Callas, Maria

Maria Callas: The Eternal Maria Callas

Maria Callas - At Covent Garden 1962 and 1964

The second half of this recording is an important item in the too-scanty video discography of Maria Callas. Matched with another great singing actor, Tito Gobbi as the lecherous, hypocritical Scarpia, she participates in a textbook demonstration of how Act II of Tosca should be performed. There is a subtlety and nuance in their interactions that one seeks in vain in later, technologically more advanced videos. With a murder onstage, torture offstage, sexual harassment, and deep anguish (beautifully expressed in "Vissi d'arte"), this act provides rich opportunities for these performers, and they take full advantage. You may hear it better sung; you are not likely to see it better acted. The first half, a 1964 recital, offers less scope for acting, and Callas's voice is slightly past its prime, but she performs impressively in the mezzo range in two arias from Carmen. --Joe McLellan

The Art of Singing: Golden Voices of the Century

Maria Callas - The Callas Conversations (EMI Classic Archive)

The Callas Conversations offers some rare and fascinating glimpses of Maria Callas, whose life and art are well-documented by books and records but less so in video formats. What is documented here is mostly Callas as an interview subject, not Callas as an operatic actress who transfixed audiences with her visual presence. The two 1968 BBC interviews are her most important appearances on television. Her conversations with George Lascelles, 7th Earl of Harewood, a dominant figure in English opera, and a friendly, knowledgeable interviewer, put her completely at ease. They discuss her early career (as Isolde and Brunnhilde, believe it or not), her conversion to bel canto, conductor Tullio Serafin who was her mentor, her vocal style, and her (often surprising) views on her best-known roles. Samples of her singing are scattered through the interviews in audio recordings artfully linked with still photos.

Also included (in French with subtitles) are her 1965 interview with critic and organist Bernard Gavoty and three arias ("Adieu, notre petite table," "Ah, non credea mirarti," and "O mio babbino caro") in concert performances conducted by Georges Pretre. This segment is more formal and less revealing than the Harewood conversations but worth seeing. The arias are well-sung concert performances, out of costume and with minimal acting except for facial expressions. --Joe McLellan

The Life of Verdi

"Sumptuously costumed and splendidly staged, this elaborate cinematic biography blends documentary with drama to tell the story of a great artistic genius who became the musical voice of a nation."* Booklist. Filmed on location in Italy, Leningrad, London, and Paris, this epic mini-series took several years to create, requiring more than 100 actors, 1800 extras, and 4000 costumes. This uncut version dubbed in English is 4 hours longer than the edited version that originally aired on Public Television to great acclaim. This spectacular film is filled with Verdi's glorious music, sung in the original Italian and taken from past recordings featuring such operatic legends as Renata Tebaldi, Maria Callas, Luciano Pavarotti, and Birgit Nilsson. Stars Ronald Pickup, who plays Verdi with a "subdued, dignified passion" and Carla Fracci, the famed Italian ballerina, who is "absolutely superb" as Giuseppina Strepponi, Verdi's second wife (Clive Barnes).

Maria Callas - La Callas... Toujours

The career of Maria Callas was just a bit too early and too brief to receive full and satisfying video documentation like that now being accorded to such singers as Renée Fleming and Luciano Pavarotti. This black-and-white televised recital (Callas's Paris debut) took place at the Paris Opera on December 19, 1958 when television was still in its infancy. We might wish that it had happened earlier, when her voice was in better condition, or later, when video recording technology was more advanced--so that, for example, we would not have to take the narrator's word that Callas is wearing a red dress. But this is probably the best available Callas video recording, and her fans will welcome it warmly. Visual elements were as important as the vocal dimensions in her art.

The material, carefully chosen to show Callas at her best and most versatile, includes "Casta Diva" from Bellini's Norma (a Callas specialty), the haunting "Miserere" scene from Verdi's Il trovatore, and the mischievous "Una voce poco fa" from Rossini's Barber of Seville, a fine series of stylistic contrasts in which the essential point is not pure tonal beauty but characterization and subtle expressive nuances. Others have made this music sound prettier; nobody has presented it with more impact.

But the climax of this program is its second half, a staged performance of Act II of Puccini's Tosca. This is a study in police brutality, sexual harassment, and sheer violence, psychological and physical, that has some of opera's most extreme moments--including the great aria "Vissi d'arte," the murder of the villain Scarpia, and the contemptuous dismissal flung at his corpse--"and all Rome trembled before him!" In this segment, Callas goes mano a mano with Tito Gobbi, her only equal as a singing actor during her career. They savor this material in a virtuoso performance. --Joe McLellan

Maria Callas is the quintessential diva who changed the face of the opera in the 20th century. The repertoire in this performance shows Callas at her best, both in recital and as an operatic actress. Verdi, Rossini, and Bellini were three composers at the heart of Maria Callas's career. Her personal life was of tragic operatic dimensions and perhaps no role comes closer to the essence of Callas than Floria Tosca. The second half to the program comprises the complete Act 2 of this opera, with a brilliant performance by Tito Gobbi in the role of Scarpia. A genuine collector's item, this live recording documents Callas's Paris debut at the peak of her career. Also included is documentary footage about the performance and the opera house. 91 minutes.

Callas - A Documentary Plus Bonus / John Ardoin, Franco Zeffirelli

Extensive performance footage including some real rarities.

Newsreel footage: her funeral cortege; the Rome Walkout ("I would spit in the faces of my enemies...and make them go on their knees in front of me! I can! I will! And I must!"); her break with Ghiringhelli, Callas reading Bing's telegram firing her ("I cannot do routine"); Meneghini, Onassis and Churchill; Callas hounded by the press on her private life; Callas dancing with Onassis; her return to New York (1965); press conference about the Medea film (plus clips from the film); Callas as co-stage director with Di Stefano, directing Vespri in Turin; in a bathing suit with Onassis; Onassis's death.

Interviews: Bing ("She became intolerable!"..."She was more difficult than others because she was more intelligent"); Nicola Rescigno ("Her body was like that of a pachyderm"); Menotti; Scotto (on Sonnambula and Medea--"Cut Glauce's aria"); Caballé; Gobbi on her lost confidence and unhappiness; De Hidalgo on Callas as a student; manager Gorlinsky on the Callas-Di Stefano concert tour; Tebaldi on their rivalry; Visconti in discussion with Callas, including the "radish" incident.

Other topics: Sound vs. the use of sound; her debut at 15; "No agent would give me a job because immediately after my debut I wasn't loved that much. I was something new to listen to and they disliked anything that took them away from tradition"; her history at La Scala; her weight loss; Jackie Onassis; Zeffirelli and Gobbi on the London Toscas, her loneliness, her death.

Maria Callas in Concert - Hamburg 1959 and 1962

If Maria Callas had been born 30 years later, there's no doubt that she would be a multimedia star. Her vocal technique continues to divide critics decades after her death, and even at the peak of her powers it was rarely a voice that pandered to ideas of conventional beauty. But visually, she was mesmerizing. Callas was the first modern opera singer to act a role rather than just sing it and she exploited this ability to the full.

Proof is to be found in the precious few filmed performances that survive from the black-and-white era when she was at her best. Three years separate these recitals, which include tantalizing snatches of Bellini and Rossini, captured at the Hamburg Musikhalle. By 1962, the voice was on the wane but the passion and commitment to the roles were triumphant, as a selection of Carmen's arias proves. Today these concerts provide the key to an enigmatic reputation that survives into the 21st century, and remain essential viewing for all opera lovers. The DVD includes further information on the concerts and Callas's career. --Piers Ford

The Callas Conversations, Vol. 2 [DVD Video]

Medea

The only movie made by Maria Callas, Medea nevertheless contains not a note of the great diva singing. And yet her presence is stunning, with a face (often seen in close-up) that cuts across the frame like a great phenomenon of nature. This raw, mostly wordless take on the Greek classic is a characteristic film from the influential Italian director Pier Paolo Pasolini: intellectually sophisticated yet almost primitive in its feel. The weird, jagged locations and Pasolini's elliptical style contribute to the sense of violence already in the story, and the visual approach (realized by Gangs of New York production designer Dante Ferretti) brings in African masks and pagan rituals. If it's not quite satisfying as a treatment of the original Euripides play, it succeeds as a blunt experience in its own right. And tantalizingly suggests what Callas might have done had she opted for a movie career. --Robert Horton