01-15-2022, 06:27 PM
Maria Louise Ewing (March 27, 1950 – January 9, 2022) was an American opera singer who sang both soprano and mezzo-soprano roles. She was noted as much for her acting as her singing.[1]
Ewing made her debut at the Metropolitan Opera in 1976 as Cherubino in Mozart's The Marriage of Figaro.[10] Her first European performance was at La Scala, Milan, as Mélisande in Debussy's Pelléas et Mélisande. Her repertoire included Bizet's Carmen, Dorabella in Mozart's Così fan tutte, the title roles of Salome by Richard Strauss, Monteverdi's L'incoronazione di Poppea and Shostakovich's Lady Macbeth of Mtsensk, and Marie in Alban Berg's Wozzeck. She was particularly well known for her portrayal of Salome. Oscar Wilde's stage directions for the play from which the opera's libretto was adapted specify that, at the end of the Dance of the Seven Veils, Salome lies naked at Herod's feet: Ewing appeared nude at the end of this sequence, in contrast to other singers who have used body stockings.[11][12] She also sang and appeared in Purcell's Dido and Aeneas.[13]
Ewing's discography includes video versions of Salome, L'incoronazione di Poppea, and Carmen and audio versions of Lady Macbeth of Mtsensk and Pelléas et Mélisande. She also recorded concert music by Ravel, Berlioz and Debussy and programs of popular American song. She played Rosina in a Glyndebourne production of Rossini's Il barbiere di Siviglia (1982). Her starring performance in the Metropolitan Opera's 1987 production of Poulenc's Dialogues of the Carmelites was also recorded and made available as a stream.[14]
Ewing also sang jazz in live performance, including with the band Kymaera at Ronnie Scott's Jazz Club in London.[15]
https://en.wikipedia.org/wiki/Maria_Ewing
Ewing made her debut at the Metropolitan Opera in 1976 as Cherubino in Mozart's The Marriage of Figaro.[10] Her first European performance was at La Scala, Milan, as Mélisande in Debussy's Pelléas et Mélisande. Her repertoire included Bizet's Carmen, Dorabella in Mozart's Così fan tutte, the title roles of Salome by Richard Strauss, Monteverdi's L'incoronazione di Poppea and Shostakovich's Lady Macbeth of Mtsensk, and Marie in Alban Berg's Wozzeck. She was particularly well known for her portrayal of Salome. Oscar Wilde's stage directions for the play from which the opera's libretto was adapted specify that, at the end of the Dance of the Seven Veils, Salome lies naked at Herod's feet: Ewing appeared nude at the end of this sequence, in contrast to other singers who have used body stockings.[11][12] She also sang and appeared in Purcell's Dido and Aeneas.[13]
Ewing's discography includes video versions of Salome, L'incoronazione di Poppea, and Carmen and audio versions of Lady Macbeth of Mtsensk and Pelléas et Mélisande. She also recorded concert music by Ravel, Berlioz and Debussy and programs of popular American song. She played Rosina in a Glyndebourne production of Rossini's Il barbiere di Siviglia (1982). Her starring performance in the Metropolitan Opera's 1987 production of Poulenc's Dialogues of the Carmelites was also recorded and made available as a stream.[14]
Ewing also sang jazz in live performance, including with the band Kymaera at Ronnie Scott's Jazz Club in London.[15]
https://en.wikipedia.org/wiki/Maria_Ewing
The ideal subject of totalitarian rule is not the convinced Nazi or the dedicated Communist but instead the people for whom the distinction between fact and fiction, true and false, no longer exists -- Hannah Arendt.