Doña Ana de Mendoza y de la Cerda, Princess of Eboli, Duchess of Pastrana, “She was considered one of Spain’s greatest beauties, despite having lost an eye in a mock duel with a page when she was young.
sparrowqueen: “ La princesa de Éboli [The Princess of Eboli] Artist unknown [?] Doña Ana de Mendoza y de la Cerda, Princess of Eboli, Duchess of Pastrana seems like she was pretty badass. Also, I’m in love with this painting. I wish I could find a.
Art works by Sonia Verdu: Sortilegio. This is the illustration for the cover of the book "Spell.
Review on Broadway World: “While Spain may be at the height of its colonial power in Don Carlo, so are the performances of…Jamie Barton as Princess Eboli. The lovely mezzo-soprano voice of Jamie Barton gives the evening some of its lighter moments. Her Act 2 aria showcases the range of Verdi's score from light to foreboding.” (Washington, D.C.)
Review in MD Theatre Guide: "The supporting characters were fantastic and none more so than Jamie Barton as Princess Eboli. Even when not the center of attention, she commanded a significant presence on stage, balancing a clever comedic touch with a slow-played scheming, adulterous motive. Her instrument is one that wows in its power and agility. Most impressive was the deft control she possessed over such a force that was wielded as a conduit of artistry rather than brutality. Her…
Mary of Teck - formerly Princess Victoria mary Augusta Louise Olga Pauline Claudine Agnes of Teck, who was born in Kensington Palace and married Prince George in to become Queen Mary in at 6 years of age.
gargantuan-canopy: “ Modern photography inspired in Ana de Mendoza, Princess of Eboli, a spanish noble from the XVI century that, despite lacking the vision of one eye, was considered one of the most beautiful ladies in the court of the time.
A full length view of a dress from The Conspiracy, aka La Conjura de El Escorial.
Review on Bachtrack: “As Princess Eboli, mezzo Jamie Barton dominated the stage on her every appearance. You quickly realized how immensely powerful her instrument could be, but her vocal agility and dynamic range amazed the most. Her blazing rage when her pride is wounded during the garden scene was as effective as her contrite “O don fatale”.” (Washington, D.C.)