Maria Callas - Knowledge

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happiness were all subservient to this incredible, incredible gift that she was given, this gift that reached out and taught us all – taught us things about music we knew very well, but showed us new things, things we never thought about, new possibilities. I think that's why singers admire her so; I think that's why conductors admire her so; I know that's why I admire her so. And she paid a tremendously difficult and expensive price for this career. I don't think she always understood what she did or why she did. She knew she had a tremendous effect on audiences and on people. But it was not something that she could always live with gracefully or happily. I once said to her, "It must be very enviable to be Maria Callas." And she said, "No, it's a very terrible thing to be Maria Callas, because it's a question of trying to understand something you can never really understand." Because she couldn't explain what she did – it was all done by instinct; it was something, incredibly, embedded deep within her.

2321: 1214: 1998:, everything was angular. She'd never make a soft gesture; even the walk she used was like a tiger's walk." Sandro Sequi recalls, "She was never in a hurry. Everything was very paced, proportioned, classical, precise... She was extremely powerful but extremely stylized. Her gestures were not many... I don't think she did more than 20 gestures in a performance. But she was capable of standing 10 minutes without moving a hand or finger, compelling everyone to look at her." Edward Downes recalled Callas watching and observing her colleagues with such intensity and concentration as to make it seem that the drama was all unfolding in her head. Sir Rudolf Bing similarly recalled that in 2573:, in attendance. The day before the opening night, Callas alerted the management that she was not well and that they should have a standby ready. She was told "No one can double Callas". After being treated by doctors, she felt better on the day of performance and decided to go ahead with the opera. A surviving bootleg recording of the first act reveals Callas sounding ill. Feeling that her voice was slipping away, she felt that she could not complete the performance, and consequently, she cancelled after the first act. She was accused of walking out on the president of Italy in a fit of temperament, and pandemonium broke out. Doctors confirmed that Callas had 331:, where Callas grew up. Around the age of three, Maria's musical talent began to manifest itself, and after Litsa discovered that her youngest daughter also had a voice, she began pressing "Mary" to sing. Callas later recalled, "I was made to sing when I was only five, and I hated it." George was unhappy with his wife favoring their elder daughter, as well as the pressure put upon young Mary to sing and perform, and Litsa was increasingly embittered with George and his absences and infidelity, and often violently reviled him in front of their children. The marriage continued to deteriorate, and in 1937, Litsa returned to Athens with her two daughters. 1390: 2768: 307:

Litsa's father, Petros Dimitriadis (1852–1916), was in failing health when Litsa introduced George to her family. Petros, distrustful of George, had warned his daughter, "You will never be happy with him. If you marry that man, I will never be able to help you". Litsa had ignored his warning, but soon realized that her father was right. The situation was aggravated by George's philandering and was improved neither by the birth of a daughter, named Yakinthi (later called "Jackie") in 1917, nor the birth of a son, named Vassilis, in 1920. Vassilis's death from

2726:. The affair that followed received much publicity in the popular press, and in November 1959, Callas left her husband. Michael Scott asserts that Onassis was not sure why Callas largely abandoned her career, but that he offered her a way out of a career that was made increasingly difficult by scandals and by vocal resources that were diminishing at an alarming rate. Franco Zeffirelli, on the other hand, recalls asking Callas in 1963 why she had not practiced her singing, and Callas responding that "I have been trying to fulfill my life as a woman." 6356: 1415:, Ira Siff writes, "Accepted wisdom tells us that Callas possessed, even early on, a flawed voice, unattractive by conventional standards—an instrument that signaled from the beginning vocal problems to come. Yet listen to her entrance in this performance and one encounters a rich, spinning sound, ravishing by any standard, capable of delicate dynamic nuance. High notes are free of wobble, chest tones unforced, and the middle register displays none of the "bottled" quality that became more and more pronounced as Callas matured." 2482:, Fussi and Paolillo presented documentation showing when and how her voice changed over time. Using modern audio technology, they analyzed live Callas studio recordings from the 1950s through the 1970s, looking for signs of deterioration. Spectrographic analysis showed that she was losing the top half of her range. Fussi observed video recordings in which Callas' posture seemed strained and weakened. He felt that her drastic weight loss in 1954 further contributed to reduced physical support of her voice. 2089: 2024: 2730: 1569: 1559:, same months and the same distance of time as Giuditta Pasta had sung in the nineteenth century... So I'm really not doing anything extraordinary. You wouldn't ask a pianist not to be able to play everything; he has to. This is Nature and also because I had a wonderful teacher, the old kind of teaching methods...I was a very heavy voice, that is my nature, a dark voice shall we call it, and I was always kept on the light side. She always trained me to keep my voice limber. 590:. Soprano Galatea Amaxopoulou, who sang in the chorus, later recalled, "Even in rehearsal, Maria's fantastic performing ability had been obvious, and from then on, the others started trying ways of preventing her from appearing." Fellow singer Maria Alkeou similarly recalled that the established sopranos Nafsika Galanou and Anna (Zozó) Remmoundou "used to stand in the wings while was singing and make remarks about her, muttering, laughing, and point their fingers at her". 1888:, etc." D'Amico adds, "The essential virtue of Callas' technique consists of supreme mastery of an extraordinarily rich range of tone colour (that is, the fusion of dynamic range and timbre). And such mastery means total freedom of choice in its use: not being a slave to one's abilities, but rather, being able to use them at will as a means to an end." While reviewing the many recorded versions of "perhaps Verdi's ultimate challenge", the aria "D'amor sull'ali rosee" from 2745:, Callas and Onassis had a child, a boy, who died hours after he was born on March 30, 1960. In his book about his wife, Meneghini states categorically that Maria Callas was unable to bear children. Various sources also dismiss Gage's claim, as they note that the birth certificates Gage used to prove this "secret child" were issued in 1998, twenty-one years after Callas' death. Still other sources claim that Callas had at least one abortion while involved with Onassis. 1948: 2839:, which premiered in 1995, presents Callas as a glamorous, commanding, larger-than-life, caustic, and funny pedagogue holding a voice master class. Alternately dismayed and impressed by the students who parade before her, she retreats into recollections about the glories of her own life and career, culminating in a monologue about sacrifice taken for art. Several selections of Callas actually singing are played during the recollections. Callas was portrayed on 764: 2650: 4658: 1855: 1505:, for whom many of the famous bel canto operas were written. He avers that like Pasta and Malibran, Callas was a natural mezzo-soprano whose range was extended through training and willpower, resulting in a voice which "lacked the homogeneous color and evenness of scale once so prized in singing. There were unruly sections of their voices never fully under control. Many who heard Pasta, for example, remarked that her uppermost notes seemed produced by 786:, called on her, she told him that she already knew the score, even though she had looked at only the first act out of curiosity while at the conservatory. She sight-read the opera's second act for Serafin, who praised her for knowing the role so well, whereupon she admitted to having bluffed and having sight-read the music. Even more impressed, Serafin immediately cast her in the role. Serafin thereafter served as Callas' mentor and supporter. 1938:, the smooth incorporation of the turn in melodic lines, the accuracy and pacing of her trills, the seemingly inevitable timing of her portamentos, varying their curve with enchanting grace and meaning. There were innumerable exquisite felicities—minuscule portamentos from one note to its nearest neighbor, or over widespread intervals—and changes of color that were pure magic. In these aspects of bel canto she was supreme mistress of that art. 2271:, "Callas' voice since last season has improved a great deal, the second passagio on the high B-natural and C has now completely cleared, giving her an equally colored scale from top to bottom." And of her performance of Medea a year later, John Ardoin writes, "The performance displays Callas in as secure and free a voice as she will be found at any point in her career. The many top B's have a brilliant ring, and she handles the treacherous 2808: 12283: 4577: 2707: 45: 1139: 2475:, a rare, connective tissue disease that causes a failure of the muscles and ligaments, including the larynx. They believe she was showing signs of this disease as early as the 1960s. Fussi and Paolillo cite an initial report by physician Mario Giacovazzo, who in 2002 revealed he had diagnosed Callas with dermatomyositis in 1975. Treatment included corticosteroids and immunosuppressive agents, which affect heart function. 1911:, the way she connects the voice from note to note, phrase to phrase, lifting and gliding. This is never a sloppy swoop, because its intention is as musically precise as it is in great string playing. In this aria, Callas uses more portamento, and in greater variety, than any other singer ... Callas is not creating "effects", as even her greatest rivals do. She sees the aria as a whole, "as if in an aerial view", as 1601:'s did.... Callas had a huge voice. When she and Stignani sang Norma, at the bottom of the range you could barely tell who was who ... Oh it was colossal. And she took the big sound right up to the top." In his book, Michael Scott makes the distinction that whereas Callas' pre-1954 voice was a "dramatic soprano with an exceptional top", after the weight loss, it became, as one Chicago critic described the voice in 288: 12271: 2507: 1313: 515:. De Hidalgo recalled hearing "tempestuous, extravagant cascades of sounds, as yet uncontrolled but full of drama and emotion". She agreed to take her as a pupil immediately, but Callas' mother asked de Hidalgo to wait for a year, as Callas would be graduating from the National Conservatoire and could begin working. On April 2, 1939, Callas undertook the part of Santuzza in a student production of 1978:

confirm) that her power flowed not from excess but from unbroken concentration, unfaltering truth in the moment. It flowed also from irreproachable musicianship. People say that Callas would not hesitate to distort a vocal line for dramatic effect. In the throes of operatic passion plenty of singers snarl, growl, whine, and shriek. Callas was not one of them. She found all she needed in the notes.

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yourself." Callas justified her behavior..."They say my family is very short of money. Before God, I say why should they blame me? I feel no guilt and I feel no gratitude. I like to show kindness, but you mustn't expect thanks, because you won't get any. That's the way life is. If some day I need help, I wouldn't expect anything from anybody. When I'm old, nobody is going to worry about me."

775:, Callas met Giovanni Battista Meneghini, an older, wealthy industrialist, who began courting her. They married in 1949, and he assumed control of her career until 1959, when the marriage dissolved. It was Meneghini's love and support that gave Callas the time needed to establish herself in Italy, and throughout the prime of her career, she went by the name of Maria Meneghini Callas. 11747: 11377: 11344: 11325: 11236: 11196: 11128: 11095: 856:'s Violetta?" After the performance, one critic wrote, "Even the most sceptical had to acknowledge the miracle that Maria Callas accomplished... the flexibility of her limpid, beautifully poised voice, and her splendid high notes. Her interpretation also has a humanity, warmth and expressiveness that one would search for in vain in the fragile, pellucid coldness of other Elviras." 554:, which of course as you well know, is not just beautiful singing. It is a very hard training; it is a sort of a strait-jacket that you're supposed to put on, whether you like it or not. You have to learn to read, to write, to form your sentences, how far you can go, fall, hurt yourself, put yourself back on your feet continuously. De Hidalgo had one method, which was the real 2209:, who worked with Callas in 1946 and 1947, prior to her Italian debut, felt that it was not the heavy roles that hurt Callas' voice, but the lighter ones. Several singers have suggested that Callas' heavy use of the chest voice led to stridency and unsteadiness with the high notes. In his book, Callas' husband Meneghini wrote that Callas suffered an unusually early onset of 1808:

to make one think at times of a ventriloquist ... or else the voice could sound as though it were resonating in a rubber tube. There was another troublesome spot ... between the middle and upper registers. Here, too, around the treble F and G, there was often something in the sound itself which was not quite right, as though the voice were not functioning properly.

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continues to be reliably supported and under control. What is noticeable, however—earlier this season in Verdi's La Forza del Destino and now in Tosca—is a marked thinning of quality at the very center of the instrument, together with a slight acidity and tightening of the tone that has definitely taken the youthful bloom off, especially at the top.

2489:"walkout" in Rome, which led to harsh criticism of Callas as a temperamental superstar. By applying spectrographic analysis to that footage, the researchers observed her voice was tired and she lacked control and that she had bronchitis and tracheitis as she claimed, and that the dermatomyositis was already causing her muscles to deteriorate. 303:(now the Terence Cardinal Cooke Health Care Center) on December 2, 1923, to Greek parents, George Kalogeropoulos (c. 1881–1972) and Elmina Evangelia "Litsa", née Demes, originally Dimitriadou (c. 1894–1982). Callas' father had shortened the surname Kalogeropoulos, first to "Kalos" and subsequently to "Callas" to make it more manageable. 793:, more influence". In 1968, Callas recalled that working with Serafin was the "really lucky" opportunity of her career because "he taught me that there must be an expression; that there must be a justification. He taught me the depth of music, the justification of music. That's where I really really drank all I could from this man". 1366:, and Rome's Panatella Mills pasta company claimed she lost weight by eating their "physiologic pasta", prompting Callas to file a lawsuit. Callas stated that she lost the weight by eating a sensible low-calorie diet of mainly salads and chicken. Callas never regained the weight she lost and kept her slim figure until her death. 2142:. Callas was a dramatic soprano, whereas Tebaldi was considered essentially a lyric soprano. Callas and Tebaldi generally sang a different repertoire: In the early years of her career, Callas concentrated on the heavy dramatic soprano roles and later in her career on the bel canto repertoire, whereas Tebaldi concentrated on late 2404:

remind myself, if my breath starts to stack. When I took a breath before, the weight would kick in and give it that extra whhoomf! Now it doesn't do that. If I don't remember to get rid of the old air and re-engage the muscles, the breath starts stacking, and that's when you can't get your phrase, you crack high notes.

756:. He later recalled the young Callas as being "amazing—so strong physically and spiritually; so certain of her future. I knew in a big outdoor theatre like Verona's, this girl, with her courage and huge voice, would make a tremendous impact." Subsequently he recommended Callas to retired tenor and impresario 2041:

inner pain. The most diverse and opposite of sentiments, cruel deceptions, ambitious desires, burning tenderness, grievous sacrifices, all the torments of the heart, acquire in her singing that mysterious truth, I would like to say, that psychological sonority, which is the primary attraction of opera.

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On December 2, 2008, on the 85th anniversary of Callas' birth, a group of Greek and Italian officials unveiled a plaque in her honor at Flower Hospital (now the Terence Cardinal Cooke Health Care Center) where she was born. Made of Carrara marble and engraved in Italy, the plaque reads, "Maria Callas

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Much of what I did with my weight was very natural, vocally. Now I've got a different body—there's not as much of me around. My diaphragm function, the way my throat feels, is not compromised in any way. But I do have to think about it more now. I have to remind myself to keep my ribs open. I have to

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I don't think anything happened to her voice. I think she only lost confidence. She was at the top of a career that a human being could desire, and she felt enormous responsibility. She was obliged to give her best every night, and maybe she felt she wasn't any more, and she lost confidence. I think

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writes, "It was a flawed voice. But then Callas sought to capture in her singing not just beauty but a whole humanity, and within her system, the flaws feed the feeling, the sour plangency and the strident defiance becoming aspects of the canto. They were literally defects of her voice; she bent them

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Her secret is in her ability to transfer to the musical plane the suffering of the character she plays, the nostalgic longing for lost happiness, the anxious fluctuation between hope and despair, between pride and supplication, between irony and generosity, which in the end dissolve into a superhuman

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extremely stylized and classic, yet at the same time, human—but humanity on a higher plane of existence, almost sublime. Realism was foreign to her, and that is why she was the greatest of opera singers. After all, opera is the least realistic of theater forms... She was wasted in verismo roles, even

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confided to Walter Legge , "If the public could understand, as we do, how deeply and utterly musical Callas is, they would be stunned", and Serafin assessed Callas' musicality as "extraordinary, almost frightening." Callas possessed an innate architectural sense of line-proportion and an uncanny feel

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The upper register was ample and bright, with an impressive extension above high C, which—in contrast to the light flute-like sound of the typical coloratura, "she would attack these notes with more vehemence and power—quite differently therefore, from the very delicate, cautious, 'white' approach of

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It is very difficult to speak of the voice of Callas. Her voice was a very special instrument. Something happens sometimes with string instruments—violin, viola, cello—where the first moment you listen to the sound of this instrument, the first feeling is a bit strange sometimes. But after just a few

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stated, "The timbre of Callas' voice, considered purely as sound, was essentially ugly: it was a thick sound, which gave the impression of dryness, of aridity. It lacked those elements which, in a singer's jargon, are described as velvet and varnish... yet I really believe that part of her appeal was

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I was getting so heavy that even my vocalizing was getting heavy. I was tiring myself, I was perspiring too much, and I was really working too hard. And I wasn't really well, as in health; I couldn't move freely. And then I was tired of playing a game, for instance playing this beautiful young woman,

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magazine, which rehashed all of the Callas clichés, including her temper, her supposed rivalry with Renata Tebaldi, and especially her difficult relationship with her mother. As she had done with Lyric Opera of Chicago, on November 21, 1957, Callas gave a concert to inaugurate what then was billed as

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14, 1945, two months short of her 22nd birthday, Callas had given 56 performances in seven operas and had appeared in around 20 recitals. Callas considered her Greek career as the foundation of her musical and dramatic upbringing, saying "When I got to the big career, there were no surprises for me."

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The singer who took the part of Marta, that new star in the Greek firmament, with a matchless depth of feeling, gave a theatrical interpretation well up to the standard of a tragic actress. About her exceptional voice with its astonishing natural fluency, I do not wish to add anything to the words of

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In 1923, after realizing that Litsa was pregnant again, George made the decision to move his family to the United States, a decision which Yakinthi recalled was greeted with Litsa "shouting hysterically" followed by George "slamming doors". The family left for New York in July 1923, moving first into

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That's such a difficult question. There are times, you know, when there are people – certain people who are blessed, and cursed, with an extraordinary gift, in which the gift is almost greater than the human being. And Callas was one of these people. It was almost as if her wishes, her life, her own

2553:. Her contract was for four performances, but due to the great success of the series, La Scala decided to put on a fifth performance. Callas told the La Scala officials that she was physically exhausted and that she had already committed to a previous engagement, a party thrown for her by her friend 2278:

In recordings from 1954 (immediately after her 80-pound or 36-kilogram weight loss) and thereafter, "not only would the instrument lose its warmth and become thin and acidulous, but the altitudinous passages would to her no longer come easily." It was at this time that unsteady top notes first begin

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Singing, and especially opera singing, requires physical strength. Without it, the singer's respiratory functions can no longer support the steady emissions of breath essential to sustaining the production of focused tone. The breath escapes, but it is no longer the power behind the tone, or is only

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In 1951, Tebaldi and Maria Callas were jointly booked for a vocal recital in Rio de Janeiro, Brazil. Although the singers agreed that neither would perform encores, Tebaldi took two, and Callas was reportedly incensed. This incident began the rivalry, which reached a fever pitch in the mid-1950s, at

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The last great artist. When you think this woman was nearly blind, and often sang standing a good 150 feet from the podium. But her sensitivity! Even if she could not see, she sensed the music and always came in exactly with my downbeat. When we rehearsed, she was so precise, already note-perfect...

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When one wants to find a gesture, when you want to find how to act onstage, all you have to do is listen to the music. The composer has already seen to that. If you take the trouble to really listen with your Soul and with your Ears—and I say 'Soul' and 'Ears' because the Mind must work, but not too

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In certain areas of her range her voice also possessed a guttural quality. This would occur in the most delicate and troublesome areas of a soprano's voice—for instance where the lower and middle registers merge, between G and A. I would go so far as to say that here her voice had such resonances as

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Some believe that the loss of body mass made it more difficult for her to support her voice, triggering the vocal strain that became apparent later in the decade, and others believed the weight loss effected a newfound softness and femininity in her voice, as well as a greater confidence as a person

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My sister was slim and beautiful and friendly, and my mother always preferred her. I was the ugly duckling, fat and clumsy and unpopular. It is a cruel thing to make a child feel ugly and unwanted... I'll never forgive her for taking my childhood away. During all the years I should have been playing

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in Dallas, Bing sent a telegram to Callas terminating her contract. Headlines of "Bing Fires Callas" appeared in newspapers around the world. Nicola Rescigno later recalled, "That night, she came to the theater, looking like an empress: she wore an ermine thing that draped to the floor, and she had

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Whether Callas' vocal decline was due to ill health, early menopause, over-use and abuse of her voice, loss of breath-support, loss of confidence, or weight loss will continue to be debated. Whatever the cause may have been, her singing career was effectively over by age 40, and even at the time of

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has lost a lot of weight and still sounds glorious. But if one uses the weight for support, and then it's suddenly gone and one doesn't develop another musculature for support, it can be very hard on the voice. And you can't estimate the toll that emotional turmoil will take as well. I was told, by

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in Chicago in 1954, Claudia Cassidy wrote that "there is a slight unsteadiness in some of the sustained upper notes, but to me her voice is more beautiful in color, more even through the range, than it used to be". And at her performance of the same opera in London in 1957 (her first performance at

1987:, no matter how brilliantly she could act such roles." Scott adds, "Early nineteenth-century opera... is not merely the antithesis of reality, it also requires highly stylized acting. Callas had the perfect face for it. Her big features matched its grandiloquence and spoke volumes from a distance." 1474:

system, especially since in her prime, her repertoire contained the heaviest dramatic soprano roles as well as roles usually undertaken by the highest, lightest and most agile coloratura sopranos. Regarding this versatility, Serafin said, "This woman can sing anything written for the female voice".

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Now she was not only supremely gifted both musically and dramatically—she was a beauty too. And her awareness of this invested with fresh magic every role she undertook. What it eventually did to her vocal and nervous stamina I am not prepared to say. I only assert that she blossomed into an artist

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After the liberation of Greece, de Hidalgo advised Callas to establish herself in Italy. Callas proceeded to give a series of concerts around Greece, and then, against her teacher's advice, she returned to America to see her father and to further pursue her career. When she left Greece on September

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De Hidalgo later recalled Callas as "a phenomenon... She would listen to all my students, sopranos, mezzos, tenors... She could do it all." Callas said that she would go to "the conservatoire at 10 in the morning and leave with the last pupil ... devouring music" for 10 hours a day. When asked

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in Venice. Despite this, La Scala announced a fifth performance, with Callas billed as Amina. Callas refused to stay and went on to Venice. Despite the fact that she had fulfilled her contract, she was accused of walking out on La Scala and the festival. La Scala officials did not defend Callas or

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in Chicago in 1955, Callas was confronted by a process server who handed her papers about a lawsuit brought by Eddy Bagarozy, who claimed he was her agent. Callas was photographed with her mouth turned in a furious snarl. The photo was sent around the world and gave rise to the myth of Callas as a

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I never lost my voice, but I lost strength in my diaphragm. ... Because of those organic complaints, I lost my courage and boldness. My vocal cords were and still are in excellent condition, but my 'sound boxes' have not been working well even though I have been to all the doctors. The result

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Callas appears to have been in agreement not only with Ardoin's assertions that she started as a natural mezzo-soprano, but also saw the similarities between herself and Pasta and Malibran. In 1957, she described her early voice as: "The timbre was dark, almost black—when I think of it, I think of

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There was a portion of the scale which differed from the rest in quality and remained to the last 'under a veil.' ...out of these uncouth materials she had to compose her instrument and then to give it flexibility. Her studies to acquire execution must have been tremendous; but the volubility

2187:] was really building from the people of the newspapers and the fans. But I think it was very good for both of us, because the publicity was so big and it created a very big interest about me and Maria and was very good in the end. But I don't know why they put this kind of rivality [ 2159:

The alleged rivalry aside, Callas made remarks appreciative of Tebaldi, and vice versa. During an interview with Norman Ross Jr. in Chicago, Callas said, "I admire Tebaldi's tone; it's beautiful—also some beautiful phrasing. Sometimes, I actually wish I had her voice." Francis Robinson of the Met

2065:

Once one heard and saw Maria Callas—one can't really distinguish it—in a part, it was very hard to enjoy any other artist, no matter how great, afterwards, because she imbued every part she sang and acted with such incredible personality and life. One move of her hand was more than another artist

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Callas' most distinguishing quality was her ability to breathe life into the characters she portrayed, or in the words of Matthew Gurewitsch, "Most mysterious among her many gifts, Callas had the genius to translate the minute particulars of a life into tone of voice." Italian critic Eugenio Gara

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in 1949. They made me listen to the tape and I cried my eyes out. I wanted to stop everything, to give up singing... Also now even though I don't like my voice, I've become able to accept it and to be detached and objective about it so I can say, "Oh, that was really well sung," or "It was nearly

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in Florence, Serafin commented to Callas that she was eating too much and allowing her weight to become a problem. When she protested that she was not so heavy, Gobbi suggested she should "put the matter to test" by stepping on the weighing machine outside the restaurant. The result was "somewhat

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Bing later said that Callas was the most difficult artist he ever worked with, "because she was so much more intelligent. Other artists, you could get around. But Callas you could not get around. She knew exactly what she wanted, and why she wanted it." Despite this, Bing's admiration for Callas

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A change has also come over Voigt's voice lately, though it's hard to tell if it's from weight loss or normal aging—controversy still rages over whether Maria Callas' drastic diets contributed to her rapid vocal decline. Not that Voigt as yet exhibits any of Callas' technical problems: Her voice

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recordings of Callas from the late 1940s to 1953—the period during which she sang the heaviest dramatic soprano roles—show no decline in the fabric of the voice, no loss in volume and no unsteadiness or shrinkage in the upper register. Of her December 1952 Lady Macbeth—coming after five years of

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Ewa Podleś likewise stated that "It's enough to hear her, I'm positive! Because she could say everything only with her voice! I can imagine everything, I can see everything in front of my eye." Opera director Sandro Sequi, who witnessed many Callas performances close-up, states, "For me, she was

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of developing the psychology of the roles under the supervision of the music, of singing the acting...Suffering, delight, humility, hubris, despair, rhapsody—all this was musically appointed, through her use of the voice flying the text upon the notes." Seconding this opinion, verismo specialist

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Regarding the sheer size of Callas' instrument, Rodolfo Celletti says, "Her voice was penetrating. The volume as such was average: neither small nor powerful. But the penetration, allied to this incisive quality (which bordered on the ugly because it frequently contained an element of harshness)

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She opened a new door for us, for all the singers in the world, a door that had been closed. Behind it was sleeping not only great music but great idea of interpretation. She has given us the chance, those who follow her, to do things that were hardly possible before her. That I am compared with

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George and Litsa Callas were an ill-matched couple from the beginning. George was easy-going and unambitious, with no interest in the arts, and Litsa was vivacious and socially ambitious and had dreamed of a life in the arts, which her middle-class parents had stifled in her childhood and youth.

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Michael Scott has proposed that Callas' loss of strength and breath support was directly caused by her rapid and progressive weight loss, something that was noted even in her prime. Of her 1958 recital in Chicago, Robert Detmer wrote, "There were sounds fearfully uncontrolled, forced beyond the

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was a shock, a wonderful shock. You just got shivers up and down the spine. It was a bigger sound in those earlier performances, before she lost weight. I think she tried very hard to recreate the sort of "fatness" of the sound which she had when she was as fat as she was. But when she lost the

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In the opinion of several singers, the heavy roles undertaken in her early years damaged Callas' voice. The mezzo-soprano Giulietta Simionato, Callas' close friend and frequent colleague, stated that she told Callas that she felt that the early heavy roles led to a weakness in the diaphragm and

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Callas' voice was noted for its three distinct registers: Her low or chest register was extremely dark and powerful, and she used this part of her voice for dramatic effect, often going into this register much higher on the scale than most sopranos. Her middle register had a peculiar and highly

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story covered Callas' response to her mother's request of $ 100, "for my daily bread." Callas had replied, "Don't come to us with your troubles. I had to work for my money, and you are young enough to work, too. If you can't make enough money to live on, you can jump out of the window or drown

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In an attempt to patch things up with her mother, Callas took Litsa along on her first visit to Mexico in 1950, but this only reawakened the old frictions and resentments, and after leaving Mexico they never met again. After a series of angry and accusatory letters from Litsa lambasting Callas'

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during World War II. Simionato was convinced that Callas "managed to remain untouched", but never forgave her mother for what she perceived as a kind of prostitution forced on her. Litsa, beginning in New York and continuing in Athens, had adopted a questionable lifestyle that included not only

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Callas' relationship with La Scala had also started to become strained after the Edinburgh incident, and this effectively severed her major ties with her artistic home. Later in 1958, Callas and Rudolf Bing were in discussion about her season at the Met. She was scheduled to perform in Verdi's

1977:

In fact the essence of her art was refinement. The term seems odd for a performer whose imagination and means of expression were so prodigious. She was eminently capable of the grand gesture; still, judging strictly from the evidence of her recordings, we know (and her few existing film clips

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Eugenio Gara states, "Much has been said about her voice, and no doubt the discussion will continue. Certainly no one could in honesty deny the harsh or "squashed" sounds, nor the wobble on the very high notes. These and others were precisely the accusations made at the time against Pasta and

1829:

said of Callas, "Maybe she had three voices, maybe she had three ranges, I don't know—I am a professional singer. Nothing disturbed me, nothing! I bought everything that she offered me. Why? Because all of her voices, her registers, she used how they should be used—just to tell us something!"

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Callas' vocal registers, however, were not seamlessly joined; Walter Legge writes, "Unfortunately, it was only in quick music, particularly descending scales, that she completely mastered the art of joining the three almost incompatible voices into one unified whole, but until about 1960, she

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way, where no matter how heavy a voice, it should always be kept light, it should always be worked on in a flexible way, never to weigh it down. It is a method of keeping the voice light and flexible and pushing the instrument into a certain zone where it might not be too large in sound, but

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wherein she asserts that Devetzi conned Maria out of control of half of her estate while promising to establish the Maria Callas Foundation to provide scholarships for young singers; after hundreds of thousands of dollars had allegedly vanished, Devetzi finally did establish the foundation.

2690:. Critically, this was a musical disaster owing to both performers' worn-out voices. However, the tour was an enormous popular success. Audiences thronged to hear the two performers, who had so often appeared together in their prime. Her final public performance was on November 11, 1974, in 1924:

enables her to suggest by musical means even the exclamation marks and commas of the text." Technically, not only did she have the capacity to perform the most difficult florid music effortlessly, but also she had the ability to use each ornament as an expressive device rather than for mere

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As to whether these troublesome spots were due to the nature of the voice or to technical deficiencies, Celletti says: "Even if, when passing from one register to another, Callas produced an unpleasant sound, the technique she used for these transitions was perfect." Musicologist and critic

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and I was heavy and uncomfortable to move around. In any case, it was uncomfortable and I didn't like it. So I felt now if I'm going to do things right—I've studied all my life to put things right musically, so why don't I diet and put myself into a certain condition where I'm presentable.

1799:. I can still remember the effect of that note in the opera house—it was like a star!" For Italian soprano Renata Tebaldi, "the most fantastic thing was the possibility for her to sing the soprano coloratura with this big voice! This was something really special. Fantastic absolutely!" 831:

in the same theatre, fell ill. Unable to find a replacement for Carosio, Serafin told Callas that she would be singing Elvira in six days; when Callas protested that she not only did not know the role, but also had three more Brünnhildes to sing, he told her "I guarantee that you can".

1919:

In addition to her musical skills, Callas had a particular gift for language and the use of language in music. In recitatives, she always knew which word to emphasize and which syllable in that word to bring out. Michael Scott notes, "If we listen attentively, we note how her perfect

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in the small role of Clotilde. Callas and the London public had what she called "a love affair", and she returned to the Royal Opera House in 1953, 1957, 1958, 1959, and 1964 to 1965. It was at the Royal Opera House where, on July 5, 1965, Callas ended her stage career in the role of

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weight, she couldn't seem to sustain the great sound that she had made, and the body seemed to be too frail to support that sound that she was making. Oh, but it was oh so exciting. It was thrilling. I don't think that anyone who heard Callas after 1955 really heard the Callas voice.

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into advantages of her singing." Giulini believes, "If melodrama is the ideal unity of the trilogy of words, music, and action, it is impossible to imagine an artist in whom these three elements were more together than Callas." He recalls that during Callas' performances of

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After several appearances as a student, Callas began appearing in secondary roles at the Greek National Opera. De Hidalgo was instrumental in securing roles for her, allowing Callas to earn a small salary, which helped her and her family get through the difficult war years.

1522:, which imparted to every passage a significance totally beyond the reach of lighter and more spontaneous singers... The best of her audience were held in thrall, without being able to analyze what made up the spell, what produced the effect—as soon as she opened her lips. 455:

A model student. Fanatical, uncompromising, dedicated to her studies heart and soul. Her progress was phenomenal. She studied five or six hours a day. ...Within six months, she was singing the most difficult arias in the international opera repertoire with the utmost

1256:"quickly became legendary in operatic circles". Bing and Callas later reconciled their differences, and she returned to the Met in 1965 to sing the title role in two performances as Tosca opposite Franco Corelli as Cavaradossi for one performance (March 19, 1965) and 2815:

According to several Callas biographers, Vasso Devetzi, a Greek pianist near the same age as Callas, insinuated herself into Callas' trust during her last years and acted virtually as her agent. This claim is corroborated by Iakintha (Jackie) Callas in her 1990 book

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at the Olympia Theatre. Callas' performance as Marta received glowing reviews. Critic Spanoudi declared Callas "an extremely dynamic artist possessing the rarest dramatic and musical gifts", and Vangelis Mangliveras evaluated Callas' performance for the weekly

2760:. As she had married in a Roman Catholic church, this divorced her in Greece. The renunciation also helped her finances, as she no longer had to pay U.S. taxes on her income. Her relationship with Onassis ended two years later in 1968, when he left Callas for 836:

words, "the notion of any one singer embracing music as divergent in its vocal demands as Wagner's Brünnhilde and Bellini's Elvira in the same career would have been cause enough for surprise; but to attempt to essay them both in the same season seemed like

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When Maria Kaloyeropoulou's Leonore let her soprano soar out radiantly in the untrammelled jubilation of the duet, she rose to the most sublime heights...Here she gave bud, blossom and fruit to that harmony of sound that also ennobled the art of the prima

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has stated, "If I followed the musical score when she was singing, I would see every tempo marking, every dynamic marking, everything being adhered to, and at the same time, it was not antiseptic; it was something that was very beautiful and moving."

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immigrant parents, she was raised by an overbearing mother who had wanted a son. Maria received her musical education in Greece at age 13 and later established her career in Italy. Forced to deal with the exigencies of 1940s wartime poverty and with

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wrote that Corelli had "earned great respect from the fearsomely demanding Callas, who, in Mr Corelli, finally had someone with whom she could act." The two collaborated several more times at La Scala, singing opposite each other in productions of

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precisely due to this fact. Why? Because for all its natural lack of varnish, velvet and richness, this voice could acquire such distinctive colours and timbres as to be unforgettable." However, in his review of Callas' 1951 live recording of

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every piece of jewellery she ever owned. And she said, 'You all know what's happened. Tonight, for me, is a very difficult night, and I will need the help of every one of you.' Well, she proceeded to give a performance that was historical."

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Covent Garden after the weight loss), critics again felt her voice had changed for the better, that it had now supposedly become a more precise instrument, with a new focus. Many of her most critically acclaimed appearances are from 1954–58 (

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During 1953 and early 1954, she lost almost 80 pounds (36 kg), turning herself into what Rescigno called "possibly the most beautiful lady on the stage". Various rumors spread regarding her weight loss method; one had her swallowing a

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adds, "Callas' 'faults' were in the voice and not in the singer; they are so to speak, faults of departure but not of arrival. This is precisely Celletti's distinction between the natural quality of the voice and the technique." In 2005,

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Adored by many opera enthusiasts, Callas was a controversial artist. Although Callas was the great singer often dismissed simply as an actress she considered herself foremost a musician, that is, the first instrument of the orchestra."

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Yes, but I don't like it. I have to do it, but I don't like it at all because I don't like the kind of voice I have. I really hate listening to myself! The first time I listened to a recording of my singing was when we were recording

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Scott asserts that "Of all the many roles Callas undertook, it is doubtful if any had a more far-reaching effect." This initial foray into the bel canto repertoire changed the course of Callas' career and set her on a path leading to

3133:, which shows Callas in the 1970s during her decline. The film premiered at the 81st Venice International Film Festival on August 29, 2024. Jolie received a "rapturous" eight-minute standing ovation towards the end of the screening. 1929:

states, "What interested me most was how she gave the runs and the cadenzas words. That always floored me. I always felt I heard her saying something—it was never just singing notes. That alone is an art." Walter Legge states that,

1721:), but within the same program, Callas' teacher, Elvira de Hidalgo, speaks of the voice soaring to a high E-natural but does not mention a high F. Callas remained silent on the subject, neither confirming nor denying either claim. 2932:

was born in this hospital on December 2, 1923. These halls heard for the first time the musical notes of her voice, a voice which has conquered the world. To this great interpreter of universal language of music, with gratitude."

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A 2010 study by Italian vocal researchers Franco Fussi and Nico Paolillo revealed Callas was very ill at the time of her death and her illness was related to her vocal deterioration. According to their findings, presented at the

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Callas attributed her problems to a loss of confidence brought about by a loss of breath support, even though she does not make the connection between her weight and her breath support. In an April 1977 interview with journalist

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Litsa was convinced that her third child would be a boy; her disappointment at the birth of another daughter was so great that she refused to even look at her new baby for four days. Maria was christened three years later at the

7767: 2669:, Callas is said to have fainted after a day of strenuous running back and forth on a mudflat in the sun. The film was not a commercial success, but as Callas' only film appearance, it documents something of her stage presence. 252:

that left her nearly blind onstage, she endured struggles and scandal over the course of her career. She underwent a mid-career weight loss, which might have contributed to her vocal decline and the premature end of her career.

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almost unfailingly accurate, even in the trickiest intervals. There is hardly a bar in the whole range of nineteenth-century music for high soprano that seriously tested her powers." And as she demonstrated in the finale of

5614:, conducted by Georges Prêtre, studio recording for EMI in stereo, July 1964. It is her only performance of the role, and her only performance of the complete opera; she never appeared in it onstage. The recording used the 2168:'s version. A few days later, he went to visit Tebaldi, only to find her sitting by the speakers, listening intently to Callas' recording. She then looked up at him and asked, "Why didn't you tell me Maria's was the best?" 1430:

means a big voice, a great voice. A great ugly voice, in a way." Callas did not like the sound of her own voice; in one of her last interviews, answering whether or not she was able to listen to her own voice, she replies,

356:

In 1957, she told Chicago radio host Norman Ross Jr., "There must be a law against forcing children to perform at an early age. Children should have a wonderful childhood. They should not be given too much responsibility."

2193:], because the voice was very different. She was really something unusual. And I remember that I was very young artist too, and I stayed near the radio every time that I know that there was something on radio by Maria. 982:

on a few days' notice. Throughout her career, Callas displayed her vocal versatility in recitals that juxtaposed dramatic soprano arias alongside coloratura pieces, including in a 1952 RAI recital in which she opened with

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She was not just a singer, but a complete artist. It's foolish to discuss her as a voice. She must be viewed totally—as a complex of music, drama, movement. There is no one like her today. She was an esthetic phenomenon.

2764:. However, the Onassis family's private secretary Kiki writes in her memoir that even while Aristotle was with Jackie, he frequently met with Maria in Paris, where they resumed what had now become a clandestine affair. 2592:, with the voiceover narration, "Here she is in rehearsal, sounding perfectly healthy", followed by "If you want to hear Callas, don't get all dressed up. Just go to a rehearsal; she usually stays to the end of those." 1678:

is in the key of E, the final note could not have been an F, as it would have been dissonant. Author Eve Ruggieri has referred to the penultimate note in "Mercè, dilette amiche" from the 1951 Florence performances of

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I have a theory about what caused her vocal decline, but it's more from watching her sing than from listening. I really think it was her weight loss that was so dramatic and so quick. It's not the weight loss

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Callas articulates all of the trills, and she binds them into the line more expressively than anyone else; they are not an ornament but a form of intensification. Part of the wonder in this performance is the

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Malibran, two geniuses of song (as they were then called), sublime, yet imperfect. Both were brought to trial in their day. ... Yet few singers have made history in the annals of opera as these two did."

6403: 6401: 6399: 6397: 6395: 6393: 6391: 6389: 6387: 6385: 6383: 6381: 6379: 2119:...No...with Coca Cola". However, witnesses to the interview stated that Callas had said only "champagne with cognac", and that it was a bystander who had quipped: "...No...with Coca-Cola." Nevertheless, the 6377: 6375: 6373: 6371: 6369: 6367: 6365: 6363: 6361: 6359: 1527:

thick molasses", and in 1968 she added, "They say I was not a true soprano, I was rather toward a mezzo". Regarding her ability to sing the heaviest as well as the lightest roles, she told James Fleetwood,

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noted, "e watch ... the constantly sinking, depressed chest and hear the resulting deterioration". This continual change in posture has been cited as visual proof of a progressive loss of breath support.

8928: 720:, Johnson confirmed that a contract was offered: "... but she didn't like it—because of the contract, not because of the roles. She was right in turning it down—it was frankly a beginner's contract." 339:

Callas' relationship with her mother continued to erode during the years in Greece, and in the prime of her career, it became a matter of great public interest, especially after a 1956 cover story in

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soprano. The contrast between Callas' often unconventional vocal qualities and Tebaldi's classically beautiful sound resurrected a debate, namely, beauty of sound versus the expressive use of sound.

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Regarding Callas' soft singing, Celletti says, "In these soft passages, Callas seemed to use another voice altogether, because it acquired a great sweetness. Whether in her florid singing or in her

4719:, conducted by Guido Picco, live performance, Mexico City, June 20, 1950. In the aria "D'amor sull'ali rosee", Callas sings Verdi's original high D flat, likewise in her 1951 San Carlo performance. 2756:, to facilitate the end of her marriage to Meneghini. This was because after her renunciation, she was only a Greek citizen, and under Greek law of that time, a Greek could legally marry only in a 1915:'s teacher observed of his most famous pupil; simultaneously, she is on earth, standing in the courtyard of the palace of Aliaferia, floating her voice to the tower where her lover lies imprisoned. 423:, asking her to take Mary, as she was then called, as a student for a modest fee. In 1957, Trivella recalled her impression of "Mary, a very plump young girl, wearing big glasses for her myopia": 2424:

My best recordings were made when I was skinny, and I say skinny, not slim, because I worked a lot and couldn't gain weight back; I became even too skinny ... I had my greatest successes —

1044:, but when he suggested Callas, Ghiringhelli said that he would never have Callas at La Scala except as a guest artist. However, as Callas' fame grew, and especially after her great success in 435:

Trivella agreed to tutor Callas, completely waiving her tuition fees, but no sooner had Callas started her formal lessons and vocal exercises than Trivella began to feel that Callas was not a

506:

Callas studied with Trivella for two years before her mother secured another audition at the Athens Conservatoire with de Hidalgo. Callas auditioned with "Ocean, Thou Mighty Monster" from

9029: 7777: 431:. It was by any standards an amazing phenomenon, or rather it was a great talent that needed control, technical training and strict discipline in order to shine with all its brilliance. 8999: 8869: 8615: 2581:, and the President's wife called to tell her they knew she was sick. However, they made no statements to the media, and the endless stream of press coverage aggravated the situation. 2279:

to appear. Walter Legge, who produced nearly all of Callas' EMI/Angel recordings, states that Callas "ran into a patch of vocal difficulties as early as 1954": during the recording of

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Photos and videos of Callas during her heavy era show a very upright posture with the shoulders relaxed and held back. Of a television broadcast from May 1960 of a recital in Hamburg,

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in Paris, New York, and London from January–February 1964. Her last stage performance was July 5, 1965, at Covent Garden. A live television transmission of act 2 of the Covent Garden

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Most admirable of all her qualities, however, were her taste, elegance and deeply musical use of ornamentation in all its forms and complications, the weighting and length of every

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says that Litsa's hateful treatment of George in front of their young children led to resentment and dislike on Callas' part. According to both Callas' husband and her close friend

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and Nicola Rossi-Lemeni. These were her only appearances on this world-renowned stage. Her debut in the United States was five years later in Chicago in 1954, and "with the Callas

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During a 1978 interview, upon being asked "Was it worth it to Maria Callas? She was a lonely, unhappy, often difficult woman", music critic and Callas' friend John Ardoin replied:

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on opening night in December 1951, and this theatre became her artistic home throughout the 1950s. La Scala mounted many new productions specially for Callas by directors such as

375:, Callas related to them that her mother, who did not work, pressed her to "go out with various men", mainly Italian and German soldiers, to bring home money and food during the 1795:'s!" In the same vein, mezzo-soprano Giulietta Simionato said: "The first time we sang together was in Mexico in 1950, where she sang the top E-flat in the second-act finale of 8582: 1990:

In regard to Callas' physical acting style, Nicola Rescigno states, "Maria had a way of even transforming her body for the exigencies of a role, which is a great triumph. In

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partially and intermittently. The result is a breathy sound—tolerable but hardly beautiful—when the singer sings lightly, and a voice spread and squally when under pressure.

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conducted by Nicola Rescigno, live performance at the Dallas Civic Opera November 6, 1958; considered to be Callas' most notable performance of Cherubini's opera. (Italian)

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by her teacher why she did this, her answer was that even "with the least talented pupil, he can teach you something that you, the most talented, might not be able to do."

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said, "Her high E's and F's are taken full voice." Although no definite recording of Callas singing high Fs has surfaced, the presumed E-natural at the end of Rossini's

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After returning to the United States and reuniting with her father in September 1945, Callas made the round of auditions. In December of that year, she auditioned for

2285:, done immediately after the weight loss, the "wobble had become so pronounced" that he told Callas they "would have to give away seasickness pills with every side". 8918: 8798: 1783:

This combination of size, weight, range and agility was a source of amazement to Callas' own contemporaries. One of the choristers present at her La Scala debut in

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s Bell Song. Whether or not Callas ever sang a high F-natural in performance has been open to debate. After her June 11, 1951, concert in Florence, Rock Ferris of

405: 9130: 2925: 2538:

ran a damaging cover story about Callas, with special attention paid to her difficult relationship with her mother and some unpleasant exchanges between the two.

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wrote of her: "Nearly thirty years after her death, she's still the definition of the diva as artist—and still one of classical music's best-selling vocalists."

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brings up comparisons with Callas and notes an increasing acidity and thinning in Voigt's voice that recall the changes in Callas' voice after her weight loss:

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there. After being stolen and later recovered, they were scattered over the Aegean Sea, off the coast of Greece, according to her wish, in the spring of 1979.

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Regarding Callas' technical prowess, Celletti says, "We must not forget that she could tackle the whole gamut of ornamentation: staccato, trills, half-trills,

860:

recalled, "What she did in Venice was really incredible. You need to be familiar with opera to realize the size of her achievement. It was as if someone asked

347:(1960). In public, Callas recalls the strained relationship with Litsa on her unhappy childhood spent singing and working at her mother's insistence, saying, 2320: 1707: 8440: 1994:, everything would slope down; everything indicated sickness, fatigue, softness. Her arms would move as if they had no bones, like the great ballerinas. In 1352:

in May 1953, she realized that she needed a leaner face and figure to do dramatic justice to this as well as the other roles she was undertaking. She adds,

1518:

and brilliancy, when acquired, gained a character of their own... There were a breadth, an expressiveness in her roulades, an evenness and solidity in her

264:. Although her dramatic life and personal tragedy have often overshadowed Callas the artist in the popular press, her artistic achievements were such that 8891: 2108:

times even engulfing the two women themselves, who were said by their more fanatical followers to have engaged in verbal barbs in each other's direction.

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Despite these hostilities, Callas managed to continue and made her debut in a leading role in August 1942 as Tosca, going on to sing the role of Marta in

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pushing her daughters into degrading situations to support her financially, but also entertaining Italian and German soldiers during the Axis occupation.

2440:— when I was skinny as a nail. Even for my first time here in Paris in 1958 when the show was broadcast through Eurovision, I was skinny. Really skinny." 1814: 8964: 1903:

through her tone—the other side of not singing full-out all the way through. One of the vocal devices that create that chiaroscuro is a varying rate of

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could achieve such moving sweetness that the sound seemed to come from on high ... I don't know, it seemed to come from the skylight of La Scala."

12353: 12328: 2604:, two very different operas which almost require totally different singers. Callas and the Met could not reach an agreement, and before the opening of 1577:

ensured that her voice could be clearly heard anywhere in the auditorium." Celletti wrote that Callas had "a voluminous, penetrating, and dark voice" (

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Callas' range in performance (highest and lowest notes both shown in red): from F-sharp below the Middle C (green) to E-natural above the High C (blue)

1017:

Although by 1951, Callas had sung at all the major theatres in Italy, she had not yet made her official debut at Italy's most prestigious opera house,

9021: 1738:, attributed this sound to the "extraordinary formation of her upper palate, shaped like a Gothic arch, not the Romanesque arch of the normal mouth". 12348: 11045: 8200: 7155: 3691: 3656: 2646:

of 1964 was broadcast in Britain on February 9, 1964, giving a rare view of Callas in performance and of her on-stage collaboration with Tito Gobbi.

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shortly before her death shows her voice to be in much better shape than much of her 1960s recordings and far healthier than the 1970s concerts with

1959:

s she did in the old , I felt like I was watching the actual story on which the opera had later been based." Callas was not, however, a realistic or

637: 3696: 3661: 2374:, it would never have been an issue. But she was singing the most difficult repertoire, the stuff that requires the most stamina, the most strength. 714:

and did not like the idea of opera in English. Although no written evidence of this offer exists in the Met's records, in a 1958 interview with the

642: 295:

The name on Callas' New York birth certificate is Sophie Cecilia Kalos, although she was christened Maria Anna Cecilia Sofia Kalogeropoulos (Greek:

9155: 8987: 8859: 2779: 529: 7984: 12313: 9483: 8414: 5308:. For even though her voice betrays her at times, her intellect and spirit have now conquered the part in a manner that outdistances all others." 5300:, live performance, London, June 20, 1958; considered by many critics to be Callas' most notable recording of Verdi's famous opera. Music critic 2928:, minted in 2007. Her image is shown in the obverse of the coin, and on the reverse the National Emblem of Greece with her signature is depicted. 1746:

there were no musical or technical difficulties in this part of the voice which she could not execute with astonishing, unostentatious ease. Her

8672: 8328: 427:

The tone of the voice was warm, lyrical, intense; it swirled and flared like a flame and filled the air with melodious reverberations like a

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and verismo roles, where her limited upper extension and her lack of a florid technique were not issues. They shared a few roles, including

1670:—a poor-quality bootleg recording of uncertain pitch—has been referred to as a high F by Italian musicologists and critics Eugenio Gara and 1339:" (1.74 m), and I used to weigh no more than 200 pounds (90 kilograms)." Tito Gobbi relates that during a lunch break while recording 8099: 7857: 6942: 2370:

somebody who knew her well, that the way Callas held her arms to her solar plexus to push and create some kind of support. If she were a

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minutes, when you get used to, when you become friends with this kind of sound, then the sound becomes a magical quality. This was Callas.

1325:

In the early years of her career, Callas was a heavy woman; in her own words, "Heavy—one can say—yes I was; but I'm also a tall woman, 5'

617:

Following these performances, even Callas' detractors began to refer to her as "The God-Given". Some time later, watching Callas rehearse

8957:[Monica Bellucci and Maria Callas, the story of total identification between letters, memories and an Yves Saint Laurent dress]. 789:

Lord Harewood stated "Very few Italian conductors have had a more distinguished career than Tullio Serafin, and perhaps none, apart from

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was released, which depicts Callas' life and work in her own words by using her interviews, letters, and performances to tell her story.

9476: 8387: 2924:

The 30th anniversary of the death of Maria Callas was selected as the main motif for a high value euro collectors' coin: the €10 Greek

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specialist, and she was rooted in the early 20th century Italian school of singing just as firmly as Callas was rooted in 19th century

1319:

The estate of Maria Callas writes that she lost 30 kilograms (66 lb) from 1953 to 1954. Other weight loss estimates include 36 kg.

324: 9378:

Seletsky, Robert E., "Callas at EMI: Remastering and Perception"; "A Callas Recording Update"; "A Callas Recording Update...updated",

352:

and growing up, I was singing or making money. Everything I did for them was mostly good and everything they did to me was mostly bad.

3048:

In the 2018–2019 season, BASE Hologram Productions presented Callas in Concert in the United States, Puerto Rico, Mexico, and Europe.

2749: 8647: 627:, rival soprano Anna Remoundou asked a colleague "Could it be that there is something divine and we haven't realized it?" Following 8745: 1970:

soprano Augusta Oltrabella said, "Despite what everyone says, was an actress in the expression of the music, and not vice versa."

1487:—that is to say, a sizable coloratura voice with dramatic capabilities, not the other way around." On the other hand, music critic 6833: 550:. As a young girl—thirteen years old—I was immediately thrown into her arms, meaning that I learned the secrets, the ways of this 8472: 3069:

played Callas for an evocation telling the singer's story through her own letters and words in a theater show directed by Volf,

3015:

was inspired by the relationship between Callas and Onassis. Other popular musicians have paid tribute to Callas in their music:

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at the Met in 1968, and the two were reunited. In 1978, Tebaldi spoke warmly of her late colleague and summarized this rivalry:

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in Buenos Aires. Callas made her South American debut in Buenos Aires on May 20, 1949, during the European summer opera recess.

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Schneider, Magnus Tessing, 'The Violettas of Patti, Muzio and Callas: Style, interpretation, and the question of legacy', from

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wrote that in this performance "Callas' use of her voice to expressive ends amounts to an amalgamation of the best in previous

1734:

described it—and was noted for its veiled or "bottled" sound, as if she were singing into a jug. Walter Legge, husband of diva

1073:. Visconti stated later that he began directing opera only because of Callas, and he directed her in lavish new productions of 536: 180: 35: 4629:

All recordings are in mono unless otherwise indicated. Live performances are typically available on multiple labels. In 2014,

12358: 11038: 9297: 9262: 9235: 8424: 8397: 8210: 8183: 8140: 8083: 7924: 7897: 7590: 7532: 7470: 7446: 7354: 7262: 7057: 6926: 6775: 6727: 6699: 6674: 6552: 6260: 6092: 2775:

Callas spent her last years living largely in isolation in Paris and died of a heart attack at age 53 on September 16, 1977.

1345: 2686:. Callas staged a series of joint recitals in Europe in 1973 and in the U.S., South Korea, and Japan in 1974 with the tenor 12343: 9078: 8035: 107: 8294: 1597:, Bonynge stated, "But before she slimmed down, I mean this was such a colossal voice. It just poured out of her, the way 1213: 12318: 11094: 9206: 7940: 2753: 9170: 8955:"Monica Bellucci e Maria Callas, storia di un'immedesimazione totale tra lettere, memorie e un abito Yves Saint Laurent" 8010: 844:

Before the performance actually took place, one incredulous critic snorted, "We hear that Serafin has agreed to conduct

460:

On April 11, 1938, in her public debut, Callas ended the recital of Trivella's class at the Parnassos music hall with a

9409: 6151: 3090: 2356:

posited that videos of Callas in the late 1950s and early 1960s reveal a posture that betrays breath-support problems:

1587:

wrote that "she displayed a vocal generosity that was scarcely believable for its amplitude and resilience." In a 1982

5855: 1843: 474:

had a French method, which was placing the voice in the nose, rather nasal... and I had the problem of not having low

327:

in 1926. When Maria was 4, George Callas opened his own pharmacy, settling the family in Manhattan on 192nd Street in

9499: 9394: 8723: 7711:"Deborah Voigt's New Problem: Now that she looks the part, the soprano sounds troublingly tentative and colorless in 7224: 7012: 7008: 5767: 5724: 4616: 2912: 2714:

In 1957, while still married to husband Giovanni Battista Meneghini, Callas was introduced to Greek shipping magnate

1764: 833: 168: 11746: 1108:

opposite Callas' Julia. The two had sung together for the first time the year previously in Rome in a production of

404:, without success. At the audition, her voice, still untrained, failed to impress, and the conservatoire's director 12323: 11031: 8954: 2546: 5960: 3815: 2328:

Callas' close friend and colleague Tito Gobbi thought that her vocal problems all stemmed from her state of mind:

1200:. She further consolidated this company's standing when, in 1958, she gave "a towering performance as Violetta in 10736: 10440: 9318: 4674: 2228:

has stated that it was a loss of physical strength and breath-support that led to Callas' vocal problems, saying,

1401:

stated that Callas possessed that most essential ingredient for a great singer: an instantly recognizable voice.

420: 10806: 5641: 4598: 3082: 2588:

included file footage of Callas from 1955 sounding well, intimating the footage was of rehearsals for the Rome

2288:

There were others, however, who felt that the voice had benefitted from the weight loss. Of her performance of

2225: 710:, to be performed in Philadelphia and sung in English, both of which she declined, feeling she was too fat for 400:

Callas received her musical education in Athens. Initially, her mother tried to enroll her at the prestigious

11817: 4594: 2111:

Tebaldi was quoted as saying, "I have one thing that Callas doesn't have: a heart", and Callas was quoted in

496:, Callas attributed the development of her chest voice not to Trivella, but to her next teacher, the Spanish 328: 192:

who was one of the most renowned and influential opera singers of the 20th century. Many critics praised her

1955:

Regarding Callas' acting ability, vocal coach and music critic Ira Siff remarked, "When I saw the final two

1397:

Callas' voice was and remains controversial; it bothered and disturbed as many as it thrilled and inspired.

12363: 11376: 10975: 10314: 9131:"Angelina Jolie Weeps Through Rapturous 8-Minute Venice Standing Ovation for 'Maria,' Launching Oscar Buzz" 8772: 8553: 300: 9445: 8528: 6330: 3096:

In 2021, the first annual Maria Callas Monaco Gala & Award, organized under the High Patronage of HSH

1181:

Her Metropolitan Opera debut, opening the Met's seventy-second season on October 29, 1956, was again with

760:. During her audition, Zenatello became so excited that he jumped up and joined Callas in the act 4 duet. 532:, and in the fall of the same year she enrolled at the Athens Conservatoire in Elvira de Hidalgo's class. 11195: 9103: 6276: 6135: 3097: 1035:

in 1950, and La Scala's general manager, Antonio Ghiringhelli, had taken an immediate dislike to Callas.

663:

During August and September 1944, Callas performed the role of Leonore in a Greek language production of

9351: 9337: 9079:"Angelina Jolie to Star in 'Spencer' Director Pablo Larraín's Next Film About Opera Singer Maria Callas" 2444:

And shortly before her death, Callas confided her own thoughts on her vocal problems to Peter Dragadze:

1316: 12249: 11235: 8696: 7754: 7174: 5434: 5186:, conducted by Antonino Votto, studio recording for EMI, August–September 1956. Like her recordings of 4880: 2761: 2661:

cast Callas in her only non-operatic acting role, as the Greek mythological character of Medea, in his

11409: 5877: 3111:

In October 2021, a 1.8 metre-tall statue of Callas at the base of the Acropolis in Athens, created by

2621:. Callas and Bing reconciled in the mid 1960s, and Callas returned to the Met for two performances of 2458:

her death at age 53, according to Walter Legge, "she ought still to have been singing magnificently".

2100:

During the early 1950s, an alleged rivalry arose between Callas and Renata Tebaldi, an Italian lyrico

1877:

for timing and for what one of her colleagues described as "a sense of the rhythm within the rhythm".

12082: 10395: 9371:

Seletsky, Robert E. (2004), "The Performance Practice of Maria Callas: Interpretation and Instinct",

7278: 3594: 3566: 376: 8234: 5490: 4738: 4661: 2783: 1411: 11493: 11324: 11127: 10521: 10491: 8823:

Bavelier, Ariane; Garat, Jean-Baptiste; Hillériteau, Thierry; Puech, Benjamin (December 10, 2019).

4469: 4414: 4055: 3707: 3672: 3414: 3244: 3216: 3078: 2613:

never wavered, and in September 1959, he sneaked into La Scala in order to listen to Callas record

2028: 1760: 1389: 653: 613:

Alexandra Lalaouni: 'Kalogeropoulou is one of those God-given talents that one can only marvel at.'

8827:[Classics in the hood: our selection of records, DVDs and books to satisfy music lovers]. 6430:, Paris, 1968. Complete audio recording of the interview, including portions not released on DVD, 6286: 6145: 2902:. It depicted the last months of Callas' life, when she was seduced into the making of a movie of 2009:

Callas stated that, in opera, acting must be based on the music, quoting Serafin's advice to her:

11402: 11343: 11054: 9361: 5930: 5562: 5530:), conducted by Nicola Rescigno, studio recording for EMI in stereo, December 1963 – January 1964 5022: 4980: 4760: 4587: 4441: 4386: 4073: 3899: 3809: 3628: 3469: 3021:

released the instrumental "Callas Went Away" using samples of Callas' voice, on their 1990 album

2522:

The latter half of Callas' career was marked by a number of scandals. Following a performance of

198:

technique, wide-ranging voice and dramatic interpretations. Her repertoire ranged from classical

20: 10531: 8825:"Du classique dans la hotte: notre sélection de disques, DVD et livres pour gâter les mélomanes" 7817: 7710: 6302: 6161: 5865: 5568: 5239: 3600: 1689:'s review of the live recording of the performance as well as by the review of the recording in 1093: 10751: 8919:"Monica Bellucci: 'La Callas que j'incarne est la femme fragile que peu de gens connaissaient'" 8864: 8107: 7749:

April 1977 Interview with journalist Philippe Caloni, translated by Marie Gilles, available at

7142: 6078: 5594:), conducted by Nicola Rescigno, studio recording for EMI in stereo, December 1963 – April 1964 5572:), conducted by Nicola Rescigno, studio recording for EMI in stereo, December 1963 – April 1964 5556: 5514: 5271:, conducted by Tullio Serafin, studio recording for Ricordi in stereo, September 1957 (Italian) 4857: 4641:, consisting of her complete studio recordings totaling 39 albums in a boxed set remastered at 3405: 2954: 2383: 2006:'s singing that made the dramatic impact... He didn't know what he was singing, but she knew." 1717:

speaks of Callas' voice going to high F (he also talked about her lower register extending to C

1712: 1643:), heard in the aria "Mercè, dilette amiche" in the final act of the same opera, as well as in 1245: 1227: 1206: 1175: 1142:

The Villa in Sirmione where Callas lived with Giovanni Battista Meneghini between 1950 and 1959

918: 690: 11170: 8130: 7798: 5970: 5673:), conducted by Nicola Rescigno, studio recording for EMI in stereo, January 1964 – March 1969 5429: 4861:, live performance conducted by Vittorio Gui, Teatro Comunale, Florence, May 7, 1953 (Italian) 2694:, Japan. Callas and Di Stafano were to have appeared together in four staged performances of 2164:

in order to help her learn the role. Being fully aware of the alleged rivalry, he recommended

1252:. She accepted and sang the role in a January 1959 performance that according to opera critic 1146:

The night of the day she married Meneghini in Verona, she sailed for Argentina to sing at the

12121: 12061: 11633: 11365: 10875: 10810: 10691: 9382:(2000), 16/2, pp. 240–255; 21/2 (2005), pp. 387–391; 21/3, pp. 545–546 (2005). 8506: 7045: 5882: 5822: 5785: 5604: 5478: 4756: 2937: 2468: 1735: 735: 11742: 11437: 9962: 5104:, conducted by Antonino Votto, live performance, La Scala, Milan, December 7, 1954 (Italian) 2337:

In support of Gobbi's assertion, a bootleg recording of Callas rehearsing Beethoven's aria "

1038:

Menotti recalls that Ghiringhelli had promised him any singer he wanted for the premiere of

948: 12308: 12303: 12209: 11612: 11203: 10571: 10168: 8992:[Maria Callas: Monaco Gala & Awards – The principality honors the great diva]. 8501: 5550: 5203: 4969: 4952: 4869: 4497: 4293: 4247: 4219: 4209: 4027: 3940: 3767: 3758: 3637: 3200: 3187: 3074: 2983: 2281: 1819: 1441: 956:

Callas is something I never dared to dream. It is not right. I am much smaller than Callas.

618: 586: 525: 520: 507: 401: 103: 11935: 8921:[Monica Bellucci: 'The Callas I play is the fragile woman that few people knew']. 8618:['Maria by Callas', on Arte, documents the theater of the diva's life and stage]. 5414: 4733:, live performance conducted by Tullio Serafin, Teatro San Carlo, Naples, January 27, 1951 2057:

itself, seemed artifice. Only that which transpired on stage was truth, life itself." Sir

8: 12135: 12100: 11838: 11556: 11224: 11210: 11184: 11177: 10666: 10511: 9952: 9440: 7719: 5619: 5449: 5198:

this was her only performance of the complete opera, as she never appeared onstage in it.

5139: 4938: 4932: 4829: 4780: 4775: 4669: 4664: 3844: 3838: 3720: 3460: 2949: 2687: 2658: 2346: 2152: 1791:. And before the evening was over, she took a high E-flat. And it was twice as strong as 1759:

on the commercial EMI set and the live recording from Cologne, she was able to execute a

1484: 1453: 1058: 882: 748: 739: 668: 372: 7547: 6808:"Franco Corelli, Italian Tenor of Power and Charisma, and Pillar of the Met, Dies at 82" 5278:, conducted by Gianandrea Gavazzeni, live performance, La Scala, Milan, December 7, 1957 2399:

Voigt explained how her dramatic weight loss affected her breathing and breath support:

697:, and was favorably received: "Exceptional voice—ought to be heard very soon on stage". 12054: 12026: 11845: 11707: 11142: 10701: 10621: 10611: 10259: 9997: 9621: 9431: 9251: 8616:"'Maria by Callas', sur Arte, documente le théâtre de la vie et de la scène de la diva" 7160: 6947: 6715: 5088: 5028: 4964: 4642: 4516: 4460: 4302: 4101: 2986:

from September 16 to December 14, 2017. Also in 2017, the documentary directed by Volf

2917: 2510: 2415: 2173: 2088: 1912: 1681: 1631: 1509:, a charge which would later be made against Callas". Ardoin points to the writings of 1483:

likewise felt that "At that stage of its development, her voice was a pure but sizable

1244:

realised that this situation provided him with an opportunity for his own company, the

1062: 1050:

in Florence, Ghiringhelli had to relent: Callas made her official debut at La Scala in

1046: 1022: 912: 873: 822: 783: 757: 694: 497: 11479: 5234:, conducted by Gianandrea Gavazzeni, live performance, La Scala, Milan, April 14, 1957 4726:, live performance conducted by Vittorio Gui, RAI Rome, November 20/21, 1950 (Italian) 4203: 2767: 2115:

magazine as saying that comparing her with Tebaldi was like "comparing Champagne with

1196:, and helped establish that company with her friends from Chicago, Lawrence Kelly and 581: 580:

Callas made her professional debut in February 1941, in the small role of Beatrice in

12235: 12216: 11852: 11761: 11619: 11351: 11285: 11264: 11102: 10990: 10626: 10541: 10496: 10249: 10183: 9882: 9761: 9606: 9458: 9405: 9390: 9293: 9258: 9231: 9149: 8420: 8393: 8336: 8302: 8268: 8206: 8179: 8136: 8079: 8073: 7972: 7920: 7914: 7893: 7887: 7586: 7580: 7528: 7522: 7466: 7442: 7350: 7344: 7258: 7053: 7004: 6922: 6803: 6771: 6723: 6695: 6670: 6664: 6493: 6338: 6256: 6249: 6088: 6082: 5902: 5033: 4959: 4907: 4824: 4805: 4330: 4274: 4138: 4095: 4082: 4067: 4040: 3995: 3908: 3880: 3825: 3786: 3735: 3685: 3650: 3609: 3581: 3553: 3525: 3497: 3482: 3454: 3441: 3426: 3327: 3271: 3171: 3124: 2979: 2945: 2715: 2662: 2263: 1699: 1644: 1292: 1268: 1115: 1066: 1018: 941: 937: 857: 649: 594: 500: 489: 265: 261: 157: 12128: 12075: 11430: 11250: 9626: 9468: 5459: 5078: 3780: 3516: 3101: 2003: 974: 256:

The press exulted in publicizing Callas' temperamental behavior, the alleged Callas-

12263: 11831: 11789: 11686: 11668: 11577: 11563: 11521: 11514: 11500: 11486: 11465: 11372: 11271: 11149: 11135: 11083: 10123: 9912: 9686: 9332: 9281: 7632: 7554:. The Gale Group Inc, 2006. Reprinted on Encyclopedia.com. Retrieved July 29, 2016. 5887: 5741: 5735: 5698: 5360:), conducted by Nicola Rescigno, studio recording for EMI in stereo, September 1958 5334:), conducted by Nicola Rescigno, studio recording for EMI in stereo, September 1958 5111:, conducted by Carlo Maria Giulini, live performance, La Scala, Milan, May 28, 1955 5095: 5073: 5063: 4992: 4913: 4896: 4818: 4795: 4768: 4358: 4123: 4046: 3871: 3538: 3510: 3312: 3284: 3256: 3229: 3177: 2875: 2840: 2830: 2677: 2673: 2570: 2206: 1873: 1859: 1803:

disguised those audible gear changes with cunning skill." Rodolfo Celletti states,

1671: 1649: 1598: 1405: 1163: 1102: 1070: 969: 933: 894: 818: 790: 702: 599: 440: 249: 213: 11900: 11859: 11507: 11451: 10661: 6765: 5172:, conducted by Antonino Votto, live performance, La Scala, Milan, December 7, 1955 3130: 2353: 543:

De Hildalgo had the real great training, maybe even the last real training of the

12114: 12107: 12019: 11998: 11970: 11949: 11928: 11873: 11735: 11693: 11640: 11423: 11306: 11191: 11163: 11076: 10985: 10656: 10606: 10591: 10551: 10445: 10324: 10254: 10244: 10098: 10057: 10047: 10032: 9907: 9877: 9847: 9787: 9711: 9681: 9581: 9576: 9546: 9355: 9274: 9246: 8361: 7803: 7565: 6191: 5633:, conducted by Georges Prêtre, studio recording for EMI in stereo, December 1964. 5388:, conducted by Tullio Serafin, studio recording for EMI in stereo, September 1960 5381:, conducted by Antonino Votto, studio recording for EMI in stereo, September 1959 5351: 5297: 5083: 5004: 4926: 4876: 4864: 4852: 4813: 4682: 4630: 4321: 4177: 4157: 4151: 4012: 3980: 3952: 3925: 3893: 3865: 3752: 3572: 3399: 3066: 2988: 2886: 2782:

on rue Georges-Bizet, Paris on September 20, 1977. She was later cremated at the

2757: 2472: 2382:

Deborah Voigt in 2006 shortly after her 135-pound (60 kg) weight loss after

2238: 1731: 1594: 1583: 1551:, which was Malibran of course. And a funny coincidence last year, I was singing 1493: 1283: 1222: 1197: 1187: 1167: 984: 929: 753: 516: 316: 10455: 9463: 5626:

that Callas perhaps should have sung mezzo roles instead of simply soprano ones.

5165:, conducted by Herbert von Karajan, live performance, Berlin, September 29, 1955 2267:

singing the most strenuous dramatic soprano repertoire—Peter Dragadze wrote for

1470:

Callas' voice has been difficult to place in the modern vocal classification or

1418:

Nicola Rossi-Lemeni relates that Callas' mentor Serafin used to refer to her as

1282:

as Adalgisa, a performance which survives on record and also features the young

1147: 12176: 12162: 12155: 12047: 12040: 12033: 12012: 12005: 11977: 11963: 11956: 11880: 11866: 11824: 11775: 11714: 11654: 11647: 11626: 11598: 11570: 11535: 11472: 11313: 11299: 11243: 11231: 11217: 11090: 11069: 10946: 10941: 10901: 10845: 10835: 10825: 10820: 10815: 10771: 10721: 10706: 10696: 10370: 10350: 10284: 10088: 9977: 9972: 9842: 9766: 9726: 9716: 9666: 9596: 9536: 8261:"Theater Review; Patti LuPone's Arrival Changes the Effect Of McNally's Script" 8036:"Who was Maria Callas, the great operatic soprano voice nicknamed 'La Divina'?" 7706: 7676: 7413: 7381: 6880: 6024: 5837: 5813: 5800: 5776: 5647: 5538: 5526: 5473: 5454: 5444: 5439: 5409: 5356: 5215: 4785: 4678: 4539: 4510: 4481: 4454: 4426: 4399: 4371: 4343: 4315: 4287: 4259: 4232: 3544: 3119: 3112: 3086: 3008: 3000: 2894: 2672:

From October 1971 to March 1972, Callas gave a series of master classes at the

2387: 2143: 2093: 2071: 1926: 1792: 1502: 1498: 1257: 1241: 1121: 1098: 1051: 1026: 865: 861: 743: 671:, who witnessed the performances, declared Leonore Callas' "greatest triumph": 511: 257: 7944: 7750: 7654: 7170: 4833:, conducted by Tullio Serafin, studio recording for EMI, January–February 1953 4545: 3011:

cites Callas as an influence; the song "The Canary" from Bellas's debut album

2023: 1674:. Callas expert Dr. Robert Seletsky, however, stated that since the finale of 813: 268:

called her "the Bible of opera", and her influence so enduring that, in 2006,

12297: 12287: 12190: 12183: 11782: 11768: 11754: 11700: 11605: 11591: 11542: 11458: 11292: 11116: 11010: 10995: 10921: 10906: 10850: 10830: 10801: 10731: 10671: 10646: 10566: 10526: 10481: 10430: 10335: 10294: 10289: 10279: 10224: 10193: 10153: 10138: 10067: 10052: 9937: 9902: 9817: 9751: 9741: 9691: 9646: 9616: 9566: 9556: 9526: 9289: 9177: 9022:"The Maria Callas Monaco Gala & Awards 2021 Grand Event is coming closer" 8692: 8585:[Two books, an exhibition, a film... the last secrets of La Callas]. 8449: 8340: 8306: 8272: 7680: 7340: 6342: 6167: 5484: 5419: 5374:, conducted by Tullio Serafin, studio recording for EMI in stereo, March 1959 5286: 5127: 4998: 4918: 4800: 4789: 4743: 4690: 4110: 3931: 3340: 3318: 3235: 3018: 2742: 2729: 2559: 2558:

inform the press that the additional performance was not approved by Callas.

2366: 2214: 2165: 2045: 1885: 1519: 1510: 1506: 1480: 1375:

unique in her generation and outstanding in the whole range of vocal history.

1276: 1110: 900: 869: 716: 72: 8892:"Μάγεψε ως Μαρία Κάλλας η Μόνικα Μπελούτσι στο Ηρώδειο (εικόνες και βίντεο)" 7210:

Interview with James Fleetwood, March 13 and 27, 1958, New York, release on

5506:), conducted by Georges Prêtre, studio recording for EMI in stereo, May 1963 4772:, live performance, Tullio Serafin, Teatro Comunale Florence, April 26, 1952 3007:

have mentioned Callas as a great musical influence. Opera-turned-pop singer

2160:

wrote of an incident in which Tebaldi asked him to recommend a recording of

2130:, these two singers never should have been compared. Tebaldi was trained by 1826: 1543:, all these operas were created for one type of soprano, the type that sang 771:

It was in this role that Callas made her Italian debut. Upon her arrival in

384:

father and husband, Callas ceased communication with her mother altogether.

12275: 12223: 12202: 12169: 12068: 11984: 11942: 11921: 11914: 11907: 11803: 11384: 11358: 11332: 11320: 11257: 11123: 11005: 10966: 10961: 10931: 10870: 10786: 10776: 10766: 10586: 10536: 10501: 10450: 10380: 10360: 10274: 10239: 10234: 10229: 10188: 10158: 10093: 10062: 10027: 10007: 9957: 9922: 9827: 9822: 9731: 9706: 9701: 9661: 9641: 8989:Μαρία Κάλλας: Monaco Gala & Awards – Το πριγκιπάτο τιμά τη μεγάλη ντίβα 8959: 8583:"Deux livres, une exposition, un film... les derniers secrets de La Callas" 8100:"Franco Zeffirelli Says Maria Callas Was Poisoned @www.classicalsource.com" 7799:"Callas Sang Here – Remembering A Great Love Affair In Our Musical History" 6938: 5520: 5043: 4709: 4686: 4634: 4432: 3853: 3622: 3387: 3372: 3355: 2948:

was named in her memory. The official naming citation was published by the

2899: 2864: 2852: 2848: 2844: 2835: 2807: 2719: 2682: 2554: 2131: 1935: 1890: 1868: 1398: 1279: 1253: 1218: 1193: 1135:(1960). Their partnership continued throughout the rest of Callas' career. 419:). In the summer of 1937, her mother visited Maria Trivella at the younger 11109: 11023: 10037: 7636: 4986: 3986: 3041: 1787:

recalled, "My God! She came on stage sounding like our deepest contralto,

1248:, and he accordingly approached her with a contract to perform Imogene in 415:

refused to accept her without her satisfying the theoretic prerequisites (

11728: 11721: 11661: 11584: 11549: 11416: 11339: 11278: 11156: 10911: 10855: 10791: 10741: 10726: 10631: 10601: 10576: 10561: 10460: 10435: 10415: 10299: 10269: 10213: 10178: 10163: 10118: 10017: 10002: 9982: 9967: 9947: 9932: 9927: 9892: 9862: 9857: 9852: 9837: 9812: 9802: 9797: 9756: 9676: 9656: 9651: 9591: 9516: 9223: 8994: 8923: 8688: 7957: 7518: 7505: 6489: 6101: 5901:"PBS tribute to Callas on the Anniversary of her Death", introduction by 5301: 5230: 5179:, conducted by Herbert von Karajan, studio recording for EMI, August 1956 5053: 5048: 4891: 4849:, conducted by Tullio Serafin, studio recording for EMI, March–April 1953 4694: 4405: 3432: 3378: 3105: 3030: 3004: 2881:

In 1997, she was featured as one of 18 significant historical figures in

2860: 2787: 2528: 2338: 2127: 2058: 1947: 1900: 1686: 1613: 1568: 1513:

about Pasta which bear an uncanny resemblance to descriptions of Callas:

1488: 1237: 924: 888: 475: 200: 188:; December 2, 1923 – September 16, 1977) was an American-born Greek 7965: 7463:

The Legacy of Opera: Reading Music Theatre as Experience and Performance

5092:), conducted by Tullio Serafin, studio recording for EMI, September 1954 5014:), conducted by Tullio Serafin, studio recording for EMI, September 1954 2665:. The production was grueling, and according to the account in Ardoin's 2053:, "reality was onstage. What stood behind me, the audience, auditorium, 763: 11528: 10971: 10956: 10865: 10781: 10761: 10686: 10681: 10581: 10546: 10486: 10420: 10410: 10405: 10390: 10218: 10203: 10198: 10148: 10128: 10103: 9992: 9872: 9721: 9454: 8701: 7735: 7608: 7418: 7399: 7318: 7283: 7239: 7125: 6996: 6899: 6862: 6838: 6446:"L'invitée du dimanche" hosted by Pierre Desgraupes, 1968, released on 5921: 5653: 5615: 5544: 5207:, conducted by Antonino Votto, studio recording for EMI, September 1956 5158:, conducted by Tullio Serafin, studio recording for EMI, September 1955 5100: 4922:, conducted by Tullio Serafin, studio recording for EMI, April–May 1954 4886:, conducted by Victor de Sabata, studio recording for EMI, August 1953. 4845: 4601: in this section. Unsourced material may be challenged and removed. 4183: 4129: 3290: 3035: 3023: 2996: 2971: 2882: 2649: 2578: 2574: 2485:

Fussi and Paolillo also examined restored footage of the infamous 1958

2379: 1963:

style actress: her physical acting was merely "subsidiary to the heavy

1908: 1854: 1776: 1691: 1589: 1261: 1240:

led to Callas' Metropolitan Opera contract being cancelled. Impresario

1075: 1040: 853: 827: 343:

magazine which focused on this relationship and later, by Litsa's book

308: 270: 7651:"Dame Joan Sutherland Talks about Maria Callas' Voice – BBC interview" 5250:, conducted by Antonino Votto, live performance, Cologne, July 4, 1957 2915:. In the same year, she was voted the greatest soprano of all time by 782:, Callas had no offers, and when Serafin, looking for someone to sing 416: 11810: 11796: 10951: 10746: 10651: 10616: 10400: 10375: 10365: 10340: 10329: 10309: 10022: 9897: 9792: 9736: 9671: 9636: 9422: 8829: 8587: 7772: 6969: 5346: 5330: 5154: 4943: 4555: 4526: 4377: 4265: 3967: 3726: 3299: 3262: 3081:, and ending in Los Angeles and New York City in January 2023 at the 2856: 2734: 2565:

In January 1958, Callas was to open the Rome Opera House season with

2562:

took over the part, which was the start of her international career.

2371: 2272: 2210: 2139: 1951:

Callas as Giulia in the Opera "La Vestale", by Gaspare Spontini, 1954

1881: 1788: 1747: 1743: 906: 728:

In 1946, Callas was engaged to re-open the opera house in Chicago as

657: 480: 444: 436: 240: 209: 194: 9387:

Maria: Callas Remembered. An Intimate Portrait of the Private Callas

8716:"Giselle New Music Video – "The Canary" – For all unrequited lovers" 8157:"Mystery of the Callas millions resurfaces as jewels are put up for" 6179: 5149:, conducted by Tullio Serafin, studio recording for EMI, August 1955 4956:, conducted by Tullio Serafin, studio recording for EMI, August 1954 4873:, conducted by Tullio Serafin, studio recording for EMI, August 1953 4576: 2706: 44: 11991: 10860: 10641: 10355: 10133: 9436: 9427: 8620: 7465:(Dominic Symonds and Pamela Karantonis, eds.). Rodopi (Amsterdam), 5264:, conducted by Tullio Serafin, studio recording for EMI, July 1957. 5225:, conducted by Antonino Votto, studio recording for EMI, March 1957 5131:), conducted by Tullio Serafin, studio recording for EMI, June 1955 5068: 5010: 4487: 3958: 2585: 2550: 2054: 1751: 1606: 1531:

It's study; it's Nature. I'm doing nothing special, you know. Even

1363: 730: 428: 6113: 6000: 5257:, conducted by Tullio Serafin, studio recording for EMI, July 1957 5058: 4947:, conducted by Tullio Serafin, studio recording for EMI, June 1954 2241:, who heard Callas throughout the 1950s, said in a BBC interview, 1767:

describes as "a feat unrivaled in the history of the gramophone."

1655: 1138: 999: 291:

The apartment house in Athens where Callas lived from 1937 to 1945

10711: 10506: 10108: 9449: 7858:"Maria Callas In Toronto – A Night On The Town (15 October 2014)" 5950: 5948: 5502: 5038: 4840:, live performance conducted by Votto, La Scala February 23, 1953 4349: 3488: 3206: 3115:, was "ridiculed in cartoons and generated a social media storm". 2691: 2449:

was that I overstrained my voice, and that caused it to wobble. (

2135: 1960: 1904: 1491:

has argued that Callas was the reincarnation of the 19th-century

1476: 1445: 1210:, gave an interpretation of the title role worthy of Euripides." 1131: 993: 623: 225: 217: 189: 117: 4910:, live performance, La Scala, Milan, December 10, 1953 (Italian) 4645:

in 24-bit/96 kHz digital sound from original master tapes.

1581:). After her first performance of Medea in 1953, the critic for 848:

with a dramatic soprano ... When can we expect a new edition of

10916: 9285: 8389:

Visual Rhetoric: A Reader in Communication and American Culture

8062:, KERA TV, Dallas, Patsy Swank Interview with John Ardoin, 1978 6943:"Allen Sven Oxenburg, 64, Dead; American Opera Society Founder" 6040: 6012: 5988: 5590: 5580: 5424: 5404: 5320: 3346: 3039:

is about Maria Callas. The track samples the 1956 recording of

2904: 2871: 2116: 2101: 1921: 1344:

dismaying, and she became rather silent." In 1968, Callas told

1005: 808: 772: 448: 287: 244: 229: 5976: 5945: 1842:

Callas' own thoughts regarding music and singing can be found

232:. Her musical and dramatic talents led to her being hailed as 11000: 9348: 8822: 8176:

Sisters: A Revealing Portrait of the World's Most Famous Diva

7497: 7495: 5750: 5618:

added after Bizet's death. Callas' performance caused critic

5599: 5496: 4018: 3060: 2623: 2218: 2147: 1742:

the light sopranos." Legge adds, "Even in the most difficult

466: 221: 91: 12270: 8474:

Coins of Greece 1901–2014: Coins of Europe Catalog 1901–2014

8386:

Olson, Lester C.; Finnegan, Cara A.; Hope, Diane S. (2008).

7229:. Istituto per la collaborazione Culturale, 1964. (extract). 2898:. It was a fictionalized film in which Callas was played by 282: 8648:"Anna Calvi: A Powerful Voice Is Just One Piece of Her Art" 7889:

Greek Fire: The Story Of Maria Callas and Aristotle Onassis

7226:

Le Grandi Voci – Dizionario Critico-Biografico dei Cantanti

6897:

Cantrell, Scott (November 2006). "And that Spells Dallas".

5756: 5713: 4751: 4238: 2892:

In 2002, Franco Zeffirelli produced and directed a biopic,

2251:

too-slim singer's present capacity to support or sustain."

1475:

Michael Scott argues that Callas' voice was a natural high

1471: 1204:, and that same year, in her only American performances of 1031: 811:

in 1949. She was engaged to sing the role of Brünnhilde in

767:

Callas with her husband Giovanni Battista Meneghini in 1957

461: 9053:"Gandhi in heels? Maria Callas statue hits the wrong note" 7492: 2534:

In 1956, just before her debut at the Metropolitan Opera,

1750:

runs, particularly downwards, were beautifully smooth and

928:, and reawakened interest in the long-neglected operas of 700:

Callas maintained that the Metropolitan Opera offered her

563:

embellishments, which is a whole vast language of its own.

311:

in the summer of 1922 dealt another blow to the marriage.

8651: 7606:

Hastings, Stephen (May 2002). "The Spirit of Giulietta".

6860:

von Rhein, John (August 2004). "The Company That Works".

6442: 6440: 6325: 6323: 5707: 4002: 3915: 3742: 3362: 2618: 2203:

subsequent difficulty in controlling the upper register.

2189: 2183: 2002:

in Chicago, "it was Callas' quiet listening, rather than

1965: 1774:, that is, in long held notes without ornamentation, her 7768:"Opera Legend Maria Callas Didn't Die Of A Broken Heart" 6919:

La Scala West: The Dallas Opera Under Kelly and Rescigno

991:, then Abigaille's treacherous recitative and aria from 260:

rivalry, and her love affair with Greek shipping tycoon

7316:

Whitson, James C. (October 2005). "The Callas Legacy".

3142:

Callas' stage repertoire included the following roles:

1695:, both of which refer to the note as a high E-natural. 1101:'s debut at La Scala in 1954, where he sang Licinio in 667:, again at the Odeon of Herodes Atticus. German critic 8546: 6640:. Audio documentary. 3 CDs. Eklipse Records. EKR P-14. 6437: 6320: 5462:, studio recording for EMI in stereo, March–April 1961 3077:

in Paris, continuing throughout Europe, including the

1426:

is a little bit pejorative—it means an ugly voice—but

1317:

Photographic comparison of weight loss during 1953–54.

807:

The great turning point in Callas' career occurred in

559:

penetrating. And teaching the scales, trills, all the

12247: 9498: 7370:

Maria Callas – Living and Dying for Art and Love

5768: 5759: 5747: 5725: 5716: 5704: 4821:, live performance, La Scala, Milan, December 7, 1952 2676:

in New York. These classes later formed the basis of

1479:, and going by evidence of Callas' early recordings, 1185:, but was preceded by an unflattering cover story in 742:, who also was to star in this opera, was aware that 8487:

Chan, Sewell, "Where Callas Was Born 85 Years Ago",

8011:"Maria Callas, 53, Is Dead of Heart Attack in Paris" 5753: 5710: 4899:, studio recording for Cetra Records, September 1953 2966:, punctuated with quotes in English and photos, and 1348:

that during her initial performances in Cherubini's

9304:. Issue 14 of opera biography series, foreword by 7818:"Time Magazine Cover: Maria Callas – Oct. 29, 1956" 7623:Pleasants, Henry (1993). "Maria Meneghini Callas". 7192: 6992: 6990: 6303:"Time Magazine Cover: Maria Callas – Oct. 29, 1956" 5827: 5790: 5744: 5701: 5218:, studio recording for EMI in stereo, February 1957 3059:) was released, based on letters and autobiography 2908:, lip-synching to her 1964 recording of that opera. 2156:, which Tebaldi performed only late in her career. 1295:and featuring her friend and colleague Tito Gobbi. 796: 484:... And that's where I learned my chest tones. 315:an apartment in the heavily ethnic neighborhood of 9273: 9250: 6248: 5838:[maˈri.aˈanaceciˈli.asoˈfi.akaloʝeroˈpulu] 5243:, La Scala Milan, Sanzogno, June 1, 1957 (Italian) 4746:, Teatro Comunale Florence, May 26, 1951 (Italian) 2701: 2123:reporter attributed the latter comment to Callas. 2027:Callas acknowledges applause in 1959 at the Royal 1291:, in a production designed and mounted for her by 1264:as Scarpia for her final performances at the Met. 571: 443:. Subsequently, they began working on raising the 9271: 9171:"Maria Callas repertoire and performance history" 8385: 7485:Gurewitsch, Matthew, "Forget the Callas Legend," 6513: 6511: 6509: 6507: 6407: 6197: 6185: 6173: 6119: 6107: 6073: 6071: 6069: 6067: 6065: 6063: 6061: 6059: 6057: 6055: 6046: 6034: 6018: 6006: 5994: 5982: 5954: 4972:, studio recording for EMI, August–September 1954 3073:, which began at the end of November 2019 at the 2653:Callas during her final tour in Amsterdam in 1973 2333:this was the beginning of the end of this career. 2083: 1579:una voce voluminosa, squillante e di timbro scuro 228:, and in her early career to the music dramas of 12295: 9222: 8862:[Monica Bellucci revives Maria Callas]. 8799:"Maria Callas hologram tour set for Lyric Opera" 8576: 8574: 6987: 6422: 6420: 6418: 6416: 5915:Driscoll, F. Paul; Kellow, Brian (August 2006). 1616:was just short of three octaves, from F-sharp (F 723: 16:American-born Greek operatic soprano (1923–1977) 9129:Ritman, Ramin Setoodeh,Alex (August 29, 2024). 8329:"Enough About You; Let's Revisit My Glory Days" 7733:Singer, Barry (October 2006). "Turning Point". 7050:On and Off the Record: A Memoir of Walter Legge 7040: 6484: 6482: 6480: 6478: 6476: 4804:, conducted by Vittorio Gui, live performance, 2213:, which could have affected her voice. Soprano 1685:as a high F; however, this claim is refuted by 12339:People who renounced United States citizenship 8441:"LA Opera Off Grand and BASE Hologram present 8178:. Gordonsville, Virginia: St. Martin's Press. 7845:(TV documentary, available on DVD). EMI. 1987. 7038: 7036: 7034: 7032: 7030: 7028: 7026: 7024: 7022: 7020: 6617: 6615: 6613: 6611: 6609: 6607: 6605: 6603: 6601: 6599: 6597: 6595: 6593: 6591: 6589: 6587: 6585: 6504: 6474: 6472: 6470: 6468: 6466: 6464: 6462: 6460: 6458: 6456: 6077: 6052: 5914: 2962:In 2017, two books by Tom Volf were released: 2171:Callas visited Tebaldi after a performance of 1730:personal sound—"part oboe, part clarinet", as 746:was looking for a dramatic soprano to cast as 11039: 9484: 8948: 8946: 8571: 8521: 7527:. Garden City, New York: Doubleday & Co. 7481: 7479: 7115: 7113: 6770:. Old Tappan, New Jersey: Scribner and Sons. 6583: 6581: 6579: 6577: 6575: 6573: 6571: 6569: 6567: 6565: 6500:(TV documentary, DVD). The Bel Canto Society. 6413: 6283:, vol. 68, no. 18, October 29, 1956 6142:, vol. 68, no. 18, October 29, 1956 4712:, live performance, Napoli, December 20, 1949 2911:In 2007, Callas was posthumously awarded the 1629:) heard in "Arrigo! Ah parli a un core" from 1162:roles were directed by Serafin, supported by 19:"Callas" redirects here. For other uses, see 9154:: CS1 maint: multiple names: authors list ( 8854: 8852: 8071: 7653:. YouTube. December 19, 2009. Archived from 6130: 6128: 5607:, live performance, London, January 24, 1964 2771:The last residence of Maria Callas, in Paris 2698:in Japan in late 1975 but Callas cancelled. 2630:In her final years as a singer, she sang in 2492: 2461: 2014:much also—you will find every gesture there. 11053: 9423:Official website of the Maria Callas Estate 8860:"Monica Bellucci fait revivre Maria Callas" 7985:"Maria Callas Has Renounced US Citizenship" 7766:Satragni, Giangiorgio (December 21, 2010). 7169:, translated by Marie Gilles, available at 7044: 7017: 6883:, "Maria Callas Bows at Opening of 'Met'", 6633: 6631: 6629: 6453: 2811:Portrait of Callas (2004), by Oleg Karuvits 1698:In a 1969 French television interview with 1456:has described the appeal of Callas' voice: 1404:During "The Callas Debate", Italian critic 964:, Callas learned and performed Cherubini's 334: 11046: 11032: 9491: 9477: 8943: 8917:Carrière, Christophe (November 15, 2022). 7835: 7476: 7432: 7430: 7428: 7335: 7333: 7331: 7329: 7311: 7309: 7307: 7305: 7303: 7301: 7257:(in French). Succés du livre. p. 85. 7110: 7097: 7095: 7093: 7091: 7089: 6825: 6759: 6714: 6562: 6269: 5917:"The 25 Most Powerful Names in U.S. Opera" 5289:, live performance, Lisbon, March 27, 1958 4935:, La Scala, Milan, April 4, 1954 (Italian) 1267:In 1952, she made her London debut at the 325:Archdiocesan Cathedral of the Holy Trinity 43: 12354:20th-century American women opera singers 12329:Grammy Lifetime Achievement Award winners 8849: 8796: 8295:"A New Callas More Wounded Than Wounding" 7912: 7906: 7622: 7087: 7085: 7083: 7081: 7079: 7077: 7075: 7073: 7071: 7069: 6917:Davis, Ronald L./ Miller, Henry S., Jr., 6859: 6802: 6757: 6755: 6753: 6751: 6749: 6747: 6745: 6743: 6741: 6739: 6720:Maria Callas: The Woman behind the Legend 6694:. Black Dog & Leventhal. p. 46. 6547: 6545: 6543: 6541: 6539: 6537: 6535: 6533: 6255:. Boston: Northeastern University Press. 6242: 6240: 6238: 6236: 6234: 6232: 6230: 6228: 6226: 6125: 6084:Maria Callas: The Woman Behind the Legend 4617:Learn how and when to remove this message 2541:In 1957, Callas was starring as Amina in 283:Family life, childhood and move to Greece 12349:EMI Classics and Virgin Classics artists 9245: 9230:. New York: Holt, Rinehart and Winston. 9203:The Metropolitan Guide to Recorded Opera 9168: 8916: 8746:"Review: Enigma Classic Album Selection" 8580: 8470: 8326: 7765: 7605: 7599: 7578: 7572: 7372:, TDK DVD Video, Released March 22, 2005 7252: 7167:Maria Callas' Last Interview Part 1 of 8 6896: 6890: 6853: 6626: 6224: 6222: 6220: 6218: 6216: 6214: 6212: 6210: 6208: 6206: 6157: 6030: 5966: 5861: 5829:María Ánna Kaikilía Sofía Kalogeropoúlou 5818:Μαρία Άννα Καικιλία Σοφία Καλογεροπούλου 2806: 2766: 2728: 2705: 2648: 2319: 2221:—you're only as good as your hormones." 2087: 2022: 1946: 1853: 1763:on the stratospheric high E-flat, which 1567: 1388: 1212: 1137: 762: 297:Μαρία Άννα Καικιλία Σοφία Καλογεροπούλου 286: 9349:International Maria Callas Bibliography 8985: 8613: 8128: 7881: 7879: 7436: 7425: 7339: 7326: 7315: 7298: 7154:French Radio interview with journalist 6658: 6656: 6654: 6652: 6650: 6648: 6646: 5677: 5142:, studio recording for EMI, August 1955 2995:Several non-operatic singers including 1563: 1497:or "unlimited soprano", a throwback to 1097:. Callas was instrumental in arranging 684: 186:Maria Anna Cecilia Sofia Kalogeropoulos 59:Maria Anna Cecilia Sofia Kalogeropoulos 12314:20th-century Greek women opera singers 12296: 10897:Grandmaster Flash and the Furious Five 9221: 9128: 9076: 8232: 8198: 8173: 7732: 7726: 7685:by Ethan Mordden, Franklin Watts 1984" 7585:. Garden City, New Jersey: Doubleday. 7198: 7066: 6937: 6763: 6736: 6689: 6669:. New York: Ungar Publishing Company. 6621: 6530: 6524:Maria Callas: The Callas Conversations 6297: 6295: 5878:"Maria Callas Abandons US Citizenship" 1858:Callas getting ready with the help of 997:, finishing with the "Bell Song" from 631:, Callas sang the role of Santuzza in 11027: 9472: 9400:Morgan, Brian, "On Her Centennial" , 9257:(revised ed.). New York: Dover. 9050: 9032:from the original on November 1, 2023 9002:from the original on November 1, 2023 8967:from the original on November 1, 2023 8952: 8837:from the original on November 1, 2023 8628:from the original on November 1, 2023 8595:from the original on November 1, 2023 8292: 8258: 7913:Meneghini, Giovanni Battista (1982). 7855: 7683:Demented: The World of the Opera Diva 7346:Demented: The World of the Opera Diva 7052:. New York: Charles Scribner's Sons. 6246: 6203: 5836: 5799: 4566: 2824: 2780:St Stephen's Greek Orthodox Cathedral 2741:According to one of her biographers, 9358:(includes almost 1,000 publications) 9272:Petsalis-Diomidis, Nikolaos (2001). 8770: 7967:Maria Callas: La Divina – A Portrait 7885: 7876: 7517: 7511: 6921:, Texas A & M University Press, 6831: 6662: 6643: 4599:adding citations to reliable sources 4570: 3093:dresses that had belonged to Callas. 3053:Maria Callas: Lettres & Mémoires 987:", followed by the "Mad Scene" from 825:, who was engaged to sing Elvira in 108:George Washington Educational Campus 9276:The unknown Callas: the Greek years 9176:. FrankHamilton.org. Archived from 9077:Moreau, Jordan (October 21, 2022). 8953:Aricò, Giacomo (October 23, 2023). 8412: 8233:Gerard, Jeremy (November 6, 1995). 8132:Maria Callas: An Intimate Biography 8129:Edwards, Anne (February 27, 2003). 7582:Celebration: The Metropolitan Opera 6931: 6796: 6722:. Cooper Square Press. p. 79. 6292: 3057:Maria Callas: Letters & Memoirs 2722:after a performance in Donizetti's 2511:Callas yelling at US Marshal after 2217:once said, "A woman sings with her 1593:interview with Joan Sutherland and 1384: 1012: 868:voice, to substitute overnight for 13: 9312: 9051:Smith, Helena (October 17, 2021). 8931:from the original on April 8, 2023 8872:from the original on April 8, 2023 8797:Di Nunzio, Miriam (June 7, 2019). 8362:"R.E.M. E-Bow the Letter – Lyrics" 7919:. New York: Farrar Straus Giroux. 7886:Gage, Nicholas (October 3, 2000). 7810: 7675: 7508:, Bel Canto Society DVD, BCS-D0194 7349:. New York: Simon & Schuster. 6518:Maria Callas in conversation with 6498:Callas: A Documentary (Plus Bonus) 2867:starred in the 1996 national tour. 2478:At an event hosted by the journal 1724: 14: 12375: 12334:Burials at Père Lachaise Cemetery 9500:Grammy Lifetime Achievement Award 9416: 9253:Callas: Portrait of a Prima Donna 8614:Machart, Renaud (July 18, 2021). 8581:Bavelier, Ariane (July 7, 2017). 7145:, 30th Anniversary Edition, (DVD) 6692:Maria Callas: A Musical Biography 3071:Maria Callas' Letters and Memoirs 2913:Grammy Lifetime Achievement Award 2870:Maria Callas is mentioned in the 2786:and her ashes were placed in the 2737:on Onassis' yacht in the late 50s 2718:at a party given in her honor by 1465: 169:Grammy Lifetime Achievement Award 12281: 12269: 12257: 11745: 11375: 11342: 11323: 11234: 11194: 11126: 11093: 9389:, New York: E. P. Dutton, 1987, 9195: 9162: 9122: 9096: 9070: 9044: 9014: 8979: 8910: 8884: 8868:(in French). November 27, 2019. 8816: 8790: 8764: 8738: 8722:. March 14, 2018. Archived from 8708: 8682: 8673:"And This Is What 48 Looks Like" 8666: 8640: 8607: 8494: 8481: 8464: 8433: 8406: 8379: 8354: 8320: 8286: 8259:Canby, Vincent (July 26, 1996). 8252: 8226: 8192: 8078:. New York: Simon and Schuster. 7856:Crory, Neil (October 15, 2014). 7697:; cited in Scott (1992), p. 220. 7437:Rasponi, Lanfranco (June 1985). 7412:Ira Siff, in his interview with 6791:The Callas Conversations, Vol. 2 6522:for the BBC, Paris, April 1968. 6448:The Callas Conversations, Vol. 2 6200:, pp. 75, 108–121, 242–247. 6087:. New York: Simon and Schuster. 5740: 5697: 4742:, live performance conducted by 4656: 4575: 3122:portrayed Callas in the biopic, 2547:Edinburgh International Festival 2505: 2197: 1370:and performer. Tito Gobbi said, 1311: 1021:in Milan. According to composer 470:. Callas recalled that Trivella 447:of her voice and to lighten its 143: 8986:Lemonia, Maria (May 16, 2021). 8199:Zinman, Toby Silverman (2014). 8167: 8149: 8122: 8092: 8065: 8053: 8028: 8003: 7977: 7951: 7933: 7849: 7792: 7759: 7743: 7700: 7669: 7643: 7616: 7557: 7552:Encyclopedia of World Biography 7541: 7455: 7406: 7397:Dyer, Richard, "The Sopranos", 7391: 7375: 7363: 7271: 7246: 7232: 7217: 7204: 7179: 7148: 7132: 6962: 6911: 6874: 6784: 6708: 6683: 4675:RAI National Symphony Orchestra 4639:Maria Callas Remastered Edition 4586:needs additional citations for 2935:In 2012, Callas was voted into 2926:Maria Callas commemorative coin 2778:A funerary liturgy was held at 2702:Onassis, final years, and death 2657:In 1969, the Italian filmmaker 1849: 1393:Callas in the Netherlands, 1959 572:Early operatic career in Greece 139: 9446:Public domain music recordings 9104:"Biennale Cinema 2024 | Maria" 8898:(in Greek). September 22, 2021 8773:"Céline Dion: la diva en noir" 8529:"29834 Mariacallas (1999 FE1)" 8477:. Tomasz Kosinski. p. 11. 8327:Brantley, Ben (July 8, 2011). 8293:Marks, Peter (March 1, 1997). 8072:Galatopoulos, Stelios (1998). 7189:, Doubleday, Garden City, 1982 5908: 5895: 5871: 5807: 5689: 3033:'s 2007 French language album 2750:renounced her U.S. citizenship 2084:Alleged Callas–Tebaldi rivalry 1942: 1298: 864:, who is famous for her great 451:. Trivella recalled Callas as 439:, as she had been told, but a 220:, and further to the works of 1: 11818:Arturo Benedetti Michelangeli 9226:; Fitzgerald, Gerald (1974). 3816:Die Entführung aus dem Serail 3137: 2275:like an eager thoroughbred." 2061:expressed similar sentiments: 2018: 1025:, Callas had substituted for 738:folded before opening. Basso 724:Italy, Meneghini, and Serafin 488:However, when interviewed by 277: 12359:American emigrants to Greece 9347:Gagelmann, Rainer Benedict, 9338:Resources in other libraries 9228:Callas: The Art and the Life 8202:Terrence McNally: A Casebook 8075:Maria Callas, Sacred Monster 7123:: Verdi:, Online edition of 6834:"Obituaries: Franco Corelli" 6663:Lowe, David A., ed. (1986). 6176:, pp. 37–38, 62, 75–76. 5510:Mozart, Beethoven, and Weber 5018:Lyric & Coloratura Arias 2667:Callas, the Art and the Life 2627:with her friend Tito Gobbi. 421:Greek National Conservatoire 395: 301:Flower Fifth Avenue Hospital 7: 12344:People from Astoria, Queens 9464:Maria Callas on Archive.org 7941:"A Callas Recording Update" 7504:(1978), Extra Features, by 7384:, "A triptych of Singers," 5828: 5791: 5534:Rossini and Donizetti Arias 5117:(excerpts from Cherubini's 4808:, London, November 18, 1952 4763:, Mexico City, July 3, 1951 3098:Albert II, Prince of Monaco 1837: 1003:capped by a ringing high E 985:Lady Macbeth's letter scene 656:theatre at the foot of the 635:again and followed it with 129:Giovanni Battista Meneghini 10: 12380: 12319:American operatic sopranos 10315:Booker T. & the M.G.'s 9280:. Opera biography series. 8419:. Routledge. p. 152. 8205:. Routledge. p. 165. 7843:Maria Callas: Life and Art 7579:Robinson, Francis (1979). 6832:Siff, Ira (January 2004). 2569:, with Italy's president, 872:, who is one of the great 362:Nicholas Petsalis-Diomidis 18: 12145: 12092: 11890: 11678: 11394: 11061: 10886: 10471: 10396:The Blind Boys of Alabama 10078: 9777: 9506: 9375:, 20/4, pp. 587–602. 9333:Resources in your library 8471:Kosinski, Tomasz (2014). 7279:"The Spirit of Giulietta" 7187:Ponselle, a Singer's Life 7106:. September–October 1970. 6887:(October 30, 1956), p. 1. 5817: 5780: 5622:to speculate in his book 5536:(excerpts from Rossini's 5020:(excerpts from Rossini's 4655: 4650: 3797:Alexandras Avenue Theater 3669:Singer in the intermezzo 3595:Christoph Willibald Gluck 3567:Christoph Willibald Gluck 2802: 2754:American Embassy in Paris 2504: 2499: 2493:Scandals and later career 2462:Fussi and Paolillo report 1973:Matthew Gurewitsch adds, 1310: 1305: 1217:Callas and Italian tenor 693:, general manager of the 377:Axis occupation of Greece 296: 164: 153: 123: 113: 99: 80: 54: 42: 30: 11494:Dietrich Fischer-Dieskau 10522:The Allman Brothers Band 10492:Juilliard String Quartet 10441:David "Honeyboy" Edwards 9364:, "Le Mausolée Callas", 9362:Salazar, Philippe-Joseph 9169:Hamilton, Frank (2009). 8988: 8502:"Maria Callas (soprano)" 7524:5000 Nights at the Opera 6331:"Music: The Prima Donna" 5569:La figlia del reggimento 5512:(excerpts from Mozart's 4470:Teatro Comunale Florence 4415:Teatro Comunale Florence 4056:Teatro Comunale Florence 3708:Odeon of Herodes Atticus 3673:Odeon of Herodes Atticus 3415:Teatro Comunale Florence 3245:Teatro Comunale Florence 3217:Odeon of Herodes Atticus 3079:Odeon of Herodes Atticus 2941:magazine's Hall of Fame. 2317:of 1958, among others). 2181:This rivality [ 2066:could do in a whole act. 1612:In performance, Callas' 1379: 947:In the words of soprano 654:Odeon of Herodes Atticus 478:, which is essential in 345:My Daughter Maria Callas 335:Relationship with mother 12324:Greek operatic sopranos 12148:record label executives 11410:Victoria de los Ángeles 11055:Gramophone Hall of Fame 8174:Callas, Jackie (1990). 8104:www.classicalsource.com 7003:, Futura Publications, 6690:Levine, Robert (2003). 6666:Callas: As They Saw Her 6638:Callas in her Own Words 6247:Scott, Michael (1992). 6110:, p. 41-42, 74–75. 5891:(subscription required) 5801:[maˈri.aˈkalas] 5468:(excerpts from Gluck's 5394:(excerpts from Gluck's 5212:Il barbiere di Siviglia 5023:Il barbiere di Siviglia 4788:, studio recording for 4761:Palacio de Bellas Artes 4442:Palacio de Bellas Artes 4387:Palacio de Bellas Artes 4074:Il barbiere di Siviglia 3810:Wolfgang Amadeus Mozart 3470:Palacio de Bellas Artes 2859:(2011). Caldwell won a 2378:However, writing about 2341:" and parts of Verdi's 2150:in Puccini's opera and 1894:, Richard Dyer writes, 1069:and, most importantly, 21:Callas (disambiguation) 10752:The Velvet Underground 10692:Earth, Wind & Fire 9354:June 23, 2018, at the 9108:La Biennale di Venezia 8777:Le Journal de Montréal 8750:www.digitaljournal.com 8413:Joe, Jeongwon (2016). 8135:. St. Martin's Press. 7441:. Limelight Editions. 7253:Ruggieri, Eve (2008). 7046:Schwarzkopf, Elisabeth 6408:Petsalis-Diomidis 2001 6251:Maria Meneghini Callas 6198:Petsalis-Diomidis 2001 6186:Petsalis-Diomidis 2001 6174:Petsalis-Diomidis 2001 6120:Petsalis-Diomidis 2001 6108:Petsalis-Diomidis 2001 6079:Stassinopoulos, Ariana 6047:Petsalis-Diomidis 2001 6035:Petsalis-Diomidis 2001 6019:Petsalis-Diomidis 2001 6007:Petsalis-Diomidis 2001 5995:Petsalis-Diomidis 2001 5983:Petsalis-Diomidis 2001 5955:Petsalis-Diomidis 2001 5491:Les pêcheurs de perles 4739:Les vêpres siciliennes 2812: 2800: 2784:Père Lachaise Cemetery 2772: 2738: 2711: 2654: 2480:Il Saggiatore Musicale 2455: 2442: 2406: 2397: 2384:gastric bypass surgery 2376: 2335: 2325: 2248: 2235: 2195: 2097: 2081: 2068: 2043: 2032: 2016: 1980: 1952: 1940: 1917: 1863: 1810: 1573: 1561: 1524: 1463: 1451: 1394: 1377: 1359: 1260:(March 25, 1965) with 1246:American Opera Society 1233: 1176:Lyric Opera of Chicago 1143: 958: 768: 678: 615: 565: 492:on the French program 486: 458: 433: 406:Filoktitis Oikonomidis 354: 292: 12062:Mstislav Rostropovich 11634:Elisabeth Schwarzkopf 11366:Michael Tilson Thomas 10876:Sister Rosetta Tharpe 10811:Parliament-Funkadelic 10169:Simon & Garfunkel 9402:Uttering Lamentations 9368:, September 26, 1977. 8691:in conversation with 8554:"MPC/MPO/MPS Archive" 8392:. SAGE. p. 289. 7989:Palm Beach Daily News 7502:Callas, A Documentary 7473:, pp. 112–113 (2013). 7439:The Last Prima Donnas 7102:"The Callas Debate". 6764:Ardoin, John (1991). 6559:, CD 4. EMI Classics. 5886:, April 6, 1966, via 5883:Charleston Daily Mail 5605:Carlo Felice Cillario 5479:La damnation de Faust 4757:Oliviero De Fabritiis 4271:Elisabetta di Valois 3051:In 2019, Volf's book 2952:on January 31, 2018 ( 2863:for her performance. 2810: 2795: 2770: 2758:Greek Orthodox church 2732: 2709: 2652: 2469:University of Bologna 2446: 2422: 2401: 2392: 2358: 2330: 2323: 2243: 2230: 2179: 2091: 2076: 2063: 2038: 2026: 2011: 1975: 1950: 1932: 1896: 1857: 1805: 1736:Elisabeth Schwarzkopf 1704:L'invitée du dimanche 1571: 1529: 1515: 1458: 1438:San Giovanni Battista 1433: 1392: 1372: 1354: 1236:In 1958, a feud with 1216: 1141: 953: 766: 673: 610: 541: 535:In 1968, Callas told 494:L'invitée du dimanche 472: 453: 425: 349: 290: 12146:Producers/engineers/ 11613:Anne Sofie von Otter 11204:Nikolaus Harnoncourt 10532:Antônio Carlos Jobim 9428:Maria Callas website 9026:HelloMonaco Magazine 8705:on December 24, 2009 7916:My Wife Maria Callas 7864:. Museland Media Inc 7487:The Atlantic Monthly 6806:(October 30, 2003). 6526:(DVD). EMI Classics. 6337:. October 29, 1956. 5933:on December 16, 2018 5929:(H2). Archived from 5678:Notes and references 5667:Un ballo in maschera 5470:Iphigénie en Tauride 5276:Un ballo in maschera 5240:Iphigénie en Tauride 5204:Un ballo in maschera 4970:Gianandrea Gavazzeni 4953:La forza del destino 4884:(1953 EMI recording) 4870:Cavalleria rusticana 4759:, live performance, 4595:improve this article 4294:La forza del destino 4248:Teatro Regio (Turin) 4195:School presentation 4169:School presentation 3941:Athens Conservatoire 3759:Cavalleria rusticana 3638:Teatro della Pergola 3601:Iphigénie en Tauride 3522:Maddalena di Coigny 3466:Lucia di Lammermoor 3201:Ludwig van Beethoven 3089:, Bellucci wore two 3013:Not Ready to Grow Up 2984:Boulogne-Billancourt 2970:. He also set up an 2471:in 2010, Callas had 2343:La forza del destino 2282:La forza del destino 1564:Vocal size and range 1420:Una grande vociaccia 1094:Iphigénie en Tauride 685:Main operatic career 633:Cavalleria rusticana 526:Greek National Opera 521:Cavalleria rusticana 402:Athens Conservatoire 243:, New York City, to 236:("The Divine One"). 142: 1949; 104:Athens Conservatoire 12364:Singers from Athens 12136:The Tallis Scholars 12101:Alban Berg Quartett 11839:Sergei Rachmaninoff 11557:Dmitri Hvorostovsky 11225:Herbert von Karajan 11211:Christopher Hogwood 11185:Carlo Maria Giulini 11178:John Eliot Gardiner 11171:Wilhelm Furtwängler 10667:The Louvin Brothers 10512:George Beverly Shea 9953:The Everly Brothers 9441:Maria Callas Museum 9380:The Opera Quarterly 9373:The Opera Quarterly 9201:Paul Gruber (ed.), 8558:Minor Planet Center 8533:Minor Planet Center 8416:Opera as Soundtrack 8163:. October 26, 2004. 8015:archive.nytimes.com 7964:(film documentary) 7947:on October 4, 2011. 7801:by John von Rhein, 7780:on December 3, 2013 7689:The Opera Quarterly 7657:on December 7, 2011 7637:10.1093/oq/10.2.159 7416:, "The Associate", 7223:Celletti, Rodolfo. 7214:, CED 100343, 1998. 7001:Tito Gobbi: My Life 6974:Maria Callas Estate 6716:Huffington, Arianna 6496:(narrator) (1978). 6188:, pp. 241–247. 5620:Harold C. Schonberg 5372:Lucia di Lammermoor 5163:Lucia di Lammermoor 5140:Herbert von Karajan 4933:Carlo Maria Giulini 4830:Lucia di Lammermoor 4665:Amilcare Ponchielli 3839:Amilcare Ponchielli 3721:Ruggero Leoncavallo 3461:Lucia di Lammermoor 3063:left by the singer. 2968:Callas Confidential 2950:Minor Planet Center 2688:Giuseppe Di Stefano 2659:Pier Paolo Pasolini 2549:with the forces of 2347:Giuseppe Di Stefano 2256:The Opera Quarterly 1925:fireworks. Soprano 1708:Francesco Siciliani 1625:) below middle C (C 1485:dramatic coloratura 1454:Carlo Maria Giulini 1063:Margherita Wallmann 1059:Herbert von Karajan 989:Lucia di Lammermoor 883:Lucia di Lammermoor 874:coloratura sopranos 740:Nicola Rossi-Lemeni 373:Giulietta Simionato 299:). She was born at 12122:The King's Singers 12055:Jean-Pierre Rampal 12027:Anne-Sophie Mutter 11846:Sviatoslav Richter 11743:Marc-André Hamelin 11708:Vladimir Ashkenazy 11438:Montserrat Caballé 11143:Sergiu Celibidache 10702:Jefferson Airplane 10622:Kris Kristofferson 10612:The Isley Brothers 10260:The Staple Singers 9998:The Mills Brothers 9963:Stéphane Grappelli 9948:Bobby "Blue" Bland 9622:The Rolling Stones 9432:Warner Music Group 9385:Stancioff, Nadia, 9028:. April 25, 2021. 8771:Durocher, Sophie. 8752:. January 14, 2014 8677:The New York Times 8489:The New York Times 8333:The New York Times 8299:The New York Times 8265:The New York Times 7862:Ludwig Von Toronto 7807:, February 9, 1997 7569:, November 3, 1958 7212:The Callas Edition 7121:I Vespri Siciliani 6948:The New York Times 6885:The New York Times 6812:The New York Times 6804:Tommasini, Anthony 6557:La Divina Complete 6450:2007, EMI Classics 6432:The Callas Edition 5663:I vespri siciliani 5515:Le nozze di Figaro 5435:Samson and Delilah 5396:Orphée et Eurydice 5115:Callas at La Scala 5089:Adriana Lecouvreur 5029:I vespri siciliani 4965:Il turco in Italia 4643:Abbey Road Studios 4567:Notable recordings 4517:Tristan und Isolde 4466:La duchessa Elena 4461:I vespri siciliani 4303:Politeama Rossetti 4299:Leonora di Vargas 4192:New York P.S. 164 4166:New York P.S. 164 4102:Il turco in Italia 3100:, was held at the 3091:Yves Saint Laurent 2918:BBC Music Magazine 2825:In popular culture 2813: 2773: 2762:Jacqueline Kennedy 2739: 2712: 2655: 2453:, October 1, 1977) 2326: 2237:In the same vein, 2174:Adriana Lecouvreur 2098: 2033: 1953: 1913:Sviatoslav Richter 1864: 1785:I vespri siciliani 1682:I vespri siciliani 1632:I vespri siciliani 1605:, a "huge soprano 1574: 1412:I vespri siciliani 1395: 1234: 1194:Dallas Civic Opera 1144: 1055:I vespri siciliani 1047:I vespri siciliani 1023:Gian Carlo Menotti 949:Montserrat Caballé 913:Il turco in Italia 823:Margherita Carosio 769: 758:Giovanni Zenatello 695:Metropolitan Opera 498:coloratura soprano 329:Washington Heights 293: 84:September 16, 1977 12245: 12244: 12236:Kenneth Wilkinson 12217:Goddard Lieberson 11936:Jacqueline du Pré 11853:Arthur Rubinstein 11762:Vladimir Horowitz 11620:Luciano Pavarotti 11352:Leopold Stokowski 11286:Yevgeny Mravinsky 11265:Charles Mackerras 11103:Leonard Bernstein 11021: 11020: 10991:The Clark Sisters 10627:Armando Manzanero 10572:Lightnin' Hopkins 10542:The Memphis Horns 10497:The Kingston Trio 10250:Jelly Roll Morton 10184:The Funk Brothers 9883:Arthur Rubinstein 9762:Vladimir Horowitz 9607:Leonard Bernstein 9319:Library resources 9299:978-1-57467-059-2 9264:978-0-486-25047-2 9237:978-0-03-011486-1 9183:on April 13, 2015 8803:Chicago Sun-Times 8726:on August 7, 2019 8443:Callas in Concert 8426:978-1-317-08548-5 8399:978-1-4129-4919-4 8212:978-1-135-59598-2 8185:978-0-312-03934-9 8142:978-0-312-31002-8 8085:978-0-684-85985-9 8060:Swank in the Arts 7962:Callas, La Divina 7926:978-0-374-21752-5 7899:978-0-375-40244-9 7592:978-0-385-12975-6 7534:978-0-385-09259-3 7471:978-90-420-3691-8 7448:978-0-87910-040-7 7356:978-0-671-66800-6 7264:978-2-7382-2307-4 7165:on French Radio; 7059:978-0-684-17451-8 6927:978-0-87074-454-9 6777:978-0-684-19306-9 6767:The Callas Legacy 6729:978-1-4616-2429-5 6701:978-1-57912-283-6 6676:978-0-8044-5636-4 6494:Franco Zeffirelli 6277:"The Prima Donna" 6262:978-1-55553-146-1 6136:"The Prima Donna" 6094:978-0-671-25583-1 6037:, pp. 36–37. 6009:, pp. 27–30. 5903:Leonard Bernstein 5826: 5789: 5624:The Glorious Ones 5466:Callas à Paris II 5415:Roméo et Juliette 4908:Leonard Bernstein 4701: 4700: 4662:Callas performing 4627: 4626: 4619: 4564: 4563: 4498:Teatro dell'Opera 4331:Teatro alla Scala 4275:Teatro alla Scala 4139:Teatro alla Scala 4096:Gioachino Rossini 4083:Teatro alla Scala 4068:Gioachino Rossini 4041:Gioachino Rossini 3996:Teatro alla Scala 3909:Teatro alla Scala 3881:Civic Opera House 3826:Teatro alla Scala 3787:Der Bettelstudent 3736:Teatro alla Scala 3686:Manolis Kalomiris 3651:Manolis Kalomiris 3629:Orfeo ed Euridice 3610:Teatro alla Scala 3582:Teatro alla Scala 3554:Teatro alla Scala 3526:Teatro alla Scala 3498:Teatro alla Scala 3483:Gaetano Donizetti 3455:Gaetano Donizetti 3442:Teatro alla Scala 3427:Gaetano Donizetti 3328:Teatro alla Scala 3272:Teatro alla Scala 3118:American actress 2980:La Seine Musicale 2946:29834 Mariacallas 2716:Aristotle Onassis 2710:Aristotle Onassis 2663:film by that name 2531:and a "Tigress". 2520: 2519: 1907:; another is her 1700:Pierre Desgraupes 1639:) above high C (C 1422:; he continues, " 1323: 1322: 1293:Franco Zeffirelli 1269:Royal Opera House 1116:Anthony Tommasini 1067:Franco Zeffirelli 1019:Teatro alla Scala 858:Franco Zeffirelli 839:folie de grandeur 652:) at the ancient 650:Manolis Kalomiris 501:Elvira de Hidalgo 490:Pierre Desgraupes 266:Leonard Bernstein 262:Aristotle Onassis 181:Commendatore OMRI 174: 173: 158:Aristotle Onassis 36:Commendatore OMRI 12371: 12286: 12285: 12284: 12274: 12273: 12262: 12261: 12260: 12253: 12238: 12231: 12226: 12219: 12212: 12205: 12198: 12193: 12186: 12179: 12172: 12165: 12158: 12138: 12131: 12124: 12117: 12110: 12103: 12085: 12078: 12071: 12064: 12057: 12050: 12043: 12036: 12029: 12022: 12015: 12008: 12001: 11994: 11987: 11980: 11973: 11966: 11959: 11952: 11945: 11938: 11931: 11924: 11917: 11910: 11903: 11893:woodwind players 11883: 11876: 11869: 11862: 11855: 11848: 11841: 11834: 11832:Maurizio Pollini 11827: 11820: 11813: 11806: 11799: 11792: 11790:Gustav Leonhardt 11785: 11778: 11771: 11764: 11757: 11750: 11749: 11738: 11731: 11724: 11717: 11710: 11703: 11696: 11689: 11687:Leif Ove Andsnes 11671: 11669:Fritz Wunderlich 11664: 11657: 11650: 11643: 11636: 11629: 11622: 11615: 11608: 11601: 11594: 11587: 11580: 11578:Simon Keenlyside 11573: 11566: 11564:Gundula Janowitz 11559: 11552: 11545: 11538: 11531: 11524: 11522:Nicolai Ghiaurov 11517: 11515:Angela Gheorghiu 11510: 11503: 11501:Kirsten Flagstad 11496: 11489: 11487:Kathleen Ferrier 11482: 11475: 11468: 11466:Feodor Chaliapin 11461: 11454: 11447: 11440: 11433: 11426: 11419: 11412: 11405: 11387: 11380: 11379: 11373:Arturo Toscanini 11368: 11361: 11354: 11347: 11346: 11335: 11328: 11327: 11316: 11309: 11302: 11295: 11288: 11281: 11274: 11272:Neville Marriner 11267: 11260: 11253: 11246: 11239: 11238: 11227: 11220: 11213: 11206: 11199: 11198: 11187: 11180: 11173: 11166: 11159: 11152: 11150:Riccardo Chailly 11145: 11138: 11136:Benjamin Britten 11131: 11130: 11119: 11112: 11105: 11098: 11097: 11086: 11084:Daniel Barenboim 11079: 11072: 11048: 11041: 11034: 11025: 11024: 10124:Rosemary Clooney 9913:Barbra Streisand 9687:Arturo Toscanini 9493: 9486: 9479: 9470: 9469: 9437:Official website 9306:George Lascelles 9303: 9279: 9268: 9256: 9247:Jellinek, George 9242: 9241: 9209: 9205:, Norton, 1993, 9199: 9193: 9192: 9190: 9188: 9182: 9175: 9166: 9160: 9159: 9153: 9145: 9143: 9141: 9126: 9120: 9119: 9117: 9115: 9100: 9094: 9093: 9091: 9089: 9074: 9068: 9067: 9065: 9063: 9048: 9042: 9041: 9039: 9037: 9018: 9012: 9011: 9009: 9007: 8983: 8977: 8976: 8974: 8972: 8950: 8941: 8940: 8938: 8936: 8914: 8908: 8907: 8905: 8903: 8888: 8882: 8881: 8879: 8877: 8856: 8847: 8846: 8844: 8842: 8820: 8814: 8813: 8811: 8809: 8794: 8788: 8787: 8785: 8783: 8768: 8762: 8761: 8759: 8757: 8742: 8736: 8735: 8733: 8731: 8712: 8706: 8686: 8680: 8679:, April 19, 1995 8670: 8664: 8663: 8661: 8659: 8644: 8638: 8637: 8635: 8633: 8611: 8605: 8604: 8602: 8600: 8578: 8569: 8568: 8566: 8564: 8550: 8544: 8543: 8541: 8539: 8525: 8519: 8518: 8516: 8514: 8498: 8492: 8491:December 2, 2008 8485: 8479: 8478: 8468: 8462: 8461: 8459: 8457: 8437: 8431: 8430: 8410: 8404: 8403: 8383: 8377: 8376: 8374: 8372: 8358: 8352: 8351: 8349: 8347: 8324: 8318: 8317: 8315: 8313: 8290: 8284: 8283: 8281: 8279: 8256: 8250: 8249: 8247: 8245: 8230: 8224: 8223: 8221: 8219: 8196: 8190: 8189: 8171: 8165: 8164: 8153: 8147: 8146: 8126: 8120: 8119: 8117: 8115: 8106:. Archived from 8096: 8090: 8089: 8069: 8063: 8057: 8051: 8050: 8048: 8046: 8032: 8026: 8025: 8023: 8021: 8007: 8001: 8000: 7998: 7996: 7981: 7975: 7955: 7949: 7948: 7943:. Archived from 7937: 7931: 7930: 7910: 7904: 7903: 7883: 7874: 7873: 7871: 7869: 7853: 7847: 7846: 7839: 7833: 7832: 7830: 7828: 7814: 7808: 7796: 7790: 7789: 7787: 7785: 7776:. Archived from 7763: 7757: 7747: 7741: 7740: 7730: 7724: 7704: 7698: 7696: 7673: 7667: 7666: 7664: 7662: 7647: 7641: 7640: 7620: 7614: 7613: 7603: 7597: 7596: 7576: 7570: 7561: 7555: 7548:"Renata Tebaldi" 7545: 7539: 7538: 7515: 7509: 7499: 7490: 7483: 7474: 7459: 7453: 7452: 7434: 7423: 7410: 7404: 7395: 7389: 7379: 7373: 7367: 7361: 7360: 7337: 7324: 7323: 7313: 7296: 7295: 7293: 7291: 7275: 7269: 7268: 7250: 7244: 7243:(December 1982). 7236: 7230: 7221: 7215: 7208: 7202: 7196: 7190: 7185:Ponselle, Rosa, 7183: 7177: 7164: 7152: 7146: 7136: 7130: 7117: 7108: 7107: 7099: 7064: 7063: 7042: 7015: 6994: 6985: 6984: 6982: 6980: 6966: 6960: 6959: 6957: 6955: 6941:(July 7, 1992). 6935: 6929: 6915: 6909: 6908: 6894: 6888: 6878: 6872: 6871: 6857: 6851: 6850: 6848: 6846: 6829: 6823: 6822: 6820: 6818: 6800: 6794: 6788: 6782: 6781: 6761: 6734: 6733: 6712: 6706: 6705: 6687: 6681: 6680: 6660: 6641: 6635: 6624: 6619: 6560: 6549: 6528: 6527: 6515: 6502: 6501: 6486: 6451: 6444: 6435: 6424: 6411: 6405: 6354: 6353: 6351: 6349: 6327: 6318: 6317: 6315: 6313: 6299: 6290: 6284: 6273: 6267: 6266: 6254: 6244: 6201: 6195: 6189: 6183: 6177: 6171: 6165: 6155: 6149: 6143: 6132: 6123: 6122:, p. 75-76. 6117: 6111: 6105: 6099: 6098: 6075: 6050: 6044: 6038: 6028: 6022: 6016: 6010: 6004: 5998: 5992: 5986: 5980: 5974: 5964: 5958: 5952: 5943: 5942: 5940: 5938: 5912: 5906: 5899: 5893: 5892: 5888:NewspaperArchive 5875: 5869: 5859: 5842: 5840: 5835: 5831: 5821: 5819: 5811: 5805: 5803: 5798: 5794: 5784: 5782: 5771: 5766: 5765: 5762: 5761: 5758: 5755: 5752: 5749: 5746: 5739: 5728: 5723: 5722: 5719: 5718: 5715: 5712: 5709: 5706: 5703: 5693: 5557:L'elisir d'amore 5458:), conducted by 5136:Madama Butterfly 4993:Madama Butterfly 4897:Gabriele Santini 4819:Victor de Sabata 4792:, September 1952 4660: 4659: 4648: 4647: 4622: 4615: 4611: 4608: 4602: 4579: 4571: 4411:Violetta Valéry 4359:Teatro San Carlo 4163:Ralph Rackstraw 4124:Gaspare Spontini 3872:Madama Butterfly 3700: 3665: 3539:Umberto Giordano 3511:Umberto Giordano 3313:Vincenzo Bellini 3285:Vincenzo Bellini 3257:Vincenzo Bellini 3230:Vincenzo Bellini 3145: 3144: 2958: 2876:E-Bow the Letter 2831:Terrence McNally 2748:In 1966, Callas 2678:Terrence McNally 2674:Juilliard School 2571:Giovanni Gronchi 2524:Madama Butterfly 2509: 2508: 2497: 2496: 2419: 2380:dramatic soprano 2324:Tito Gobbi, 1970 2207:Louise Caselotti 1874:Victor de Sabata 1860:Luchino Visconti 1823: 1716: 1672:Rodolfo Celletti 1661: 1621: 1620: 1406:Rodolfo Celletti 1385:The Callas sound 1338: 1337: 1333: 1330: 1315: 1314: 1303: 1302: 1221:; performers in 1164:Mario Del Monaco 1071:Luchino Visconti 1013:Important debuts 819:Teatro la Fenice 703:Madama Butterfly 669:Friedrich Herzog 646: 441:dramatic soprano 414: 370: 298: 250:near-sightedness 183: 147: 145: 141: 87: 69:December 2, 1923 68: 66: 47: 28: 27: 12379: 12378: 12374: 12373: 12372: 12370: 12369: 12368: 12294: 12293: 12292: 12282: 12280: 12268: 12258: 12256: 12248: 12246: 12241: 12234: 12229: 12222: 12215: 12208: 12201: 12196: 12189: 12182: 12175: 12168: 12161: 12154: 12147: 12141: 12134: 12127: 12120: 12115:Beaux Arts Trio 12113: 12108:Amadeus Quartet 12106: 12099: 12088: 12081: 12074: 12067: 12060: 12053: 12046: 12039: 12032: 12025: 12020:Nathan Milstein 12018: 12011: 12004: 11999:Wynton Marsalis 11997: 11990: 11983: 11976: 11971:Steven Isserlis 11969: 11962: 11955: 11950:Arthur Grumiaux 11948: 11941: 11934: 11929:Kyung Wha Chung 11927: 11920: 11913: 11906: 11899: 11892: 11886: 11879: 11874:Grigory Sokolov 11872: 11865: 11858: 11851: 11844: 11837: 11830: 11823: 11816: 11809: 11802: 11795: 11788: 11781: 11774: 11767: 11760: 11753: 11741: 11736:Friedrich Gulda 11734: 11727: 11720: 11713: 11706: 11699: 11694:Martha Argerich 11692: 11685: 11674: 11667: 11660: 11653: 11646: 11641:Joan Sutherland 11639: 11632: 11625: 11618: 11611: 11604: 11597: 11590: 11583: 11576: 11569: 11562: 11555: 11548: 11541: 11534: 11527: 11520: 11513: 11506: 11499: 11492: 11485: 11480:Plácido Domingo 11478: 11471: 11464: 11457: 11450: 11443: 11436: 11429: 11424:Cecilia Bartoli 11422: 11415: 11408: 11401: 11390: 11383: 11371: 11364: 11357: 11350: 11338: 11331: 11319: 11312: 11307:Antonio Pappano 11305: 11298: 11291: 11284: 11277: 11270: 11263: 11256: 11249: 11242: 11230: 11223: 11216: 11209: 11202: 11192:Bernard Haitink 11190: 11183: 11176: 11169: 11164:Gustavo Dudamel 11162: 11155: 11148: 11141: 11134: 11122: 11115: 11108: 11101: 11089: 11082: 11077:John Barbirolli 11075: 11068: 11057: 11052: 11022: 11017: 10986:Laurie Anderson 10882: 10657:George Harrison 10607:Clifton Chenier 10592:The Temptations 10552:Gil Scott-Heron 10467: 10446:Michael Jackson 10325:Ornette Coleman 10255:Pinetop Perkins 10245:Jerry Lee Lewis 10099:Sammy Davis Jr. 10074: 10058:John Lee Hooker 10048:Harry Belafonte 10033:Smokey Robinson 9908:Curtis Mayfield 9878:Aretha Franklin 9848:Thelonious Monk 9788:Marian Anderson 9773: 9712:Dizzy Gillespie 9682:Igor Stravinsky 9582:Mahalia Jackson 9577:Louis Armstrong 9547:Ella Fitzgerald 9502: 9497: 9419: 9356:Wayback Machine 9344: 9343: 9342: 9327: 9326: 9322: 9315: 9313:Further reading 9300: 9265: 9238: 9213: 9212: 9200: 9196: 9186: 9184: 9180: 9173: 9167: 9163: 9147: 9146: 9139: 9137: 9127: 9123: 9113: 9111: 9102: 9101: 9097: 9087: 9085: 9075: 9071: 9061: 9059: 9049: 9045: 9035: 9033: 9020: 9019: 9015: 9005: 9003: 8990: 8984: 8980: 8970: 8968: 8951: 8944: 8934: 8932: 8915: 8911: 8901: 8899: 8890: 8889: 8885: 8875: 8873: 8858: 8857: 8850: 8840: 8838: 8821: 8817: 8807: 8805: 8795: 8791: 8781: 8779: 8769: 8765: 8755: 8753: 8744: 8743: 8739: 8729: 8727: 8714: 8713: 8709: 8687: 8683: 8671: 8667: 8657: 8655: 8654:. March 6, 2011 8646: 8645: 8641: 8631: 8629: 8612: 8608: 8598: 8596: 8579: 8572: 8562: 8560: 8552: 8551: 8547: 8537: 8535: 8527: 8526: 8522: 8512: 8510: 8500: 8499: 8495: 8486: 8482: 8469: 8465: 8455: 8453: 8439: 8438: 8434: 8427: 8411: 8407: 8400: 8384: 8380: 8370: 8368: 8360: 8359: 8355: 8345: 8343: 8325: 8321: 8311: 8309: 8291: 8287: 8277: 8275: 8257: 8253: 8243: 8241: 8231: 8227: 8217: 8215: 8213: 8197: 8193: 8186: 8172: 8168: 8161:The Independent 8155: 8154: 8150: 8143: 8127: 8123: 8113: 8111: 8110:on July 6, 2018 8098: 8097: 8093: 8086: 8070: 8066: 8058: 8054: 8044: 8042: 8034: 8033: 8029: 8019: 8017: 8009: 8008: 8004: 7994: 7992: 7991:. April 7, 1966 7983: 7982: 7978: 7956: 7952: 7939: 7938: 7934: 7927: 7911: 7907: 7900: 7884: 7877: 7867: 7865: 7854: 7850: 7841: 7840: 7836: 7826: 7824: 7816: 7815: 7811: 7804:Chicago Tribune 7797: 7793: 7783: 7781: 7764: 7760: 7748: 7744: 7731: 7727: 7705: 7701: 7677:Curtin, Phyllis 7674: 7670: 7660: 7658: 7649: 7648: 7644: 7625:Opera Quarterly 7621: 7617: 7604: 7600: 7593: 7577: 7573: 7563:"Diva Serena", 7562: 7558: 7546: 7542: 7535: 7516: 7512: 7500: 7493: 7484: 7477: 7460: 7456: 7449: 7435: 7426: 7411: 7407: 7396: 7392: 7382:Serafin, Tullio 7380: 7376: 7368: 7364: 7357: 7338: 7327: 7314: 7299: 7289: 7287: 7277: 7276: 7272: 7265: 7251: 7247: 7237: 7233: 7222: 7218: 7209: 7205: 7197: 7193: 7184: 7180: 7158: 7156:Philippe Caloni 7153: 7149: 7137: 7133: 7118: 7111: 7101: 7100: 7067: 7060: 7043: 7018: 6995: 6988: 6978: 6976: 6968: 6967: 6963: 6953: 6951: 6936: 6932: 6916: 6912: 6895: 6891: 6879: 6875: 6858: 6854: 6844: 6842: 6830: 6826: 6816: 6814: 6801: 6797: 6789: 6785: 6778: 6762: 6737: 6730: 6713: 6709: 6702: 6688: 6684: 6677: 6661: 6644: 6636: 6627: 6620: 6563: 6551:Interview with 6550: 6531: 6517: 6516: 6505: 6488: 6487: 6454: 6445: 6438: 6426:Interview with 6425: 6414: 6406: 6357: 6347: 6345: 6329: 6328: 6321: 6311: 6309: 6301: 6300: 6293: 6275: 6274: 6270: 6263: 6245: 6204: 6196: 6192: 6184: 6180: 6172: 6168: 6156: 6152: 6134: 6133: 6126: 6118: 6114: 6106: 6102: 6095: 6076: 6053: 6045: 6041: 6029: 6025: 6017: 6013: 6005: 6001: 5993: 5989: 5981: 5977: 5965: 5961: 5953: 5946: 5936: 5934: 5913: 5909: 5900: 5896: 5890: 5876: 5872: 5860: 5856: 5846: 5845: 5833: 5812: 5808: 5796: 5769: 5743: 5734: 5733: 5726: 5700: 5696: 5695:Pronunciation: 5694: 5690: 5680: 5639:(excerpts from 5603:, conducted by 5578:(excerpts from 5563:Lucrezia Borgia 5352:Ambroise Thomas 5340:(excerpts from 5314:(excerpts from 5298:Nicola Rescigno 5296:, conducted by 5285:, conducted by 5214:, conducted by 5138:, conducted by 5005:Gianni Schicchi 4978:(excerpts from 4968:, conducted by 4906:, conducted by 4895:, conducted by 4817:, conducted by 4784:, conducted by 4755:, conducted by 4708:, conducted by 4683:Fedora Barbieri 4657: 4637:) released the 4631:Warner Classics 4623: 4612: 4606: 4603: 4592: 4580: 4569: 4220:Olympia Theatre 4204:Franz von Suppé 4178:Arthur Sullivan 4158:H.M.S. Pinafore 4152:Arthur Sullivan 4107:Donna Fiorilla 4028:Olympia Theatre 4013:Giacomo Puccini 3981:Giacomo Puccini 3953:Giacomo Puccini 3926:Giacomo Puccini 3894:Giacomo Puccini 3866:Giacomo Puccini 3768:Olympia Theatre 3753:Pietro Mascagni 3694: 3692:O Protomastoras 3659: 3657:O Protomastoras 3400:Luigi Cherubini 3188:Olympia Theatre 3140: 3075:Théâtre Marigny 3067:Monica Bellucci 2989:Maria by Callas 2976:Maria by Callas 2964:Maria by Callas 2953: 2887:Think different 2827: 2805: 2704: 2506: 2495: 2473:dermatomyositis 2464: 2413: 2411:Philippe Caloni 2386:, music critic 2262:Commercial and 2239:Joan Sutherland 2226:Henry Pleasants 2200: 2092:Callas' rival, 2086: 2021: 1945: 1852: 1840: 1817: 1732:Claudia Cassidy 1727: 1725:Vocal registers 1720: 1710: 1702:on the program 1664:Musical Courier 1659: 1642: 1638: 1635:to E-natural (E 1628: 1624: 1618: 1617: 1595:Richard Bonynge 1584:Musical Courier 1566: 1494:soprano sfogato 1468: 1444:in a church in 1387: 1382: 1335: 1331: 1328: 1326: 1312: 1301: 1284:Joan Sutherland 1198:Nicola Rescigno 1168:Fedora Barbieri 1029:in the role of 1015: 834:Michael Scott's 805: 754:Arena di Verona 726: 687: 640: 638:O Protomastoras 582:Franz von Suppé 574: 530:Olympia Theatre 408: 398: 364: 337: 317:Astoria, Queens 285: 280: 179: 149: 146: 1959) 137: 133: 130: 95: 89: 85: 76: 70: 64: 62: 61: 60: 50: 38: 33: 24: 17: 12: 11: 5: 12377: 12367: 12366: 12361: 12356: 12351: 12346: 12341: 12336: 12331: 12326: 12321: 12316: 12311: 12306: 12291: 12290: 12278: 12266: 12243: 12242: 12240: 12239: 12232: 12227: 12220: 12213: 12206: 12199: 12197:Alain Lanceron 12194: 12187: 12180: 12177:C. Robert Fine 12173: 12166: 12163:Bernard Coutaz 12159: 12156:Emile Berliner 12151: 12149: 12143: 12142: 12140: 12139: 12132: 12129:Takács Quartet 12125: 12118: 12111: 12104: 12096: 12094: 12090: 12089: 12087: 12086: 12079: 12076:Andrés Segovia 12072: 12065: 12058: 12051: 12048:Itzhak Perlman 12044: 12041:Emmanuel Pahud 12037: 12034:David Oistrakh 12030: 12023: 12016: 12013:Yehudi Menuhin 12009: 12006:Albrecht Mayer 12002: 11995: 11988: 11981: 11978:Fritz Kreisler 11974: 11967: 11964:Heinz Holliger 11960: 11957:Jascha Heifetz 11953: 11946: 11939: 11932: 11925: 11918: 11911: 11904: 11896: 11894: 11888: 11887: 11885: 11884: 11881:Mitsuko Uchida 11877: 11870: 11867:Artur Schnabel 11863: 11856: 11849: 11842: 11835: 11828: 11825:Murray Perahia 11821: 11814: 11807: 11800: 11793: 11786: 11779: 11776:Wilhelm Kempff 11772: 11765: 11758: 11751: 11739: 11732: 11725: 11718: 11715:Alfred Brendel 11711: 11704: 11697: 11690: 11682: 11680: 11676: 11675: 11673: 11672: 11665: 11658: 11655:Kiri Te Kanawa 11651: 11648:Renata Tebaldi 11644: 11637: 11630: 11627:Leontyne Price 11623: 11616: 11609: 11602: 11599:Birgit Nilsson 11595: 11588: 11581: 11574: 11571:Jonas Kaufmann 11567: 11560: 11553: 11546: 11539: 11536:Thomas Hampson 11532: 11525: 11518: 11511: 11504: 11497: 11490: 11483: 11476: 11473:Joyce DiDonato 11469: 11462: 11455: 11448: 11441: 11434: 11431:Jussi Björling 11427: 11420: 11413: 11406: 11398: 11396: 11392: 11391: 11389: 11388: 11381: 11369: 11362: 11355: 11348: 11336: 11329: 11317: 11314:Trevor Pinnock 11310: 11303: 11300:Eugene Ormandy 11296: 11289: 11282: 11275: 11268: 11261: 11254: 11251:Rafael Kubelík 11247: 11244:Otto Klemperer 11240: 11232:Carlos Kleiber 11228: 11221: 11218:Mariss Jansons 11214: 11207: 11200: 11188: 11181: 11174: 11167: 11160: 11153: 11146: 11139: 11132: 11120: 11113: 11106: 11099: 11091:Thomas Beecham 11087: 11080: 11073: 11070:Claudio Abbado 11065: 11063: 11059: 11058: 11051: 11050: 11043: 11036: 11028: 11019: 11018: 11016: 11015: 11014: 11013: 11008: 11003: 10998: 10993: 10988: 10980: 10979: 10978: 10969: 10964: 10959: 10954: 10949: 10944: 10942:Bobby McFerrin 10936: 10935: 10934: 10926: 10925: 10924: 10919: 10914: 10909: 10904: 10902:Lionel Hampton 10899: 10890: 10888: 10884: 10883: 10881: 10880: 10879: 10878: 10873: 10868: 10863: 10858: 10853: 10848: 10840: 10839: 10838: 10836:Dionne Warwick 10833: 10831:Sam & Dave 10828: 10826:Julio Iglesias 10823: 10821:Donny Hathaway 10818: 10816:Billy Eckstine 10813: 10807:George Clinton 10804: 10796: 10795: 10794: 10789: 10784: 10779: 10774: 10772:Emmylou Harris 10769: 10764: 10756: 10755: 10754: 10749: 10744: 10739: 10737:Jimmie Rodgers 10734: 10729: 10724: 10722:Shirley Caesar 10716: 10715: 10714: 10709: 10707:Linda Ronstadt 10704: 10699: 10697:Herbie Hancock 10694: 10689: 10684: 10676: 10675: 10674: 10669: 10664: 10659: 10654: 10649: 10644: 10636: 10635: 10634: 10629: 10624: 10619: 10614: 10609: 10604: 10596: 10595: 10594: 10589: 10584: 10579: 10574: 10569: 10564: 10556: 10555: 10554: 10549: 10544: 10539: 10534: 10529: 10524: 10516: 10515: 10514: 10509: 10504: 10499: 10494: 10489: 10484: 10475: 10473: 10469: 10468: 10466: 10465: 10464: 10463: 10458: 10453: 10448: 10443: 10438: 10433: 10425: 10424: 10423: 10418: 10413: 10408: 10403: 10398: 10393: 10385: 10384: 10383: 10378: 10373: 10371:Itzhak Perlman 10368: 10363: 10358: 10353: 10351:Burt Bacharach 10345: 10344: 10343: 10338: 10332: 10327: 10322: 10317: 10312: 10304: 10303: 10302: 10297: 10292: 10287: 10285:Robert Johnson 10282: 10277: 10272: 10264: 10263: 10262: 10257: 10252: 10247: 10242: 10237: 10232: 10227: 10221: 10216: 10208: 10207: 10206: 10201: 10196: 10191: 10186: 10181: 10173: 10172: 10171: 10166: 10161: 10156: 10151: 10143: 10142: 10141: 10136: 10131: 10126: 10121: 10113: 10112: 10111: 10106: 10101: 10096: 10091: 10089:The Beach Boys 10082: 10080: 10076: 10075: 10073: 10072: 10071: 10070: 10065: 10060: 10055: 10050: 10042: 10041: 10040: 10035: 10030: 10025: 10020: 10012: 10011: 10010: 10005: 10000: 9995: 9987: 9986: 9985: 9980: 9978:Oscar Peterson 9975: 9973:Charles Mingus 9970: 9965: 9960: 9955: 9950: 9942: 9941: 9940: 9935: 9930: 9925: 9917: 9916: 9915: 9910: 9905: 9900: 9895: 9887: 9886: 9885: 9880: 9875: 9867: 9866: 9865: 9860: 9855: 9850: 9845: 9843:Little Richard 9840: 9832: 9831: 9830: 9825: 9820: 9815: 9807: 9806: 9805: 9800: 9795: 9790: 9781: 9779: 9775: 9774: 9772: 9771: 9770: 9769: 9767:Paul McCartney 9764: 9759: 9754: 9746: 9745: 9744: 9739: 9734: 9729: 9727:Leontyne Price 9724: 9719: 9717:Jascha Heifetz 9714: 9709: 9704: 9696: 9695: 9694: 9689: 9684: 9679: 9674: 9669: 9667:Billie Holiday 9664: 9659: 9654: 9649: 9644: 9639: 9631: 9630: 9629: 9627:Andrés Segovia 9624: 9619: 9611: 9610: 9609: 9601: 9600: 9599: 9597:Charlie Parker 9594: 9586: 9585: 9584: 9579: 9571: 9570: 9569: 9561: 9560: 9559: 9551: 9550: 9549: 9541: 9540: 9539: 9537:Duke Ellington 9531: 9530: 9529: 9521: 9520: 9519: 9510: 9508: 9504: 9503: 9496: 9495: 9488: 9481: 9473: 9467: 9466: 9461: 9452: 9443: 9434: 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July 9, 2024 9095: 9069: 9043: 9013: 8978: 8963:(in Italian). 8942: 8909: 8883: 8848: 8815: 8789: 8763: 8737: 8707: 8681: 8665: 8639: 8606: 8570: 8545: 8520: 8493: 8480: 8463: 8432: 8425: 8405: 8398: 8378: 8353: 8319: 8285: 8251: 8235:"Master Class" 8225: 8211: 8191: 8184: 8166: 8148: 8141: 8121: 8091: 8084: 8064: 8052: 8027: 8002: 7976: 7950: 7932: 7925: 7905: 7898: 7875: 7848: 7834: 7809: 7791: 7758: 7742: 7725: 7707:Peter G. Davis 7699: 7668: 7642: 7615: 7598: 7591: 7571: 7556: 7540: 7533: 7510: 7491: 7475: 7454: 7447: 7424: 7414:Walter Taussig 7405: 7390: 7374: 7362: 7355: 7341:Mordden, Ethan 7325: 7297: 7270: 7263: 7245: 7231: 7216: 7203: 7191: 7178: 7147: 7131: 7109: 7065: 7058: 7016: 6986: 6961: 6930: 6910: 6889: 6881:Ross Parmenter 6873: 6852: 6824: 6795: 6783: 6776: 6735: 6728: 6707: 6700: 6682: 6675: 6642: 6625: 6561: 6529: 6503: 6452: 6436: 6412: 6355: 6319: 6291: 6268: 6261: 6202: 6190: 6178: 6166: 6150: 6124: 6112: 6100: 6093: 6051: 6039: 6023: 6011: 5999: 5987: 5975: 5959: 5944: 5907: 5894: 5870: 5853: 5852: 5844: 5843: 5806: 5687: 5686: 5679: 5676: 5675: 5674: 5637:Verdi Arias II 5634: 5627: 5608: 5595: 5573: 5554:, Donizetti's 5551:Guglielmo Tell 5539:La Cenerentola 5531: 5507: 5463: 5460:Georges Prêtre 5392:Callas à Paris 5389: 5382: 5375: 5368: 5361: 5335: 5312:Verdi Heroines 5309: 5290: 5279: 5272: 5265: 5258: 5251: 5244: 5235: 5226: 5219: 5216:Alceo Galliera 5208: 5199: 5180: 5173: 5166: 5159: 5150: 5143: 5132: 5112: 5105: 5093: 5079:Andrea Chénier 5015: 4973: 4957: 4948: 4936: 4923: 4911: 4900: 4887: 4874: 4862: 4850: 4841: 4834: 4822: 4809: 4793: 4786:Antonino Votto 4773: 4764: 4747: 4734: 4727: 4720: 4713: 4699: 4698: 4679:Antonino Votto 4653: 4652: 4651:External audio 4625: 4624: 4583: 4581: 4574: 4568: 4565: 4562: 4561: 4559: 4553: 4550: 4542: 4540:Richard Wagner 4537: 4533: 4532: 4530: 4524: 4521: 4513: 4511:Richard Wagner 4508: 4504: 4503: 4501: 4495: 4492: 4484: 4482:Richard Wagner 4479: 4475: 4474: 4472: 4467: 4464: 4457: 4455:Giuseppe Verdi 4452: 4448: 4447: 4445: 4444:, Mexico City 4439: 4436: 4429: 4427:Giuseppe Verdi 4424: 4420: 4419: 4417: 4412: 4409: 4402: 4400:Giuseppe Verdi 4397: 4393: 4392: 4390: 4389:, Mexico City 4384: 4381: 4374: 4372:Giuseppe Verdi 4369: 4365: 4364: 4362: 4356: 4353: 4346: 4344:Giuseppe Verdi 4341: 4337: 4336: 4334: 4328: 4325: 4318: 4316:Giuseppe Verdi 4313: 4309: 4308: 4306: 4300: 4297: 4290: 4288:Giuseppe Verdi 4285: 4281: 4280: 4278: 4272: 4269: 4262: 4260:Giuseppe Verdi 4257: 4253: 4252: 4250: 4245: 4242: 4235: 4233:Giuseppe Verdi 4230: 4226: 4225: 4223: 4217: 4214: 4206: 4201: 4197: 4196: 4193: 4190: 4187: 4180: 4175: 4171: 4170: 4167: 4164: 4161: 4154: 4149: 4145: 4144: 4142: 4136: 4133: 4126: 4121: 4117: 4116: 4114: 4108: 4105: 4098: 4093: 4089: 4088: 4086: 4080: 4077: 4070: 4065: 4061: 4060: 4058: 4053: 4050: 4043: 4038: 4034: 4033: 4031: 4025: 4022: 4015: 4010: 4006: 4005: 3999: 3993: 3990: 3983: 3978: 3974: 3973: 3971: 3965: 3962: 3955: 3950: 3946: 3945: 3943: 3938: 3937:Suor Angelica 3935: 3928: 3923: 3919: 3918: 3912: 3906: 3905:Manon Lescaut 3903: 3896: 3891: 3887: 3886: 3884: 3878: 3875: 3868: 3863: 3859: 3858: 3856: 3851: 3848: 3841: 3836: 3832: 3831: 3829: 3823: 3820: 3812: 3807: 3803: 3802: 3800: 3794: 3791: 3783: 3781:Carl Millöcker 3778: 3774: 3773: 3771: 3765: 3762: 3755: 3750: 3746: 3745: 3739: 3733: 3730: 3723: 3718: 3714: 3713: 3711: 3705: 3702: 3688: 3683: 3679: 3678: 3676: 3670: 3667: 3653: 3648: 3644: 3643: 3641: 3635: 3632: 3625: 3620: 3616: 3615: 3613: 3607: 3604: 3597: 3592: 3588: 3587: 3585: 3579: 3576: 3569: 3564: 3560: 3559: 3557: 3551: 3548: 3541: 3536: 3532: 3531: 3529: 3523: 3520: 3517:Andrea Chénier 3513: 3508: 3504: 3503: 3501: 3495: 3492: 3485: 3480: 3476: 3475: 3473: 3472:, Mexico City 3467: 3464: 3457: 3452: 3448: 3447: 3445: 3439: 3436: 3429: 3424: 3420: 3419: 3417: 3412: 3409: 3402: 3397: 3393: 3392: 3390: 3385: 3382: 3375: 3370: 3366: 3365: 3359: 3353: 3350: 3343: 3338: 3334: 3333: 3331: 3325: 3322: 3315: 3310: 3306: 3305: 3303: 3297: 3294: 3287: 3282: 3278: 3277: 3275: 3269: 3266: 3259: 3254: 3250: 3249: 3247: 3242: 3239: 3232: 3227: 3223: 3222: 3220: 3214: 3211: 3203: 3198: 3194: 3193: 3191: 3185: 3182: 3174: 3172:Eugen d'Albert 3169: 3165: 3164: 3161: 3158: 3155: 3152: 3149: 3139: 3136: 3135: 3134: 3120:Angelina Jolie 3116: 3113:Aphrodite Liti 3109: 3102:Hôtel de Paris 3094: 3083:Beacon Theatre 3064: 3049: 3046: 3029:"La diva", on 3027: 3016: 3009:Giselle Bellas 3001:Linda Ronstadt 2993: 2960: 2942: 2933: 2929: 2922: 2909: 2895:Callas Forever 2890: 2889:advertisement. 2879: 2868: 2826: 2823: 2804: 2801: 2703: 2700: 2527:temperamental 2518: 2517: 2515:, Chicago 1955 2502: 2501: 2500:External image 2494: 2491: 2463: 2460: 2420:, she stated, 2388:Peter G. Davis 2199: 2196: 2094:Renata Tebaldi 2085: 2082: 2072:Antonino Votto 2020: 2017: 1944: 1941: 1927:Martina Arroyo 1862:in Milan, 1957 1851: 1848: 1839: 1836: 1815:Fedele D'Amico 1793:Toti Dal Monte 1772:canto spianato 1726: 1723: 1718: 1640: 1636: 1626: 1622: 1565: 1562: 1503:Giuditta Pasta 1499:Maria Malibran 1467: 1466:Vocal category 1464: 1386: 1383: 1381: 1378: 1321: 1320: 1308: 1307: 1306:External image 1300: 1297: 1258:Richard Tucker 1242:Allen Oxenburg 1099:Franco Corelli 1027:Renata Tebaldi 1014: 1011: 978:and Rossini's 975:Andrea Chénier 876:of our time." 862:Birgit Nilsson 804: 795: 744:Tullio Serafin 725: 722: 691:Edward Johnson 686: 683: 606:To Radiophonon 595:Eugen d'Albert 573: 570: 546: 397: 394: 336: 333: 284: 281: 279: 276: 172: 171: 166: 162: 161: 155: 151: 150: 135: 131: 128: 127: 125: 121: 120: 115: 111: 110: 101: 97: 96: 90: 88:(aged 53) 82: 78: 77: 71: 58: 56: 52: 51: 49:Callas in 1958 48: 40: 39: 34: 31: 15: 9: 6: 4: 3: 2: 12376: 12365: 12362: 12360: 12357: 12355: 12352: 12350: 12347: 12345: 12342: 12340: 12337: 12335: 12332: 12330: 12327: 12325: 12322: 12320: 12317: 12315: 12312: 12310: 12307: 12305: 12302: 12301: 12299: 12289: 12279: 12277: 12272: 12267: 12265: 12255: 12254: 12251: 12237: 12233: 12228: 12225: 12221: 12218: 12214: 12211: 12207: 12204: 12200: 12195: 12192: 12191:Klaus Heymann 12188: 12185: 12184:Fred Gaisberg 12181: 12178: 12174: 12171: 12167: 12164: 12160: 12157: 12153: 12152: 12150: 12144: 12137: 12133: 12130: 12126: 12123: 12119: 12116: 12112: 12109: 12105: 12102: 12098: 12097: 12095: 12091: 12084: 12083:John Williams 12080: 12077: 12073: 12070: 12066: 12063: 12059: 12056: 12052: 12049: 12045: 12042: 12038: 12035: 12031: 12028: 12024: 12021: 12017: 12014: 12010: 12007: 12003: 12000: 11996: 11993: 11989: 11986: 11982: 11979: 11975: 11972: 11968: 11965: 11961: 11958: 11954: 11951: 11947: 11944: 11940: 11937: 11933: 11930: 11926: 11923: 11919: 11916: 11912: 11909: 11905: 11902: 11901:Maurice André 11898: 11897: 11895: 11891:String/brass/ 11889: 11882: 11878: 11875: 11871: 11868: 11864: 11861: 11860:András Schiff 11857: 11854: 11850: 11847: 11843: 11840: 11836: 11833: 11829: 11826: 11822: 11819: 11815: 11812: 11808: 11805: 11801: 11798: 11794: 11791: 11787: 11784: 11783:Evgeny Kissin 11780: 11777: 11773: 11770: 11769:Stephen Hough 11766: 11763: 11759: 11756: 11755:Angela Hewitt 11752: 11748: 11744: 11740: 11737: 11733: 11730: 11726: 11723: 11719: 11716: 11712: 11709: 11705: 11702: 11701:Claudio Arrau 11698: 11695: 11691: 11688: 11684: 11683: 11681: 11677: 11670: 11666: 11663: 11659: 11656: 11652: 11649: 11645: 11642: 11638: 11635: 11631: 11628: 11624: 11621: 11617: 11614: 11610: 11607: 11606:Jessye Norman 11603: 11600: 11596: 11593: 11592:Anna Netrebko 11589: 11586: 11582: 11579: 11575: 11572: 11568: 11565: 11561: 11558: 11554: 11551: 11547: 11544: 11543:Marilyn Horne 11540: 11537: 11533: 11530: 11526: 11523: 11519: 11516: 11512: 11509: 11508:Renée Fleming 11505: 11502: 11498: 11495: 11491: 11488: 11484: 11481: 11477: 11474: 11470: 11467: 11463: 11460: 11459:Enrico Caruso 11456: 11453: 11452:José Carreras 11449: 11446: 11442: 11439: 11435: 11432: 11428: 11425: 11421: 11418: 11414: 11411: 11407: 11404: 11400: 11399: 11397: 11393: 11386: 11382: 11378: 11374: 11370: 11367: 11363: 11360: 11356: 11353: 11349: 11345: 11341: 11337: 11334: 11330: 11326: 11322: 11318: 11315: 11311: 11308: 11304: 11301: 11297: 11294: 11293:Riccardo Muti 11290: 11287: 11283: 11280: 11276: 11273: 11269: 11266: 11262: 11259: 11255: 11252: 11248: 11245: 11241: 11237: 11233: 11229: 11226: 11222: 11219: 11215: 11212: 11208: 11205: 11201: 11197: 11193: 11189: 11186: 11182: 11179: 11175: 11172: 11168: 11165: 11161: 11158: 11154: 11151: 11147: 11144: 11140: 11137: 11133: 11129: 11125: 11121: 11118: 11117:Pierre Boulez 11114: 11111: 11107: 11104: 11100: 11096: 11092: 11088: 11085: 11081: 11078: 11074: 11071: 11067: 11066: 11064: 11060: 11056: 11049: 11044: 11042: 11037: 11035: 11030: 11029: 11026: 11012: 11011:Tammy Wynette 11009: 11007: 11004: 11002: 10999: 10997: 10996:Gladys Knight 10994: 10992: 10989: 10987: 10984: 10983: 10981: 10977: 10973: 10970: 10968: 10965: 10963: 10960: 10958: 10955: 10953: 10950: 10948: 10945: 10943: 10940: 10939: 10937: 10933: 10930: 10929: 10927: 10923: 10922:Talking Heads 10920: 10918: 10915: 10913: 10910: 10908: 10907:Marilyn Horne 10905: 10903: 10900: 10898: 10895: 10894: 10892: 10891: 10889: 10885: 10877: 10874: 10872: 10869: 10867: 10864: 10862: 10859: 10857: 10854: 10852: 10851:Roberta Flack 10849: 10847: 10844: 10843: 10841: 10837: 10834: 10832: 10829: 10827: 10824: 10822: 10819: 10817: 10814: 10812: 10808: 10805: 10803: 10802:Black Sabbath 10800: 10799: 10797: 10793: 10790: 10788: 10785: 10783: 10780: 10778: 10775: 10773: 10770: 10768: 10765: 10763: 10760: 10759: 10757: 10753: 10750: 10748: 10745: 10743: 10740: 10738: 10735: 10733: 10732:Charley Pride 10730: 10728: 10725: 10723: 10720: 10719: 10717: 10713: 10710: 10708: 10705: 10703: 10700: 10698: 10695: 10693: 10690: 10688: 10685: 10683: 10680: 10679: 10677: 10673: 10672:Wayne Shorter 10670: 10668: 10665: 10663: 10662:Flaco Jiménez 10660: 10658: 10655: 10653: 10650: 10648: 10647:Pierre Boulez 10645: 10643: 10640: 10639: 10637: 10633: 10630: 10628: 10625: 10623: 10620: 10618: 10615: 10613: 10610: 10608: 10605: 10603: 10600: 10599: 10597: 10593: 10590: 10588: 10585: 10583: 10580: 10578: 10575: 10573: 10570: 10568: 10567:Charlie Haden 10565: 10563: 10560: 10559: 10557: 10553: 10550: 10548: 10545: 10543: 10540: 10538: 10535: 10533: 10530: 10528: 10527:Glen Campbell 10525: 10523: 10520: 10519: 10517: 10513: 10510: 10508: 10505: 10503: 10500: 10498: 10495: 10493: 10490: 10488: 10485: 10483: 10482:Julie Andrews 10480: 10479: 10477: 10476: 10474: 10470: 10462: 10459: 10457: 10454: 10452: 10449: 10447: 10444: 10442: 10439: 10437: 10434: 10432: 10431:Leonard Cohen 10429: 10428: 10426: 10422: 10419: 10417: 10414: 10412: 10409: 10407: 10404: 10402: 10401:The Four Tops 10399: 10397: 10394: 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9738: 9735: 9733: 9730: 9728: 9725: 9723: 9720: 9718: 9715: 9713: 9710: 9708: 9705: 9703: 9700: 9699: 9697: 9693: 9692:Hank Williams 9690: 9688: 9685: 9683: 9680: 9678: 9675: 9673: 9670: 9668: 9665: 9663: 9660: 9658: 9655: 9653: 9650: 9648: 9647:Enrico Caruso 9645: 9643: 9640: 9638: 9635: 9634: 9632: 9628: 9625: 9623: 9620: 9618: 9617:Benny Goodman 9615: 9614: 9612: 9608: 9605: 9604: 9602: 9598: 9595: 9593: 9590: 9589: 9587: 9583: 9580: 9578: 9575: 9574: 9572: 9568: 9567:Elvis Presley 9565: 9564: 9562: 9558: 9557:Irving Berlin 9555: 9554: 9552: 9548: 9545: 9544: 9542: 9538: 9535: 9534: 9532: 9528: 9527:Frank Sinatra 9525: 9524: 9522: 9518: 9515: 9514: 9512: 9511: 9509: 9505: 9501: 9494: 9489: 9487: 9482: 9480: 9475: 9474: 9471: 9465: 9462: 9460: 9456: 9453: 9451: 9447: 9444: 9442: 9438: 9435: 9433: 9429: 9426: 9424: 9421: 9420: 9411: 9407: 9403: 9399: 9396: 9395:0-525-24565-0 9392: 9388: 9384: 9381: 9377: 9374: 9370: 9367: 9363: 9360: 9357: 9353: 9350: 9346: 9345: 9339: 9336: 9334: 9331: 9330: 9325: 9320: 9307: 9301: 9295: 9291: 9290:Amadeus Press 9287: 9283: 9278: 9277: 9270: 9266: 9260: 9255: 9254: 9248: 9244: 9239: 9233: 9229: 9225: 9220: 9219: 9218: 9217: 9208: 9204: 9198: 9179: 9172: 9165: 9157: 9151: 9136: 9132: 9125: 9109: 9105: 9099: 9084: 9080: 9073: 9058: 9054: 9047: 9031: 9027: 9023: 9017: 9001: 8997: 8996: 8991: 8982: 8966: 8962: 8961: 8956: 8949: 8947: 8930: 8927:(in French). 8926: 8925: 8920: 8913: 8897: 8893: 8887: 8871: 8867: 8866: 8861: 8855: 8853: 8836: 8833:(in French). 8832: 8831: 8826: 8819: 8804: 8800: 8793: 8778: 8774: 8767: 8751: 8747: 8741: 8725: 8721: 8717: 8711: 8704: 8703: 8698: 8694: 8693:Kurt Andersen 8690: 8685: 8678: 8674: 8669: 8653: 8649: 8643: 8627: 8624:(in French). 8623: 8622: 8617: 8610: 8594: 8591:(in French). 8590: 8589: 8584: 8577: 8575: 8559: 8555: 8549: 8534: 8530: 8524: 8509: 8508: 8503: 8497: 8490: 8484: 8476: 8475: 8467: 8452: 8451: 8450:BroadwayWorld 8446: 8444: 8436: 8428: 8422: 8418: 8417: 8409: 8401: 8395: 8391: 8390: 8382: 8367: 8366:Genius Lyrics 8363: 8357: 8342: 8338: 8334: 8330: 8323: 8308: 8304: 8300: 8296: 8289: 8274: 8270: 8266: 8262: 8255: 8240: 8236: 8229: 8214: 8208: 8204: 8203: 8195: 8187: 8181: 8177: 8170: 8162: 8158: 8152: 8144: 8138: 8134: 8133: 8125: 8109: 8105: 8101: 8095: 8087: 8081: 8077: 8076: 8068: 8061: 8056: 8041: 8037: 8031: 8016: 8012: 8006: 7990: 7986: 7980: 7974: 7970: 7968: 7963: 7959: 7954: 7946: 7942: 7936: 7928: 7922: 7918: 7917: 7909: 7901: 7895: 7891: 7890: 7882: 7880: 7863: 7859: 7852: 7844: 7838: 7823: 7819: 7813: 7806: 7805: 7800: 7795: 7779: 7775: 7774: 7769: 7762: 7756: 7752: 7746: 7738: 7737: 7729: 7723:, May 8, 2006 7722: 7721: 7716: 7714: 7708: 7703: 7694: 7690: 7686: 7684: 7678: 7672: 7656: 7652: 7646: 7638: 7634: 7631:(2): 159–63. 7630: 7626: 7619: 7611: 7610: 7602: 7594: 7588: 7584: 7583: 7575: 7568: 7567: 7560: 7553: 7549: 7544: 7536: 7530: 7526: 7525: 7520: 7514: 7507: 7503: 7498: 7496: 7488: 7482: 7480: 7472: 7468: 7464: 7458: 7450: 7444: 7440: 7433: 7431: 7429: 7421: 7420: 7415: 7409: 7403:, March 2001. 7402: 7401: 7394: 7388:, No. 8, 1962 7387: 7383: 7378: 7371: 7366: 7358: 7352: 7348: 7347: 7342: 7336: 7334: 7332: 7330: 7321: 7320: 7312: 7310: 7308: 7306: 7304: 7302: 7286: 7285: 7280: 7274: 7266: 7260: 7256: 7249: 7242: 7241: 7235: 7228: 7227: 7220: 7213: 7207: 7200: 7195: 7188: 7182: 7176: 7172: 7168: 7162: 7157: 7151: 7144: 7140: 7135: 7129:, March 2008. 7128: 7127: 7122: 7116: 7114: 7105: 7098: 7096: 7094: 7092: 7090: 7088: 7086: 7084: 7082: 7080: 7078: 7076: 7074: 7072: 7070: 7061: 7055: 7051: 7047: 7041: 7039: 7037: 7035: 7033: 7031: 7029: 7027: 7025: 7023: 7021: 7014: 7013:0-7088-1805-6 7010: 7009:0-7088-1805-6 7006: 7002: 6998: 6993: 6991: 6975: 6971: 6965: 6950: 6949: 6944: 6940: 6939:Kozinn, Allan 6934: 6928: 6924: 6920: 6914: 6906: 6902: 6901: 6893: 6886: 6882: 6877: 6869: 6865: 6864: 6856: 6841: 6840: 6835: 6828: 6813: 6809: 6805: 6799: 6792: 6787: 6779: 6773: 6769: 6768: 6760: 6758: 6756: 6754: 6752: 6750: 6748: 6746: 6744: 6742: 6740: 6731: 6725: 6721: 6717: 6711: 6703: 6697: 6693: 6686: 6678: 6672: 6668: 6667: 6659: 6657: 6655: 6653: 6651: 6649: 6647: 6639: 6634: 6632: 6630: 6623: 6618: 6616: 6614: 6612: 6610: 6608: 6606: 6604: 6602: 6600: 6598: 6596: 6594: 6592: 6590: 6588: 6586: 6584: 6582: 6580: 6578: 6576: 6574: 6572: 6570: 6568: 6566: 6558: 6554: 6553:Edward Downes 6548: 6546: 6544: 6542: 6540: 6538: 6536: 6534: 6525: 6521: 6520:Lord Harewood 6514: 6512: 6510: 6508: 6499: 6495: 6491: 6485: 6483: 6481: 6479: 6477: 6475: 6473: 6471: 6469: 6467: 6465: 6463: 6461: 6459: 6457: 6449: 6443: 6441: 6433: 6429: 6428:Lord Harewood 6423: 6421: 6419: 6417: 6409: 6404: 6402: 6400: 6398: 6396: 6394: 6392: 6390: 6388: 6386: 6384: 6382: 6380: 6378: 6376: 6374: 6372: 6370: 6368: 6366: 6364: 6362: 6360: 6344: 6340: 6336: 6332: 6326: 6324: 6308: 6304: 6298: 6296: 6288: 6282: 6278: 6272: 6264: 6258: 6253: 6252: 6243: 6241: 6239: 6237: 6235: 6233: 6231: 6229: 6227: 6225: 6223: 6221: 6219: 6217: 6215: 6213: 6211: 6209: 6207: 6199: 6194: 6187: 6182: 6175: 6170: 6163: 6159: 6158:Jellinek 1986 6154: 6147: 6141: 6137: 6131: 6129: 6121: 6116: 6109: 6104: 6096: 6090: 6086: 6085: 6080: 6074: 6072: 6070: 6068: 6066: 6064: 6062: 6060: 6058: 6056: 6049:, p. 40. 6048: 6043: 6036: 6033:, p. 4; 6032: 6031:Jellinek 1986 6027: 6021:, p. 32. 6020: 6015: 6008: 6003: 5997:, p. 27. 5996: 5991: 5985:, p. 36. 5984: 5979: 5972: 5968: 5967:Jellinek 1986 5963: 5957:, p. 35. 5956: 5951: 5949: 5932: 5928: 5924: 5923: 5918: 5911: 5904: 5898: 5889: 5885: 5884: 5879: 5874: 5867: 5863: 5862:Jellinek 1986 5858: 5854: 5851: 5850: 5839: 5830: 5824: 5815: 5810: 5802: 5793: 5787: 5778: 5774: 5773: 5764: 5737: 5731: 5730: 5721: 5692: 5688: 5685: 5684: 5672: 5668: 5664: 5660: 5656: 5655: 5650: 5649: 5644: 5643: 5638: 5635: 5632: 5628: 5625: 5621: 5617: 5613: 5609: 5606: 5602: 5601: 5596: 5593: 5592: 5587: 5583: 5582: 5577: 5574: 5571: 5570: 5565: 5564: 5559: 5558: 5553: 5552: 5547: 5546: 5541: 5540: 5535: 5532: 5529: 5528: 5523: 5522: 5517: 5516: 5511: 5508: 5505: 5504: 5499: 5498: 5494:, Massenet's 5493: 5492: 5487: 5486: 5481: 5480: 5475: 5471: 5467: 5464: 5461: 5457: 5456: 5451: 5447: 5446: 5441: 5437: 5436: 5431: 5427: 5426: 5421: 5417: 5416: 5411: 5407: 5406: 5401: 5397: 5393: 5390: 5387: 5383: 5380: 5376: 5373: 5369: 5366: 5362: 5359: 5358: 5353: 5349: 5348: 5343: 5339: 5336: 5333: 5332: 5327: 5323: 5322: 5317: 5313: 5310: 5307: 5303: 5299: 5295: 5291: 5288: 5287:Franco Ghione 5284: 5280: 5277: 5273: 5270: 5266: 5263: 5262:Manon Lescaut 5259: 5256: 5252: 5249: 5248:La sonnambula 5245: 5242: 5241: 5236: 5233: 5232: 5227: 5224: 5223:La sonnambula 5220: 5217: 5213: 5209: 5206: 5205: 5200: 5197: 5193: 5192:Manon Lescaut 5189: 5185: 5181: 5178: 5174: 5171: 5167: 5164: 5160: 5157: 5156: 5151: 5148: 5144: 5141: 5137: 5133: 5130: 5129: 5128:La sonnambula 5124: 5121:, Spontini's 5120: 5116: 5113: 5110: 5106: 5103: 5102: 5097: 5094: 5091: 5090: 5085: 5081: 5080: 5075: 5071: 5070: 5065: 5061: 5060: 5055: 5051: 5050: 5045: 5041: 5040: 5035: 5031: 5030: 5025: 5024: 5019: 5016: 5013: 5012: 5007: 5006: 5001: 5000: 4999:Suor Angelica 4995: 4994: 4989: 4988: 4983: 4982: 4981:Manon Lescaut 4977: 4976:Puccini Arias 4974: 4971: 4967: 4966: 4961: 4958: 4955: 4954: 4949: 4946: 4945: 4940: 4937: 4934: 4930: 4929: 4924: 4921: 4920: 4915: 4912: 4909: 4905: 4901: 4898: 4894: 4893: 4888: 4885: 4883: 4878: 4875: 4872: 4871: 4866: 4863: 4860: 4859: 4854: 4851: 4848: 4847: 4842: 4839: 4835: 4832: 4831: 4826: 4823: 4820: 4816: 4815: 4810: 4807: 4806:Covent Garden 4803: 4802: 4797: 4794: 4791: 4790:Cetra Records 4787: 4783: 4782: 4777: 4774: 4771: 4770: 4765: 4762: 4758: 4754: 4753: 4748: 4745: 4744:Erich Kleiber 4741: 4740: 4735: 4732: 4728: 4725: 4721: 4718: 4714: 4711: 4707: 4703: 4702: 4696: 4692: 4691:Paolo Silveri 4688: 4684: 4680: 4677:conducted by 4676: 4672: 4671: 4666: 4663: 4654: 4649: 4646: 4644: 4640: 4636: 4632: 4621: 4618: 4610: 4600: 4596: 4590: 4589: 4584:This section 4582: 4578: 4573: 4572: 4560: 4557: 4554: 4551: 4549:(in Italian) 4548: 4547: 4543: 4541: 4538: 4535: 4534: 4531: 4528: 4525: 4522: 4520:(in Italian) 4519: 4518: 4514: 4512: 4509: 4506: 4505: 4502: 4499: 4496: 4493: 4491:(in Italian) 4490: 4489: 4485: 4483: 4480: 4477: 4476: 4473: 4471: 4468: 4465: 4463: 4462: 4458: 4456: 4453: 4450: 4449: 4446: 4443: 4440: 4437: 4435: 4434: 4430: 4428: 4425: 4422: 4421: 4418: 4416: 4413: 4410: 4408: 4407: 4403: 4401: 4398: 4395: 4394: 4391: 4388: 4385: 4382: 4380: 4379: 4375: 4373: 4370: 4367: 4366: 4363: 4360: 4357: 4354: 4352: 4351: 4347: 4345: 4342: 4339: 4338: 4335: 4332: 4329: 4327:Lady Macbeth 4326: 4324: 4323: 4319: 4317: 4314: 4311: 4310: 4307: 4304: 4301: 4298: 4296: 4295: 4291: 4289: 4286: 4283: 4282: 4279: 4276: 4273: 4270: 4268: 4267: 4263: 4261: 4258: 4255: 4254: 4251: 4249: 4246: 4243: 4241: 4240: 4236: 4234: 4231: 4228: 4227: 4224: 4221: 4218: 4215: 4212: 4211: 4207: 4205: 4202: 4199: 4198: 4194: 4191: 4188: 4186: 4185: 4181: 4179: 4176: 4173: 4172: 4168: 4165: 4162: 4160: 4159: 4155: 4153: 4150: 4147: 4146: 4143: 4140: 4137: 4134: 4132: 4131: 4127: 4125: 4122: 4119: 4118: 4115: 4112: 4111:Teatro Eliseo 4109: 4106: 4104: 4103: 4099: 4097: 4094: 4091: 4090: 4087: 4084: 4081: 4078: 4076: 4075: 4071: 4069: 4066: 4063: 4062: 4059: 4057: 4054: 4051: 4049: 4048: 4044: 4042: 4039: 4036: 4035: 4032: 4029: 4026: 4023: 4021: 4020: 4016: 4014: 4011: 4008: 4007: 4004: 4000: 3997: 3994: 3991: 3989: 3988: 3984: 3982: 3979: 3976: 3975: 3972: 3969: 3966: 3963: 3961: 3960: 3956: 3954: 3951: 3948: 3947: 3944: 3942: 3939: 3936: 3934: 3933: 3932:Suor Angelica 3929: 3927: 3924: 3921: 3920: 3917: 3913: 3910: 3907: 3904: 3902: 3901: 3900:Manon Lescaut 3897: 3895: 3892: 3889: 3888: 3885: 3882: 3879: 3876: 3874: 3873: 3869: 3867: 3864: 3861: 3860: 3857: 3855: 3852: 3849: 3847: 3846: 3842: 3840: 3837: 3834: 3833: 3830: 3827: 3824: 3821: 3819:(in Italian) 3818: 3817: 3813: 3811: 3808: 3805: 3804: 3801: 3798: 3795: 3792: 3789: 3788: 3784: 3782: 3779: 3776: 3775: 3772: 3769: 3766: 3763: 3761: 3760: 3756: 3754: 3751: 3748: 3747: 3744: 3740: 3737: 3734: 3731: 3729: 3728: 3724: 3722: 3719: 3716: 3715: 3712: 3709: 3706: 3703: 3701: 3698: 3693: 3689: 3687: 3684: 3681: 3680: 3677: 3674: 3671: 3668: 3666: 3663: 3658: 3654: 3652: 3649: 3646: 3645: 3642: 3639: 3636: 3633: 3631: 3630: 3626: 3624: 3621: 3618: 3617: 3614: 3611: 3608: 3605: 3603: 3602: 3598: 3596: 3593: 3590: 3589: 3586: 3583: 3580: 3577: 3575: 3574: 3570: 3568: 3565: 3562: 3561: 3558: 3555: 3552: 3549: 3547: 3546: 3542: 3540: 3537: 3534: 3533: 3530: 3527: 3524: 3521: 3519: 3518: 3514: 3512: 3509: 3506: 3505: 3502: 3499: 3496: 3493: 3491: 3490: 3486: 3484: 3481: 3478: 3477: 3474: 3471: 3468: 3465: 3463: 3462: 3458: 3456: 3453: 3450: 3449: 3446: 3443: 3440: 3437: 3435: 3434: 3430: 3428: 3425: 3422: 3421: 3418: 3416: 3413: 3410: 3408: 3407: 3403: 3401: 3398: 3395: 3394: 3391: 3389: 3386: 3383: 3381: 3380: 3376: 3374: 3371: 3368: 3367: 3364: 3360: 3357: 3354: 3351: 3349: 3348: 3344: 3342: 3341:Georges Bizet 3339: 3336: 3335: 3332: 3329: 3326: 3323: 3321: 3320: 3319:La sonnambula 3316: 3314: 3311: 3308: 3307: 3304: 3301: 3298: 3295: 3293: 3292: 3288: 3286: 3283: 3280: 3279: 3276: 3273: 3270: 3267: 3265: 3264: 3260: 3258: 3255: 3252: 3251: 3248: 3246: 3243: 3240: 3238: 3237: 3233: 3231: 3228: 3225: 3224: 3221: 3218: 3215: 3212: 3209: 3208: 3204: 3202: 3199: 3196: 3195: 3192: 3189: 3186: 3183: 3180: 3179: 3175: 3173: 3170: 3167: 3166: 3162: 3159: 3156: 3153: 3150: 3148:Date (debut) 3147: 3146: 3143: 3132: 3131:Pablo Larraín 3128: 3126: 3121: 3117: 3114: 3110: 3107: 3103: 3099: 3095: 3092: 3088: 3084: 3080: 3076: 3072: 3068: 3065: 3062: 3058: 3054: 3050: 3047: 3044: 3043: 3038: 3037: 3032: 3028: 3026: 3025: 3020: 3017: 3014: 3010: 3006: 3002: 2998: 2994: 2991: 2990: 2985: 2981: 2977: 2973: 2969: 2965: 2961: 2956: 2951: 2947: 2943: 2940: 2939: 2934: 2930: 2927: 2923: 2920: 2919: 2914: 2910: 2907: 2906: 2901: 2897: 2896: 2891: 2888: 2884: 2880: 2877: 2873: 2869: 2866: 2862: 2858: 2854: 2850: 2846: 2842: 2838: 2837: 2832: 2829: 2828: 2822: 2819: 2809: 2799: 2794: 2791: 2789: 2785: 2781: 2776: 2769: 2765: 2763: 2759: 2755: 2751: 2746: 2744: 2743:Nicholas Gage 2736: 2731: 2727: 2725: 2721: 2717: 2708: 2699: 2697: 2693: 2689: 2685: 2684: 2680:'s 1995 play 2679: 2675: 2670: 2668: 2664: 2660: 2651: 2647: 2645: 2641: 2637: 2633: 2628: 2626: 2625: 2620: 2616: 2610: 2607: 2603: 2599: 2593: 2591: 2587: 2582: 2580: 2576: 2572: 2568: 2563: 2561: 2560:Renata Scotto 2556: 2552: 2548: 2544: 2543:La sonnambula 2539: 2537: 2532: 2530: 2525: 2516: 2514: 2503: 2498: 2490: 2488: 2483: 2481: 2476: 2474: 2470: 2459: 2454: 2452: 2445: 2441: 2439: 2435: 2431: 2427: 2421: 2417: 2412: 2405: 2400: 2396: 2391: 2389: 2385: 2381: 2375: 2373: 2368: 2367:Deborah Voigt 2364: 2357: 2355: 2354:Renée Fleming 2350: 2348: 2344: 2340: 2334: 2329: 2322: 2318: 2316: 2312: 2308: 2304: 2300: 2296: 2291: 2286: 2284: 2283: 2276: 2274: 2270: 2265: 2260: 2257: 2252: 2247: 2242: 2240: 2234: 2229: 2227: 2222: 2220: 2216: 2215:Carol Neblett 2212: 2208: 2204: 2198:Vocal decline 2194: 2192: 2191: 2186: 2185: 2178: 2176: 2175: 2169: 2167: 2166:Zinka Milanov 2163: 2157: 2155: 2154: 2149: 2145: 2141: 2137: 2133: 2129: 2126:According to 2124: 2122: 2118: 2114: 2109: 2105: 2103: 2095: 2090: 2080: 2075: 2074:, Callas was: 2073: 2067: 2062: 2060: 2056: 2052: 2047: 2046:Ethan Mordden 2042: 2037: 2030: 2029:Concertgebouw 2025: 2015: 2010: 2007: 2005: 2001: 1997: 1993: 1988: 1986: 1979: 1974: 1971: 1968: 1967: 1962: 1958: 1949: 1939: 1937: 1931: 1928: 1923: 1916: 1914: 1910: 1906: 1902: 1895: 1893: 1892: 1887: 1883: 1878: 1875: 1870: 1861: 1856: 1847: 1845: 1835: 1831: 1828: 1821: 1816: 1809: 1804: 1800: 1798: 1794: 1790: 1786: 1781: 1779: 1778: 1773: 1768: 1766: 1762: 1758: 1757:La sonnambula 1753: 1749: 1745: 1739: 1737: 1733: 1722: 1714: 1709: 1705: 1701: 1696: 1694: 1693: 1688: 1684: 1683: 1677: 1673: 1669: 1665: 1658: 1657: 1652: 1651: 1646: 1634: 1633: 1615: 1610: 1608: 1604: 1600: 1596: 1592: 1591: 1586: 1585: 1580: 1570: 1560: 1558: 1554: 1550: 1546: 1542: 1538: 1534: 1528: 1523: 1521: 1514: 1512: 1511:Henry Chorley 1508: 1507:ventriloquism 1504: 1500: 1496: 1495: 1490: 1486: 1482: 1481:Rosa Ponselle 1478: 1473: 1462: 1457: 1455: 1450: 1447: 1443: 1439: 1432: 1429: 1425: 1421: 1416: 1414: 1413: 1407: 1402: 1400: 1391: 1376: 1371: 1367: 1365: 1358: 1353: 1351: 1347: 1346:Edward Downes 1342: 1318: 1309: 1304: 1296: 1294: 1290: 1285: 1281: 1278: 1277:mezzo-soprano 1275:with veteran 1274: 1270: 1265: 1263: 1259: 1255: 1251: 1247: 1243: 1239: 1231: 1229: 1224: 1220: 1215: 1211: 1209: 1208: 1203: 1199: 1195: 1190: 1189: 1184: 1179: 1177: 1173: 1169: 1165: 1161: 1157: 1153: 1149: 1140: 1136: 1134: 1133: 1128: 1124: 1123: 1117: 1113: 1112: 1107: 1104: 1100: 1096: 1095: 1090: 1086: 1085:La sonnambula 1082: 1078: 1077: 1072: 1068: 1064: 1060: 1056: 1053: 1049: 1048: 1043: 1042: 1036: 1034: 1033: 1028: 1024: 1020: 1010: 1008: 1007: 1002: 1001: 996: 995: 990: 986: 981: 977: 976: 971: 967: 963: 957: 952: 950: 945: 943: 939: 935: 931: 927: 926: 921: 920: 915: 914: 909: 908: 903: 902: 901:La sonnambula 897: 896: 891: 890: 885: 884: 877: 875: 871: 870:Beverly Sills 867: 863: 859: 855: 851: 847: 842: 840: 835: 830: 829: 824: 820: 816: 815: 810: 803: 799: 794: 792: 787: 785: 781: 776: 774: 765: 761: 759: 755: 751: 750: 745: 741: 737: 733: 732: 721: 719: 718: 717:New York Post 713: 709: 705: 704: 698: 696: 692: 682: 677: 672: 670: 666: 661: 659: 655: 651: 647: 644: 639: 634: 630: 626: 625: 620: 614: 609: 607: 602: 601: 596: 591: 589: 588: 583: 578: 569: 564: 562: 557: 553: 549: 544: 540: 538: 537:Lord Harewood 533: 531: 527: 523: 522: 518: 514: 513: 509: 504: 502: 499: 495: 491: 485: 483: 482: 477: 471: 469: 468: 463: 457: 452: 450: 446: 442: 438: 432: 430: 424: 422: 418: 412: 407: 403: 393: 390: 385: 381: 378: 374: 368: 363: 358: 353: 348: 346: 342: 332: 330: 326: 320: 318: 312: 310: 304: 302: 289: 275: 273: 272: 267: 263: 259: 254: 251: 246: 242: 237: 235: 231: 227: 223: 219: 215: 211: 207: 203: 202: 197: 196: 191: 187: 182: 178: 170: 167: 163: 159: 156: 152: 126: 122: 119: 116: 112: 109: 105: 102: 98: 93: 83: 79: 74: 73:New York City 57: 53: 46: 41: 37: 29: 26: 22: 12224:Richard Mohr 12210:Edward Lewis 12203:Walter Legge 12170:John Culshaw 12069:Jordi Savall 11985:Gidon Kremer 11943:James Galway 11922:Pablo Casals 11915:Julian Bream 11908:Dennis Brain 11804:Dinu Lipatti 11679:Keyboardists 11445:Maria Callas 11444: 11403:Thomas Allen 11385:Bruno Walter 11359:George Szell 11333:Fritz Reiner 11321:Simon Rattle 11258:James Levine 11124:Adrian Boult 11006:Donna Summer 10976:Nancy Wilson 10967:The Supremes 10962:Nile Rodgers 10932:Bonnie Raitt 10887:2021–present 10871:Public Enemy 10777:Louis Jordan 10767:Neil Diamond 10587:Ravi Shankar 10537:George Jones 10502:Dolly Parton 10456:André Previn 10451:Loretta Lynn 10381:Earl Scruggs 10361:Cab Calloway 10320:Maria Callas 10319: 10240:Led Zeppelin 10235:Janis Joplin 10230:Morton Gould 10189:Ella Jenkins 10159:Glenn Miller 10094:Tony Bennett 10063:Mitch Miller 10028:Otis Redding 10008:Paul Robeson 9958:Judy Garland 9923:Dave Brubeck 9828:Muddy Waters 9823:Jimi Hendrix 9732:Bessie Smith 9707:Pablo Casals 9702:Fred Astaire 9662:Woody Herman 9642:Benny Carter 9455:Maria Callas 9401: 9386: 9379: 9372: 9365: 9324:Maria Callas 9323: 9275: 9252: 9227: 9224:Ardoin, John 9215: 9214: 9202: 9197: 9185:. Retrieved 9178:the original 9164: 9140:September 6, 9138:. Retrieved 9134: 9124: 9112:. Retrieved 9107: 9098: 9086:. Retrieved 9082: 9072: 9060:. Retrieved 9057:The Guardian 9056: 9046: 9034:. Retrieved 9025: 9016: 9004:. Retrieved 8998:(in Greek). 8993: 8981: 8969:. Retrieved 8960:Vogue Italia 8958: 8933:. Retrieved 8922: 8912: 8900:. Retrieved 8896:Η ΚΑΘΗΜΕΡΙΝΗ 8895: 8886: 8874:. Retrieved 8863: 8839:. Retrieved 8828: 8818: 8806:. Retrieved 8802: 8792: 8780:. Retrieved 8776: 8766: 8754:. Retrieved 8749: 8740: 8728:. Retrieved 8724:the original 8720:scenester.tv 8719: 8710: 8700: 8684: 8676: 8668: 8656:. Retrieved 8642: 8630:. Retrieved 8619: 8609: 8597:. Retrieved 8586: 8561:. Retrieved 8557: 8548: 8536:. Retrieved 8532: 8523: 8511:. Retrieved 8505: 8496: 8488: 8483: 8473: 8466: 8454:. Retrieved 8448: 8442: 8435: 8415: 8408: 8388: 8381: 8369:. Retrieved 8365: 8356: 8344:. Retrieved 8332: 8322: 8310:. Retrieved 8298: 8288: 8276:. Retrieved 8264: 8254: 8242:. 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traviata 4396:1951-01-14 4368:1952-06-17 4340:1949-12-20 4312:1952-12-07 4284:1948-04-17 4256:1954-04-12 4229:1948-09-18 4213:(in Greek) 4200:1941-02-15 4148:1937-01-28 4120:1954-12-07 4092:1950-10-19 4064:1956-02-16 4037:1952-04-26 4009:1942-08-27 3977:1956-08-20 3949:1948-01-29 3922:1940-06-16 3890:1957-07-18 3862:1955-11-11 3845:La Gioconda 3835:1947-08-02 3806:1952-04-02 3790:(in Greek) 3777:1945-09-05 3749:1939-04-02 3717:1954-06-12 3695: [ 3682:1944-07-30 3660: [ 3647:1943-02-19 3640:, Florence 3619:1951-06-09 3591:1957-06-01 3563:1954-04-04 3535:1956-05-21 3507:1955-01-08 3479:1960-12-07 3451:1952-06-10 3433:Anna Bolena 3423:1957-04-14 3396:1953-05-07 3384:Margherita 3379:Mefistofele 3369:1954-07-15 3337:1964-07-05 3309:1955-03-05 3281:1949-01-19 3253:1958-05-19 3226:1948-11-30 3210:(in Greek) 3197:1944-08-14 3181:(in Greek) 3168:1942-04-22 3106:Monte Carlo 3031:Celine Dion 3005:Patti Smith 2788:columbarium 2724:Anna Bolena 2615:La Gioconda 2598:La traviata 2529:prima donna 2438:Anna Bolena 2414: [ 2365:—you know, 2339:Ah! perfido 2311:Anna Bolena 2299:La traviata 2162:La Gioconda 2153:La Gioconda 2128:John Ardoin 2059:Rudolf Bing 2051:La traviata 1992:La traviata 1943:The actress 1901:chiaroscuro 1818: [ 1711: [ 1687:John Ardoin 1614:vocal range 1553:Anna Bolena 1537:Anna Bolena 1489:John Ardoin 1299:Weight loss 1238:Rudolf Bing 1232:Milan, 1957 1202:La traviata 1178:was born." 1129:(1958) and 1089:Anna Bolena 1081:La traviata 925:Anna Bolena 889:La traviata 850:La traviata 814:Die Walküre 780:La Gioconda 749:La Gioconda 641: [ 476:chest tones 456:musicality. 409: [ 365: [ 360:Biographer 201:opera seria 160:(1959–1968) 12298:Categories 11529:Tito Gobbi 11062:Conductors 10972:Ann Wilson 10957:Slick Rick 10866:John Prine 10782:The Meters 10762:Hal Blaine 10687:Celia Cruz 10682:Ruth Brown 10582:Patti Page 10547:Diana Ross 10487:Roy Haynes 10421:Tom Paxton 10411:Brenda Lee 10406:Hank Jones 10391:Gene Autry 10219:Art Blakey 10204:Doc Watson 10199:Artie Shaw 10149:Etta James 10129:Perry Como 10104:Bob Marley 9993:Bo Diddley 9873:Bill Evans 9722:Lena Horne 9366:Liberation 8808:August 23, 8702:Studio 360 8507:Gramophone 8040:Classic FM 7736:Opera News 7609:Opera News 7419:Opera News 7400:Opera News 7319:Opera News 7284:Opera News 7240:Opera News 7126:Opera News 6970:"Timeline" 6954:August 12, 6900:Opera News 6863:Opera News 6839:Opera News 6492:(writer), 6160:, p. 5969:, p. 5922:Opera News 5864:, p. 5849:References 5654:Il corsaro 5642:I Lombardi 5545:Semiramide 5524:, Weber's 5488:, Bizet's 5338:Mad Scenes 5123:La vestale 5101:La vestale 5026:, Verdi's 4846:I puritani 4776:Ponchielli 4633:(formerly 4305:, Trieste 4184:The Mikado 4130:La vestale 4001:Recording 3914:Recording 3883:, Chicago 3822:Konstanze 3741:Recording 3606:Iphigénie 3361:Recording 3291:I puritani 3138:Repertoire 3024:MCMXC a.D. 2997:Anna Calvi 2972:exhibition 2938:Gramophone 2883:Apple Inc. 2861:Tony Award 2579:tracheitis 2575:bronchitis 2430:Sonnambula 2303:Sonnambula 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King 9637:Roy Acuff 9507:1963–1990 9249:(1986) . 8830:Le Figaro 8730:August 7, 8588:Le Figaro 8513:April 11, 8341:0362-4331 8307:0362-4331 8273:0362-4331 8020:April 18, 7892:. Knopf. 7868:March 31, 7827:April 30, 7773:La Stampa 7695:(4): 129. 7255:La Callas 6793:, EMI DVD 6348:April 30, 6343:0040-781X 6312:April 30, 6287:the cover 6285:See also 6146:the cover 6144:See also 5823:romanized 5786:romanized 5629:Puccini, 5597:Puccini, 5586:Don Carlo 5384:Bellini, 5347:Il pirata 5331:Don Carlo 5306:Traviatas 5260:Puccini, 5253:Puccini, 5246:Bellini, 5221:Bellini, 5210:Rossini, 5188:Pagliacci 5184:La bohème 5182:Puccini, 5168:Bellini, 5155:Rigoletto 5134:Puccini, 5034:Meyerbeer 4987:La bohème 4944:Pagliacci 4853:Cherubini 4843:Bellini, 4825:Donizetti 4766:Rossini, 4673:with the 4667:'s opera 4607:June 2019 4558:, Venice 4556:La Fenice 4529:, Venice 4527:La Fenice 4378:Rigoletto 4361:, Naples 4355:Abigaile 4266:Don Carlo 4222:, Athens 4216:Beatrice 4210:Boccaccio 4030:, Athens 3987:La bohème 3970:, Venice 3968:La Fenice 3964:Turandot 3799:, Athens 3770:, Athens 3764:Santuzza 3727:Pagliacci 3710:, Athens 3704:Smarágda 3675:, Athens 3634:Euridice 3302:, Venice 3300:La Fenice 3263:Il pirata 3219:, Athens 3190:, Athens 3160:Location 3151:Composer 3085:. In the 3042:La bohème 2974:entitled 2944:Asteroid 2857:Tyne Daly 2735:Churchill 2513:Butterfly 2372:Soubrette 2313:of 1957, 2309:of 1955, 2273:tessitura 2211:menopause 2140:bel canto 1882:gruppetti 1789:Cloe Elmo 1752:staccatos 1748:chromatic 1744:fioriture 1449:perfect." 1442:Stradella 1424:Vociaccia 1250:Il pirata 1223:Cherubini 1127:Il pirata 938:Donizetti 930:Cherubini 907:Il pirata 866:Wagnerian 802:bel canto 791:Toscanini 712:Butterfly 658:Acropolis 619:Beethoven 587:Boccaccio 561:bel canto 556:bel canto 552:bel canto 548:bel canto 481:bel canto 445:tessitura 437:contralto 396:Education 241:Manhattan 234:La Divina 210:Donizetti 206:bel canto 195:bel canto 100:Education 11992:Yo-Yo Ma 10861:Iggy Pop 10642:Bee Gees 10356:The Band 10134:Al Green 9404:, 2023, 9352:Archived 9282:Portland 9187:March 8, 9150:cite web 9114:July 23, 9030:Archived 9000:Archived 8965:Archived 8929:Archived 8870:Archived 8835:Archived 8626:Archived 8621:Le Monde 8593:Archived 7822:Time.com 7784:April 6, 7720:New York 7661:April 6, 7521:(1972). 7343:(1984). 7290:April 6, 7048:(1982). 6999:(1980), 6718:(2002). 6307:Time.com 6081:(1981). 5440:Massenet 5255:Turandot 5096:Spontini 5074:Giordano 5069:La Wally 5064:Catalani 5011:Turandot 4865:Mascagni 4724:Parsifal 4722:Wagner, 4697:in 1952] 4488:Parsifal 4438:Leonora 4333:, Milan 4277:, Milan 4189:Unknown 4141:, Milan 4085:, Milan 3998:, Milan 3959:Turandot 3911:, Milan 3828:, Milan 3738:, Milan 3612:, Milan 3584:, Milan 3578:Alceste 3556:, Milan 3528:, Milan 3500:, Milan 3494:Paolina 3444:, Milan 3358:, Paris 3330:, Milan 3274:, Milan 3268:Imogene 3213:Leonore 3178:Tiefland 3157:Role(s) 2978:held at 2851:(1996), 2847:(1995), 2841:Broadway 2833:'s play 2818:Sisters, 2586:newsreel 2551:La Scala 2352:Soprano 2055:La Scala 2004:Björling 1838:Artistry 1619:♯ 1607:leggiero 1599:Flagstad 1541:Puritani 1364:tapeworm 1156:Turandot 1125:(1956), 970:Giordano 960:As with 731:Turandot 629:Tiefland 600:Tiefland 429:carillon 239:Born in 94:, France 12250:Portals 11395:Singers 10947:Nirvana 10846:Chicago 10712:Run-DMC 10507:Ramones 10109:The Who 9450:Musopen 9439:of the 9216:Sources 9135:Variety 9083:Variety 8902:June 2, 8782:June 8, 8756:June 8, 8456:June 8, 8239:Variety 8218:June 8, 8114:July 5, 7995:May 12, 7755:YouTube 7175:YouTube 6845:May 16, 6817:May 16, 5905:, 1983. 5825:: 5788:: 5610:Bizet, 5503:Werther 5474:Berlioz 5400:Alceste 5326:Macbeth 5316:Nabucco 5292:Verdi, 5281:Verdi, 5274:Verdi, 5237:Gluck, 5201:Verdi, 5196:Carmen, 5175:Verdi, 5152:Verdi, 5145:Verdi, 5107:Verdi, 5054:Delibes 5039:Dinorah 4960:Rossini 4950:Verdi, 4928:Alceste 4925:Gluck, 4914:Bellini 4889:Verdi, 4877:Puccini 4836:Verdi, 4814:Macbeth 4811:Verdi, 4796:Bellini 4749:Verdi, 4736:Verdi, 4729:Verdi, 4715:Verdi, 4706:Nabucco 4704:Verdi, 4523:Isolde 4500:, Rome 4494:Kundry 4350:Nabucco 4322:Macbeth 4135:Giulia 4113:, Rome 4079:Rosina 4052:Armida 3573:Alceste 3550:Fedora 3489:Poliuto 3352:Carmen 3296:Elvira 3207:Fidelio 3036:D'elles 2752:at the 2692:Sapporo 2602:Macbeth 2600:and in 2545:at the 2264:bootleg 2224:Critic 2219:ovaries 2136:verismo 1961:verismo 1905:vibrato 1645:Rossini 1549:Fidelio 1477:soprano 1446:Perugia 1334:⁄ 1132:Poliuto 1052:Verdi's 994:Nabucco 980:Armida 942:Rossini 934:Bellini 821:, when 817:at the 752:at the 736:company 708:Fidelio 665:Fidelio 624:Fidelio 528:at the 524:at the 508:Weber's 417:solfege 387:A 1955 258:Tebaldi 226:Puccini 218:Rossini 214:Bellini 204:to the 190:soprano 154:Partner 148: 136: 132: 118:Soprano 12288:Greece 10917:Selena 9408: 9393: 9321:about 9296: 9286:Oregon 9261: 9234: 9207:p. 415 8658:May 5, 8423: 8396: 8339: 8305: 8271: 8209: 8182: 8139: 8082: 7969:(1988) 7923: 7896: 7589: 7531: 7469: 7445: 7353: 7261: 7139:Callas 7056: 7007: 6925: 6774: 6726: 6698: 6673: 6341: 6259: 6091: 5648:Attila 5612:Carmen 5591:Otello 5581:Aroldo 5527:Oberon 5455:Louise 5445:Le Cid 5425:Carmen 5410:Gounod 5405:Mignon 5357:Hamlet 5321:Ernani 4769:Armida 4383:Gilda 4047:Armida 4024:Tosca 3793:Laura 3732:Nedda 3545:Fedora 3411:Medea 3347:Carmen 3324:Amina 3241:Norma 3184:Marta 3163:Notes 3154:Opera 3061:essays 3019:Enigma 3003:, and 2957:108697 2955:M.P.C. 2905:Carmen 2874:song " 2872:R.E.M. 2803:Estate 2638:, and 2363:per se 2117:Cognac 2102:spinto 2096:, 1961 2036:adds: 1922:legato 1886:scales 1676:Armida 1668:Armida 1650:Armida 1428:grande 1122:Fedora 1009:(E6). 1006:in alt 922:, and 895:Armida 852:with 809:Venice 784:Isolde 778:After 773:Verona 676:donna. 512:Oberon 449:timbre 230:Wagner 216:, and 184:(born 165:Awards 124:Spouse 75:, U.S. 12276:Opera 11001:N.W.A 10982:2024 10938:2023 10928:2022 10893:2021 10842:2020 10798:2019 10787:Queen 10758:2018 10718:2017 10678:2016 10638:2015 10598:2014 10558:2013 10518:2012 10478:2011 10427:2010 10387:2009 10347:2008 10306:2007 10275:Cream 10266:2006 10210:2005 10175:2004 10145:2003 10115:2002 10085:2001 10044:2000 10014:1999 9989:1998 9944:1997 9919:1996 9889:1995 9869:1994 9834:1993 9809:1992 9784:1991 9748:1990 9698:1989 9633:1987 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