Andrea Rost
Actor · b. 1962 · Budapest, Hungary
Andrea Rost was born in Budapest. She graduated from the Liszt Ferenc Academy of Music as the pupil of Zsolt Bende. She was still a student with a scholarship from the Budapest Opera when she sang Juliette in Gounod’s Romeo et Juliette at the Budapest Opera House in 1989. She has performed in leading roles with the Vienna State Opera, La Scala, the Royal Opera House, Opéra National de Paris, the Metropolitan Opera and the Salzburg Festival.
Movies4
Movie8.2DocumentaryFollows the birth of a political and social movement from the inside, with Péter Magyar as its face. For more than a year, the filmmakers accompanied him on country tours, campaign sites, and background conversations, as well as being present in those quiet, intimate moments – many times in his own home – that have remained hidden from the public until now.
Movie6.61213 Queen Gertrude of Meran's compatriots are playing the dorba in the royal castle. The unpeaceful Hungarian nobles are watching the dárido, and under the leadership of King Petur they are plotting. Their anger is only increased by the fact that while the king's viceroy, Bánk bán, who is fighting in the distance, is roaming the country, his wife, the beautiful Melinda, who has been left at court, is being besieged more and more openly by the queen's lecherous brother Otto. Petur secretly recalls Bánko, who, however, accuses the unpeaceful of treason. But Otto's confidant, the knight Biberach, tells Banach that the prince is trying to seduce Melinda. Otto, encouraged by the Queen, prepares to make a decisive attack. He pursues his lover Melinda in the castle's cloisters and chapel, and she rejects him contemptuously, but is nevertheless in a misunderstood position. Bánk, who has just seen them, is shocked: it seems that his adoring spouse is indeed unfaithful...
Movie9.0MusicDocumentaryDie Frau ohne Schatten
1992 · 1 votes
- Movie8.0Music
Live performance from Cologne Opera. Conlon conducts a skittishly dynamic performance of Don Giovanni. He relies on Thomas Allen’s tough Don to give the work much of its dark menace and on Holle’s terrifying Commendatore to provide the moral outrage – his job is to keep things moving, and he does. The exteriors – blank city spaces reminiscent of the paintings of Giorgio De Chirico – and moodily claustrophobic interiors mirror effectively the anguish of the orphaned Anna and the abandoned Elvira; this is a performance in which the two women victims of the Don function effectively as correctives to his libertine charm. Andrea Rost as Zerlina brings real delicacy to her role, reminding us that “La ci darem la mano” is a duet about her flirtation with Don Giovanni and not just a famous stand-alone moment. This is an admirable presentation of a fine performance.
Don Giovanni
1991 · 1 votes