Carol Wan Chui-Pan

Carol Wan Chui-Pan

N/A

N/A

Most Known for...

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City Hunter 1993 (6.593)

A self-indulgent private investigator winds up on a cruise ship full of rich patrons, gorgeous women, murderous terrorists, and scarce food.
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Flirting Scholar 1993 (7.427)

A scholar in search of true love. Disguising himself as a houseboy, he indentures himself to a rich family in order to pursue the ravishing servant girl who has stolen his heart.
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Black Butterfly 1990 (7.5)

Black Butterfly tells the story of a female assassin who is sent to Taiwan to clear the way so a gang from Hong Kong can take over the territory. Problems arise when she breaks the cardinal rule of an assassin -- never develop friends -- and she cannot complete the job. Now hunted by both camps, the killer must turn into a savior as she tries to help her friends.
Carol Vaness

Carol Vaness

73 (1952-07-27)
San Diego, California, USA

Most Known for...

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Pavarotti 2019 (7.36)

Featuring never-before-seen footage, concert performances and intimate interviews, filmmaker Ron Howard examines the life and career of famed opera tenor Luciano Pavarotti.
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Don Giovanni 1990 (6.2)

Every woman wants him, every man wants to be him: Mozart’s version of the irresistible rogue who brings excitement with him and leaves destruction it his wake has always attracted top singing actors, as in this performance brilliantly led by James Levine. Samuel Ramey is Don Giovanni, pursued by the incandescent Karita Mattila (Donna Elvira) in her Met debut season and role, and by the white-hot avenging fury of Carol Vaness (Donna Anna.) Ferruccio Furlanetto delivers a masterful comic turn as the Don’s servant, Leporello.
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Don Giovanni 1991

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.