranges to meet Mélisande one last time and the two finally confess their love for one another. Golaud, who has been eavesdropping, rushes out and kills Pelléas. Mélisande dies shortly after, having given birth to a daughter, with Golaud still begging her to tell him “the truth”.
