Love, without music
I need to state right off the bat that I have never been one to worship at the altar of Maria Callas. While I can acknowledge her greatness, there are many other singers whom I prefer in the Bel Canto repertoire.
So I was skeptical when I began watching Callas Assoluta
I was hoping to hear wonderful music, but no single scene or aria is allowed to play in its entirety. Even the famous Tosca scene in which she kills Scarpia is only played in brief excerpt.
All of her well-known roles are represented, but the included book doesn’t list what the excerpts are or from what year. That information is listed in the final credits but scroll by at a such a fast clip, I had to keep rewinding to read them all. What I did find fascinating was all of the photos of Callas as a child and young adult.
Technically, the DVD is a mess. Several scenes either stalled the first time and then played, or stalled permanently and then jumped to the next scene. The English narration is atrocious. Two examples jumped out at me. In one, the word “epitome” is pronounced with a long o and no final e, and in the other, recounting the incident when Covent Garden management came to plead with her to show up for a fourth Tosca after she canceled the first three, the narrator says she “relinquished,” when it should be “relented.” Furthermore, despite the fact that the film was made in 2007, there is no Dolby sound.
There is one musical moment that tantalizes, however. In 1952, she sang Konstanze (in Italian) and there is a brief excerpt of “Marten aller Arten.”
If you know nothing about Callas, this might be a good introduction, but there are so many better documentaries about her that I’d skip this one.
La Cieca welcomes Our Own Sanford to our stable of reviewers.
I always glance and shoot.
Callas wasn’t someone I would have liked to know personally.
Actually I think she had a very limited, annoying type personality.
But I don’t see what that has too do with her singing
Clita (amni): I was seconding your opinion!
Javier, I believe there are delaying cremes on the market for help with your shooting problem. After all, it’s impolite to shoot after merely a glance
“But listen to her, without the visual?? No thanks.”
That’s exactly it. There aren’t many extant examples of her fine acting abilities, only numerous audio recordings. Some of her studio recordings are…okay, but all of the really interesting live recordings are disappointing because a) the sound is terrible and b) her voice just doesn’t do it for me.
“Javier, I believe there are delaying cremes on the market for help with your shooting problem. After all, it’s impolite to shoot after merely a glance”
Nice impotence joke. My impotence is a constant struggle, but now there’s hope. I’ll ask around about the cream. Thanks.
I believe the terms you’re looking for is premature ejaculation.
As for Callas’s studio recordings, let’s see:
Madama Butterfly, Aida, Forza del Destino, Lucia, Cavalleria Rusticana, Tosca, Norma… These are all great, great recordings (except for Gedda’s Pinkerton which I dislike).
javier,
but all of the really interesting live recordings are disappointing because a) the sound is terrible
I agree with you that the sound is terrible. When I first became interested in opera, I thought I HAD to like Callas because she’s the epitOme of the Diva, but the recordings from that time can’t compare to today in terms of stereophonic sound and, at least when heard on CDs, roundness, warmth, and fullness. (I’ll not speak of vinyl as I’ve not bought a vinyl recording in 20 years, have not own a record player in 18 years, and own no vinyl records of opera.) Many recordings of Callas sound thin to me.
BUT, after hearing quite a few singers (in person) seem to show up and sing all the notes unsupported by any acting, I have a greater appreciation of Callas’ talent. On the 3 Callas recordings I have — Lucia, Traviata, and Tosca — she completely inhabits the roles and sings her heart out.
and b) her voice just doesn’t do it for me.
This seems much more reasonable to me. Some singers, revered by many others, just don’t speak to EVERYone. I myself can’t stand to hear Sutherland. We’re all entitled to our personal tastes so there’s no argument, I think, if she just doesn’t do it for you.
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ugh…this site is becoming too commercial for me.
Ciao everyone, I’ll be over at Opera Chic, who has been “scooping” (in the journalist sense) La Cieca for a while anyway.
p.s. the amateur “reviews” suck
“I like un-divas. Sopranos who are on top, but completely down to earth.”
Like who? Do you actually know any major singer who is really completely down to earth? Are you always just the salt of the earth?
I don’t think I would have chosen Callas as a buddy either, but i’d never judge a singer based on his or her personality.