Assoluta
Sunday, September 16 will mark the 30th anniversary of the death of that most significant of all opera singers, Maria Callas. In honor of the diva, Unnatural Acts of Opera presents one of her rare New York performances, a concert version of Il pirata as performed at Carnegie Hall on January 27, 1959. Unnatural Acts of Opera
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From one Assoluta to another: Cheryl Studer sings Isolde's "Liebestod" ... or 24 years later ...
http://www.operainchina.com/clips/studer2001bj_3.mp3
8 November 2001, Beijing, China (Poly Theater)
Tokyo Philharmonic Orchestra
Guoyong Zhang, conductor
DON'T....YOU....DARE!!!!!!!
OH PLEASE!
Brava Maria per sempre.
I can still remember the shock I felt hearing that she'd died.
THANK YOU, La Cieca!
I first heard this (live) with Renee in the title role -- not the way you want to first encounter the piece as far as I'm concerned. I now have a recording of Caballe, who has a lot to offer. But I've been looking for this for a long, long time...
There are certain operas that I don't see any point in doing any more because the idelibe stamp that La Divina put on them. The list is long and it is only my personal view...but Norma, for example...why bother anymore?...it can't be done any better....and last season at the Met when I saw Netrebko hanging over the orchestra pit all I could think was:
Ogni giorno, per fortuna, e un giorno di meno...
Anonymous,
To compare, as some do, negatively or positively Callas to Netrebko is moronic. Different voices, different temperaments, and totally different women. Callas needed a man to depend on, be it Meneghini or Onasis, in order to exist. In actuality, she grew up with no father figure and she needed one to treat and pamper her like a princess. On the other hand, Netrebko is tough, can take care of herself, will take no crap from men, and she will give a man hell if he tries to take advantage of her or use her. Netrebko is a liberated and calculated diva of the 21st centure, whereas Callas was living in the romanticised and fantasy world of her heroines. Callas left us a unique legacy, and she could have given us more, if she were more controlling and less controlled.
But Callas was the better singer.
Papas
Your oh-so-detailed analysis of Callas' and Netrebko's attitude toward men (which by the way, you could not possibly know unless you know them both personally)is what is moronic and it verges on anti-feminist sentiments
constantine papas
I am sure both Netrobko and Callas would be thrilled to know that they have been psychoanalyzed by a dipstick
You guys have to read a little more besides listening to music and attend opera performances. There are books (by Nicholas Cage and Arianna Stasinopoulos/Huffington) and articles about Callas, and plethora of published interviews of Netrebko. You don't have take my word; you can draw your own conclusion.
Dreary overrated singer, with an appalling technique. Thank the lord she can no longer torture us with her truly hideous voice
Since the 7:47 Anonymous is an obvious troll (about as subtle as a jumbo jet, too), La Cieca's going to phase out the "anonymous" login for now.
From now on, please choose either the "Google/Blogger" or "Other" option when posting, and if you choose "Other," have the courtesy to use a consistent screen name. "Anonymous" comments will be subject to deletion at La Cieca's whim.
The comparison above between Netrebko and Callas is spot on, I could not have put it better. When discussing Carmen, Callas shocked me by saying that she was as far from the character as possible, that the woman's role was to 'serve' men. That view is not only retrograde for an artist, but it showed Callas as weak and incomplete. Netrebko on the hand is emancipated, independent and strong, she dates around and enjoys sex from what we hear without guilt, which is how it's supposed to be enjoyed.
As for the voices, Netrebko's is definitely more beautiful, Callas' more interesting, dramatic. They both give it all on stage and are/were great actresses, and on this level they can indeed equal: limited instruments compensated by a dynamic stage presence.
Thank you, La Cieca, for the embargo on the multi-headed Anonymous. What I find difficult to come to terms with is the insistence by some Callas lovers that the performances she gave late in her career were vocally on the same level as those of her prime.
I think it unfair to draw comparisons between Netrebko and Callas. Vocally and personality-wise. La Divina was born in 1923 to Greek parents...let me repeat, Greek parents. Greek women served men, that was the culture back in those early years and Callas was brought up in that manner. I never knew La Divina personally so I don't actually know if her whole view with "women serving men" was true...she was one fiery woman regardless of gender. (Need I remind the famous letter she received from Bing that she read aloud in that spectacularly bitchy voice? Bing who was male and older than her? Who she was supposed to "serve"?)
Vocally the two are so different that it's amazing. Callas is dramatic with wonderful coloratura while Trebs is a more lyrical voice that should stay away from doing vocal fireworks. They are different.
DIFFERENT I SAY!
A better comparison would be Callas and Ponselle. Those two are alike (but with their own differences, obviously) than Callas/Netrebko.
test (I will delete it immediately if successful)
Thanks lacieca. As you already know, you are a great positive force in the world.
Constantine, I think Nebs should stay as far away from the press as possible. She comes across as a bratty, immature teenager in every interview I've read. And it's strictly conjecture on your part to know how either of these women feel/felt about men.
And back in Callas's day, men also imagined themselves having a code-of-chivalry toward women. Quite honestly, I think we all like to pamper and be pampered in our relationships.
I can't imagine Callas being a pushover, or any diva taking crap from either men or women.
The only things that Callas and Netrebko have in common are a few roles and the fact that they both attract a lot of media attention. Otherwise, there is very little to compare in terms of voice and singing.
Sure, Netrebko has recognised that singing alot of bel canto at this stage of her career is good for her voice but she's not (nor will she ever be) a bel canto artist. She's a big-voiced lyric soprano and is a wonderful Mimi etc. I look forward to her Tatiana and Butterfly. I think she'll be superb in those roles. However, she's not at her best in bel canto roles.
Callas, on the other hand, was at her best in bel canto (though she was also splendid in verismo and better than most in Verdi). In bel canto roles, Maria's artistry was on full display.
A couple of people have compared Netrebko and Callas and, for some reason, that comparison has stuck (misplaced as that comparison may be). It's tiresome actually...
As I was in the tiniest, deepest minority who thought "Master Class" was trite, formulaic queenly crap fantasy and a huge disservice to the formidable "art without artifice" that informed Callas's performances even when her actually singing failed (how's that for a run-on sentence? It gets worse...), I was reminded then of the uncomfortable parallels drawn between Maria and Judy. All that drama about the fallen queen dying after lonely, tragic attenuation. Towards the last few months of her life, as she was virtually starving to death and encouraged to eat, Judy evidently would snap at concerned people, "I have a husband! He tells me what to do!" Yet the actual deference to men attributed to women of that generation is probably overstated. Something tells me that some women worked very skillfully within the oppressive social, economic and political constraints of the time. Also, it's a big problem attempting to parse comments and attitudes from 50 years after the fact, when we live in an age of political correctness.
As I type this comment, I'm listening to La Divina's La Scala Traviata... her voice suffused with tears and heartbreak... gotta stop, her volcanic "Amami, Alfredo!" is coming up... my heart is stabbed with her voice... no one like her!
Forever Callas. Brava, Maria!
It is so very good to see that my dear mom can still get a good discussion going!
I presume that's you, Callasorphan. Yes, she can still rouse admiration and awe--and, maybe, sometimes, as with most legends, a little ire.
You've been missed.
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Opera Chanteuse: When I think about performances for which I'd like to travel back in time, that La Scala Traviata is right at the top of the list. It captures Maria at the perfect time, when she was vocally in peak form (she absolutely nails the E-flat in Act I) but also had refined her artistry to a remarkable level. The second duet act with Bastianini is one of my favourite things on record. Also love Giulini in the pit.
Tubsinger: I didn't think that Master Class was all that either. I enjoyed it but it's mostly a good vehicle for the lead actress and an opportunity to hear a couple of her recordings. I did enjoy those monologues. But overall, I found the play overrated.
I just have to adore Maria. I don't care to whine about anyone else. Who cares? Is this posting about anyone else? No. Just Callas....Callas: a musician above all else.
--J. Matt Mangialetti--
(Find me on Facebook loving Callas as well...!)
Ah, divas with man problems. Let us add Nordica and her assorted awful husbands, La Divina Fremstad and her odd father and husband situations and her sapphicness, and maybe Ponselle and her possible Papa Rose background, being in showbiz way too soon. Just some rambling thoughts.
Callas was dismissive of Mozart; Netrebko's Ilia here in Washington was wonderful.
Does that make Netrebko the better singer? Of course not and
it's also much too soon to say if Netrebko will be regarded as among among the greatest singers of the early 21st century.
For all her imperfections, Callas set opera on its ear and raised dramatic standards to a new high level and for that alone we celebrate and remember her.
In the meantime, it's too bad that so many people are now dising Netrebko. There are some really bad singers out there; we can all name names. Netrebko has made some bad career choices (e.g., Elvira). But this does not mean she is a bad singer.
I'm glad someone finally brought up Netrebko perhaps doing butterly....it would be nice to hear a butterfly that actually has a beautiful voice rather than a horrifyingly ugly one (i.e. gallaro domas)
RE the podcast...only callas could set this opera on fire. It's really not bellini's most inspired work, but in the hands of the master it becomes something so special. Thank you la cieca!
netrebko vs. callas wtf....could there be a more random comparison? we might as well also compare dessay to flagstad or fleming to ponselle!
She’s ALIVE. If my mommy can cause this MUCH talk, she MUST be ALIVE.
Dear Callasorphan - if it is indeed you posting above, welcome back. You have been missed! I was hoping this post would bring you out of retirement.
Since I cannot delete the comment I made previously, I am going to apologize to the spirit of Ponselle's father. I do not know if he was like Mrs. Hovik or not. All I read about Rosa's early life are fragments of brief bios of her. She supposedly had a kind of Louise-June relationship with her sister, but even Wikipedia is murky on who got the sisters into Vaudeville.
What would be the chances of Callas being so influential if she were starting her career today?
I have to examine my devotion to Callas very objectively...but most of us who love her work recognize a truth that is missing from other people's work...and when you really think about it, it is all about telling the truth...but it also makes me mad when people dismiss Callas' technique and voice without realizing that she had a great voice and HELL OF A TECHNIQUE....
Brava Maria Callas. The legend will live forever!
Master Class is dreck. I loved Dixie Carter, but was mortified that she had to stoop to such a level. It had nothing to do with Callas, everything to do with Terrence. Ghastly.
LPR
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Can we at least agree that Callas Forever was pretty Good?
And, Callasorphan, I missed you very much. I knew this would draw you out of the woodwork.
I know that the topic is practically exhausted, but what differentiates Callas from every other singer - in my opinion - is that she is magnificently compelling even when the singing isn't great. Her "Carmen" recording is the first opera I ever bought. Though there are many who slam the singing, it remains one of my favorite recordings, and it's one I've given to bunches of friends who've never been fans of the opera. Someone mentioned earlier her purported dislike of Mozart, but I have her "Mi tradi" from some compellation disk, and, funky as some of it is, it rocks nevertheless. These performances obviously transcend the typical criticism of shear vocal beauty which they arguably may lack. Deservedly or not, I can't think of many singers of today who we let off the vocal hook because the performances are so sublime...
I know she considered the part vulgar, but I think Callas' Carmen is the sexiest thing ever put on record by an opera singer.
I agree with your positive attitudes about Callas' Carmen...I am glad some people were brave to say what they did...I never considered her Carmen anything but phenomenally interesting...there are very few singers in opera before or after Callas who are as consistently compelling as she is...and for those who implied that she is still alive...well, you are absolutely right.
Thanks La Cieca for being a censorious cretin!! Phase out "anonymous" comemnts, just because they condemn Callas as a hammy mediocrity!! Get a grip fool.
What Callas was About was reaching the pinnacle of making her whole life a Show. Everything she did made news, even her last years in seclusion and her mysterious death. Maybe Khruschev, and Taylor and Burton, and Monroe are up there with her on the See Me summit,(we will exclude Hitler), but in the 20th century she was one of the big people who just Were.
Yes, I made some poor wording. Of course, Callas' death would make news. Was there something a little calculating on her part and looking toward publicity even about her seclusion in Paris and her demise? (When Nilsson passed on quietly there was a certain hohummnes from the News, and in one case I know a confusion as to whether they were talking about Brigit Neilson.)
Sorry but someone has to say it- I don't think it does any other singer justice to bring their names up (especially in ridicuous comparisons) with La Divina.
Indeed the comments in here about other singers seem to be so superfluous (and unfair to the other artists) they are hardly worth reading. How can you compare them with the opera juggernaut that was Maria Callas?
30 years after her death, the world still can't get enough of her and the sales of her recordings eclipse all others.
Whatever she had, she was and still is so far in front of the others, it really doesn't matter. RIP Maria- you are still sorely missed.
Well....The comparison may be ridiculous but as long these singers try the roles that Callas did so magnificently, they are target for all kinds of comparisons
Rysanekfreak here...
I haven't been able to post because the system would tell me I'm already registered, that I have to register, that I'm already registered, that I have to register, so I just gave up. But I have figured out how to post again.
When I first discovered opera, I didn't care for the Callas sound, but once I saw a PBS fundraising special with all of that live concert footage, I became hooked. Oddly enough, it was the mezzo "O don fatale" that convinced me this was the most amazing, electrifying singer-actress ever. (sorry, dear Leonie!) The fact that she could stand there with minimal gestures and be so compelling. It was the face, not the arm-flailing of so many others.
Gradually, I came to love her in both bel canto and verismo. I would go months without hearing her, and then when I would hear her, "WOW!" Especially the "La Mamma Morta" scene from "Philadelphia" proved how powerful her impact was. I'm looking forward to all of the various Callas tributes that operacast.com has listed for tomorrow.
Kashania: Callas should be hailed as a great bel canto promoter, not a great bel canto interpreter. For starters, Bel Canto is about beautiful singing, and her sound wasn't beautiful. That is very basic. Her voice simply wasn't suited for the repertory. The trill was inexistent and she had no respect for the scores as written. In fact, she couldn't sing the scores as written.
There were several superior, genuine, bel canto interpreters at the time and soon after, Sutherland, Gencer, Caballé and even Sills.
Callas should be remembered for Puccini and verismo.
But of course, like Fleming, Callas coveted the most rewarding music. And like Fleming, Callas couldn't fully deliver.
TKLogan: Sorry but I'm not taking the bait.
Kashania, smart move.
It's debatable whether bel canto is the most rewarding music and, if so, to whom? The singer or the listener? I find it tedious and inane, but to each his own. I'll take Puccini, Verdi, Wagner and Strauss any day.
Callas wasn't known in the 50s by most Americans for her singing technique. She was known by being mentioned on Douglas Edwards' news, or covered in Life, or on Person to Person for being in a hissy of one kind or another with a tenor or a opera house manager, or being Ari's girlfriend on a cruiseboat with the Churchills. In the world beyond opera art she is still known mostly as the ultimate fit throwing "prima donna."
Bel canto is definitely the most rewarding repertory for the soprano and that's why they all want it, Fleming, Netrebko, Dessay, etc. In bel canto the soprano shines alone, she doesn't have to compete with the orchestra and the success of the piece depends on her voice and star power alone. It has always been popular even through Wagner and Strauss and the rewards can be tremendous.
It was bel canto that launched all major 20th century careers to real stardom, Sutherland (Lucia), Caballe (Lucrezia), Callas (Norma, Lucia, Elvira), Sills (3 Queens), etc. Today's star sopranos are very well aware of that.
I'd have to agree with Thomas - it seems that the singers who aspire to Bel Canto roles do so because their voice isn't at all suited to heavier verismo roles that so many other sopranos are shooting for.
In your list of major 20th century sopranos, you're leaving out Nilsson, Varnay, Tebaldi, Olivero, Borkh, Voigt, and numerous others, all of whom specialized in heavier rep such as Wagner, bigger Puccini, and Strauss. Sopranos with much smaller-scaled voices left bel canto alone until Callas dragged it back into the spotlight. Fleming, Dessay, Nebtrenko and others may be attempting it, and I have to confess that I personally haven't been convinced by the results.
I like bel canto operas, but to claim that it serves as a jumping off point for "all major 20th century" sopranos is ridiculous.
RJM bel canto didn't serve as a jumping off point for "all major 20th century" sopranos. It made them stars. Go read these ladies' biographies. Lucia made Sutheland a star overnight, Lucrezia made Caballé a star overnight. Roberto Devereux put Sills on the cover of TIMES (she was wearing the costume in that picture). It was Elvira that made Callas a star under Serafin, later Norma and Lucia, even though her multi-talented (gulp) instrument made her shine as Tosca, Aida and Violetta as well.
Bel canto has vocal fireworks and great melodies, like it or not, this is what the public still wants. The arrogant attitude by the 'cognoscenti' (puke) towards the school won't change historical facts.
I think one could argue that the operas suited the voices, hence the women achieving stardom. Joan Sutherland did a great job as Lucia, but would she have achieved any sort of acclaim if she had attempted to make a career in Wagner or Verdi? She sang Lucia and did a superb job because her voice was suited to it - just as Nilsson achieved stardom via Wagner, and Tebaldi via the verismo operas.
Again, I like bel canto, and I don't disagree with your premise that it made those women famous, but I don't think it's accurate to claim that the public is dying to hear these operas and finds them more rewarding than say Verdi or Puccini; if that were the case, I'm sure that Gelb would be scheduling more than "Norma," "Lucia," and the occasional oddball "Puritani" or "Don Pasquale."
As for the cognoscenti, I thought it was the other way around - putting Bellini on a pedestal while ripping on Puccini for his "tawdry melodramas."
I thought maybe the person who posted the comments about Puccini was referring to the musical complexity vs. dramatic considerations....Bel canto for that person may be an endless series of tonic dominant harmonies..whereas Puccini, Strauss and Wagner (I think he mentioned) are more harmonically complex....it is just a guess on my part and I am in no position to read that poster's mind
The Lucia of the 21st century,IMHO, is going to be the Dessay version from Paris--for the brutal realistic mad scene, which ends with the brother setting his goons on her in an honor killing (right out of something from rural Pakistan), which fills out the plot hole as to how she dies. Needless to say, the video bowled me over. No genteel fainting or grabbing the tablecloth and then applause. Maybe belcanto can be roughed up and brought into the 2000s.
I bumped into Ms. Dessay yesterday and told her I can't wait for her Lucia and wished her luck etc etc. I also told her I have her Lucia from Paris with Polenzani and the one from Chicago, which she doesn't seem to like AT ALL.
I'm waiting. I hope to be blown away of course, and that she's not too much past her prime.
As for Nilsson, she never achieved the level of stardom that all the sopranos I mentioned did, not by a long shot, the proof is in the record sales. And Netrebko, Gheorghiu, Fleming and Dessay didn't become mega stars by singing Wagner or Strauss, believe me.
Gosh, it's so hard to believe it's thirty years today since Callas died! For me, it's one of those dates you remember where you were, like (for those of us of a certain age) when JFK was assassinated. I was a freshman in college, and my dad came to take me home for the weekend; he told me to sit down, and he gave me the sad news. I had one more class to attend, one of my music history classes, and the professor said, "What's wrong,
Marie? You look like you've seen a ghost!" I told her, "Well, not quite, but I just got the news that Maria Callas died." When the professor heard that, she tossed aside her lesson plan and devoted the class to discussing the impact that Callas had on the opera world.
She had an impact on my life, too, for I had just started doing radio on the Eisenhower College campus, and when I did a show in her memory on WIKE, things went crazy even on that little campus. The first really serious radio show I'd ever done, and she was the reason. Whatever one thinks of Callas, there's no denying how she's touched so many people with her art and personality, and I'm living proof of that as I work in classical music radio. In discussing Callas, Franco Zeffirelli once said that the best thing a Scala audience can say to an artist isn't "bravo," but "thank you." Well, both
"brava" and "grazia" to Maria for adding so much to my life, and for doing the same for countless others! And, of course, thanks to La Cieca for remembering her on this day!
As a friend of mine remarked, "opinions are, like your ass, divided". (Brits prefer arse). Belcanto operas ... very nice now and again, but they pale before what preceded them and what followed. That is my opinion, and I am exceeding happy for others to take a diametrically opposite point of view.
Really hate to have to take issue with anyone, but Nilsson was the opera Star of the 1960s(even more than Price). BN was in demand and singing everywhere and selling LPs like crazy. No beauty or sex appeal, but any collage of who was Big doing anything in the 60s would have to have a clip or picture of her.
Kekszakallu Norma, Lucia di Lammermoor, The Barber of Seville and several other bel canto works don't pale before ANYTHING, before or after.
But you missed the point, this wasn't about the quality of the operas, it was about bel canto making all major sopranos of the 20th century stars overnight. And let's not stop with sopranos, the most popular opera singer of all times, Luciano Pavarotti, became an overnight sensation after La Fille du Regiment, both in Europe and America.
My point precisely, TK. You have your opinion, I have mine. They are different - hoorah! Similarly, I was making a point about operas, not singers ... you were making a point about singers. The comments on this blog are not renowned for keeping to the subject and I have no intention of deviating from their delightful (madam) butterfly-mindedness.
My opinions on Bel Canto are pretty much divided easily down the middle: Love Donizetti and Rossini, can't stand Bellini.
TKLogan: well I am taking the bait. You've dismissed Callas as a bel-cantist and listed as her iconic failing her lack of a trill. Then you go on to list four ostensibly superior singers of bel canto, two of whom, Caballe and Gencer, didn't even take a stab at trilling. Sutherland's trill is famous, but I always think of the film clip where she demonstrates how a trill on a major and minor second sound different by producing the exact same sound. A human voice can never produce something as distinct as the trill on a piano or violin; Callas comes as close as anyone and it's a sound that integrates into a bel canto line perhaps better than the flip-a-switch effect of Sutherland, who incidentally I don't intend to trash here.
Listen to Callas in her studio Bolena scene (or Scala/Gavazzeni 1957...or the Dallas rehearsal if memory serves) and if you can tell me that's bad bel canto, we'll just have to agree to disagree. For me it's paradigmatically good bel canto.
Dicko Wagner was wild about Vinnie the Bell's music, and what's more--Fred Chopin was Very devoted to him(and his music). What was Vinnie's opera Callas was going to study but never got around to after Ari appeared?
Le Monde Online has some interesting photos of La Divina, including one of her at a Jerry Lewis show in Paris in '71,without all the heavy makeup. Warpaintless she was very attractive imho. Le Monde calls her "American singer of Greek origin" in French.
As for the podcast, Maria is in great voice for this performance, considering the date. Who is the tenor, La Cieca?
Throughout the history of opera, there have been very few singers who have captured our imagination and we are fascinated with them, voices and purity of singing technique notwithstanding. Among them, there are divas we love and will die for, and divas we love or we love to hate. There are only two divas who come to mind: Maria Callas from the past, and Anna Netrebko from the present, based on arithmetic and statistical analysis of this site.
The blog on Netrbko, posted on August 4, provoked 80 passionate responses of love, or love and hate-so far the the highest number for 2007- and the Callas blog, posted on Sptember 13, provoked 70 responses, up-to-date, from mostly mesmerised fans- very few critical of her.
We,opera lovers, crown, dethrone or both our voice queens, and rightly so, and this blog has clearly spoken: Callas is the Queen of the past, and Netrebko is the Queen of the present.
I'm sure this will be deleted because it dares to not praise Callas to the skies, but oh well. An actual conversation:
Friend: Callas is the greatest singer ever blah blah blah blah
Me: Her basic voice is ugly. Her high notes are like having an icepick jabbed in the ear canal and after the early days, you could drive a Panzer division through the wobble.
Friend: [thinks] Yes, perhaps, but my god! the way she sings "Dio!" in Forza, that's a world of meaning there.
Me: [rolls eyes]
The tenor is Pier Miranda Ferrarro and the baritone is Costantino Ego.
Henry Holland: Why would you think your comment would be deleted? We have someone claiming that Callas had no trill (a ludicrous statement) and that post hasn't been deleted. It's an odd thing to suggest that the content of this thread is censored based on one's preference for a singer.
Ciro: Thanks. I don't think I've heard this Miranda Ferrarro fella before but I like him.
Did you realize that it is ALSO 30 years since Marc Bolan was killed in that horrible wreck?
The end of Callas and the end of T-Rex on the same day -- the worst day in Gay history?
Anonymous,
When we lose someone we love, regardless of being gay or not, it affect us all. I'm straight, married and a father, and the loss of a legent like Callas and Pavarotii makes me sad. On the other hand, gays are the most informed opera fans around, I admire them, and I learn from them everyday. This blog is the most infomative and passionate opera site. My hat and thanks to the brave and funny La Cieca for her committment to educate and inform us in her own unique way.
It warms the cockles of my heart to see that a discussion about my mom can elicit over 70 comments—now that is being a LEGEND!
All my love,
Maria's #1 orphan.
I reserve the right to disagree for the sake of disagreement and I love to hear myself talk.
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In the roster of people who once made us happy and are now Gone, the news just came out that Brett Somers passed away Saturday. So now she can share bawdy quips with Gene and Charles Nelson and break up the angels in the audience. Bless you, Brett.
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