Maria Ewing Mezzo Soprano
Undoubtedly one of the finest artists ever to have graced the operatic stage, Maria Ewing’s career is testimony not only to her mastery of vocal preparation, but also to an extraordinary ability to adapt with ease and versatility to the dramatic challenges that have been the landmarks of her career, and which remain part of her legacy. After a short sabbatical (during which she has assisted her daughter, actress Rebecca Hall, in consolidating a successful Hollywood career) Maria Ewing returns to the stage later in 2010, in Poulenc's Voix Humaine, directed by Laurence Dale, in Holland.
Undoubtedly one of the finest artists ever to have graced the operatic stage, Maria Ewing’s career is testimony not only to her mastery of vocal preparation, but also to an extraordinary ability to adapt with ease and versatility to the dramatic challenges that have been the landmarks of her career, and which remain part of her legacy. After a short sabbatical (during which she has assisted her daughter, actress Rebecca Hall, in consolidating a successful Hollywood career) Maria Ewing returns to the stage later in 2010, in Poulenc's Voix Humaine, directed by Laurence Dale, in Holland.
Having started very young as a protégée of James Levine’s and singing roles such as Mozart’s CHERUBINO, DORABELLA and DONNA ANNA, Maria Ewing quickly established an international career at most of the world’s premiere theatres, including New York’s Metropolitan Opera, Teatro alla Scala di Milano, as well as Chicago Lyric Opera, San Francisco, Vienna, Paris and the Royal Opera House, Covent Garden.
Her marriage to Sir Peter Hall brought her regularly to Glyndebourne where she first undertook some career-defining roles such as her hilarious and captivating interpretation of Rossini’s ROSINA and her powerful, mesmerizing and arrestingly sexual portrayal of Monteverdi’s POPPEA. Dramatically and musically Maria Ewing was known as a fearless and captivating artist, and her portrayal of CARMEN, first sung in the intimate confines of the old Glyndebourne Opera House, was later re-created with unsurpassed success in the legendary arena production conceived by Steven Pimlott, with which she toured the world. Her unique vocal ability has also enabled her to master roles such as SALOME and even TOSCA, while she still relishes roles such as DIDO and Gluck’s ALCESTE.
No stranger to modern music, her repertoire continues to include BEGBICK Mahagonny, KLYTHÄMESTRA Elektra, as well as one her most memorable performances at The Met as Lady Macbeth of Mtsensk in the Shostakovich opera.
Her extensive concert performances have included collaborations with conductors such as Herbert von Karajan, Leonard Bernstein and Simon Rattle, while her repertoire encompasses everything from Ravel, Berlioz and Debussy to the great jazz and Broadway music of Gershwin, Cole Porter and Irving Berlin.
Audio file:
To make an enquiry, please call 0208 771 5271 or, alternatively, complete the form below and Athole Still Opera will contact you: