Sie können wählen, welche Cookies Sie auf der gesamten Website zulassen möchten (mit Ausnahme der unbedingt erforderlichen Cookies), indem Sie die. Maria Anna Sophie Cecilia Kalogeropoulos ( - 77), known to the world as Maria Callas, was a soprano opera singer, one of the most famous of the 20th. This luxury boxset comprises42 CDs(20 complete operas) and3 Blu-ray discs(5 recitals). Twelve of the operas were never recorded by Callas in the studio: Verdi:.
Victoria and Albert MuseumMaria Callas was born to a Greek family in New York in Her vocal training took place in Athens, where her teacher was the coloratura soprano Elvira de. Vissi d'arte“ – ein Leben für die Kunst. Kurz bevor die berühmte Sängerin Floria Tosca dem bestialischen Zyniker Scarpia das Messer in die Brust stößt, besingt. Maria Callas war eine griechisch-amerikanische Opernsängerin. Sie war eine der bedeutendsten Sopranistinnen des Jahrhunderts.
Maria Calas Menu di navigazione VideoMaria Callas sings Puccini: Tosca - 'Vissi d'Arte' at Covent Garden 1964
Per la scienza non fu suicidio: il soprano era affetto da dermatomiosite, una malattia che provoca un cedimento dei muscoli e dei tessuti in generale, compresa la laringe.
URL consultato il 14 settembre URL consultato il 2 gennaio Altri progetti Wikiquote Wikimedia Commons. Portale Biografie.
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L'anima del filosofo. Cavalleria rusticana. Il ratto dal serraglio. Il Turco in Italia. Il barbiere di Siviglia. Un ballo in maschera.
La forza del destino. Tristano e Isotta. Gianni Poggi , Paolo Silveri , Fedora Barbieri , Giulio Neri. Giuseppe Di Stefano , Rolando Panerai , Nicola Rossi-Lemeni.
Giuseppe Di Stefano , Rolando Panerai. 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 San Giovanni Battista by Stradella in a church in Perugia in 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 perfect.
Carlo Maria Giulini has described the appeal of Callas's voice:. 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 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. Callas's voice has been difficult to place in the modern vocal classification or Fach 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". 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 ventriloquism , a charge which would later be made against Callas".
There was a portion of the scale which differed from the rest in quality and remained to the last 'under a veil.
Her studies to acquire execution must have been tremendous; but the volubility 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 shake , 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.
Callas herself 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 , she described her early voice as: "The timbre was dark, almost black—when I think of it, I think of thick molasses", and in she added, "They say I was not a true soprano, I was rather toward a mezzo".
It's study; it's Nature. I'm doing nothing special, you know. Even Lucia , Anna Bolena , Puritani , all these operas were created for one type of soprano, the type that sang Norma , Fidelio , which was Malibran of course.
And a funny coincidence last year, I was singing Anna Bolena and Sonnambula , 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. Regarding the sheer size of Callas's 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 ensured that her voice could be clearly heard anywhere in the auditorium.
It just poured out of her, the way Flagstad '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. Whether or not Callas ever sang a high F-natural in performance has been open to debate.
After her June 11, , concert in Florence, Rock Ferris of Musical Courier said, "Her high E's and F's are taken full voice.
Robert Seletsky, however, stated that since the finale of Armida is in the key of E, the final note could not have been an F, as it would have been dissonant.
Callas's voice was noted for its three distinct registers: Her low or chest register was extremely dark and almost baritonal in power, and she used this part of her voice for dramatic effect, often going into this register much higher on the scale than most sopranos.
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 the light sopranos.
Her chromatic runs, particularly downwards, were beautifully smooth and staccatos 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. Regarding Callas's 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 canto spianato , that is, in long held notes without ornamentation, her mezza-voce 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.
This combination of size, weight, range and agility was a source of amazement to Callas's own contemporaries. One of the choristers present at her La Scala debut in I vespri siciliani recalled, "My God!
She came on stage sounding like our deepest contralto, Cloe Elmo. And before the evening was over, she took a high E-flat. And it was twice as strong as Toti Dal Monte 's!
I can still remember the effect of that note in the opera house—it was like a star! This was something really special.
Fantastic absolutely! Callas's 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 , she disguised those audible gear changes with cunning skill.
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 to make one think at times of a ventriloquist There was another troublesome spot 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.
As to whether these troublesome spots were due to the nature of the voice itself 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.
This is precisely Celletti's distinction between the natural quality of the voice and the technique. Nothing disturbed me, nothing! I bought everything that she offered me.
Because all of her voices, her registers, she used how they should be used—just to tell us something! 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 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. Callas's own thoughts regarding music and singing can be found at Wikiquote.
Though adored by many opera enthusiasts, Callas was a controversial artist. While 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.
Regarding Callas's technical prowess, Celletti says, "We must not forget that she could tackle the whole gamut of ornamentation: staccato , trills , half-trills, gruppetti , scales , etc.
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.
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 chiaroscuro 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 vibrato ; another is her portamento , 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 Sviatoslav Richter '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.
In addition to her musical skills, Callas had a particular gift for language and the use of language in music. That always floored me.
I always felt I heard her saying something—it was never just singing notes. That alone is an art. 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 appoggiatura , 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. Regarding Callas's acting ability, vocal coach and music critic Ira Siff remarked, "When I saw the final two Tosca s she did in the old [Met], I felt like I was watching the actual story on which the opera had later been based.
Suffering, delight, humility, hubris, despair, rhapsody—all this was musically appointed, through her use of the voice flying the text upon the notes.
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 confirm that her power flowed not from excess but from unbroken concentration, unfaltering truth in the moment.
It flowed also from irreproachable musicianship. Maria Mitchell is best known for being the first professional female astronomer in the United States.
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Maria Theresa was an Austrian archduchess and Holy Roman Empress of the Habsburg Dynasty from to Maria von Trapp was best known for performing with the Trapp Family Singers in the s and '40s.
Maria Sharapova is a former pro tennis player who became the first Russian woman to win Wimbledon and earned a silver medal at the London Olympics.
Black History. The internationally renowned Maria Callas captivated audiences with her iconic opera performances, showing off her vocal range in productions like 'Tosca' and 'Norma.
SIGN UP. Ezt Callasnak addig sikerült elkerülnie. Sem Callas, sem pedig a zenekar nem tudta követni. New York City: , Maria Callas: An Intimate Biography , Athens: Student Years, Maria Callas: An Intimate Biography , The War Years, Maria Callas: An Intimate Biography , The Nazis Goose-Step Out of Athens, Maria Callas: An Intimate Biography , New York: , Maria Callas: An Intimate Biography , Im August sang sie an der Nationaloper von Athen zum ersten Mal die Partie der Tosca , im April erstmals die Rolle der Marta in Tiefland.
Bei der griechischen Erstaufführung von Fidelio im Theater des Herodes Attikus im August übernahm sie die Titelrolle. Maria Callas trat in vielen Rollen auf.
Ihr Repertoire umfasste 43 vollständige Partien sowie Arien aus weiteren 34 Opern. Dabei reichte ihr Stimmumfang vom fis in Verdis Sizilianische Vesper bis zum f 3 in Rossinis Armida.
Callas beherrschte alle stimmlichen Tontechniken des Belcanto -Gesangs. Das Ende der Siegerszene im 2. Akt beschloss sie, abweichend von der Partitur, mit einem glasklaren es 3.
Die historische Aufnahme ist erhalten und wurde in den er Jahren als Aida Live von EMI als CD herausgegeben.
Maria Callas was already considered the greatest female opera singer of all time when she knew Aristotle Onassis. It was and she was 35 years old.
Although she was married to Gianbattista Meneghini at that time, Onassis began a tight courtship. He organized a party for her which literally left her gasping.
The Meneghinis were millionaires, but compared to Onassis, they felt like a poor relatives. He invited forty people to come as his guests to the opera and then one hundred and sixty to a party at the Dorchester.
For the first time in her life, Maria was madly in love with a man in love with her. It was too much to take in all at once.Welcome to the official artist channel of Maria Callas! Discover Callas's unmistakable voice, radiant beauty and passionate temperament in compelling live videos and learn more about the. When Maria was 4, George Callas opened his own pharmacy, settling the family in Manhattan on nd Street in Washington Heights 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. Discover, stream and download the Vivaldi Edition everywhere: rencontresdensemblesdevioloncelles.com - - Norma, Act I, Scene 4: "Casta diva Fine al rito" (N. This volatile opera diva was born in New York City to Greek émigrés in Her father set up a pharmacy and changed the family name from Kalogeropoulos to Callas. As a child Maria studied the piano. When her parents separated (she was 14 at the time), her mother returned to Athens with Maria and her sister. Maria Callas Maria Anna Cecilia Sofia Kalogeropoúlou (Nueva York, Estados Unidos, 2 de diciembre de - París, Francia, 16 de septiembre de ), más conocida como Maria Callas (pronúnciese en español: "Cál-las"), fue una soprano griega considerada la cantante de ópera más eminente del siglo XX.