LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives


OPERA-L Archives

OPERA-L Archives


View:

Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font

Options:

Join or Leave OPERA-L
Reply | Post New Message
Search Archives


Subject: Re: Callas by Maria
From: donald kane <[log in to unmask]>
Reply-To:donald kane <[log in to unmask]>
Date:Sat, 8 Dec 2018 17:07:26 -0500
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (172 lines)


Callas may never have set foot in Brooklyn; one of the world's most famous
fish markets flourished in her own native borough.

dtmk

On Sat, Dec 8, 2018 at 2:26 PM Stephen Charitan <[log in to unmask]>
wrote:

> Les,
>
> Have you seen it yet?  If not I guarantee you will be mesmerized...She did
> indeed look like a movie star but with the assumed dignity ol a Sarah
> Bernhardt or Elenora Duse...the "Callas" character she created was a thing
> of beauty.  The Brooklyn fish wife on display in Dallas and Chicago was the
> other side of the coin - equally fascinating and compelling.
>
> Steve
>
> On Fri, Dec 7, 2018 at 8:48 PM LESLIE MITNICK <[log in to unmask]>
> wrote:
>
> > You may well have a valid point.  It seems as though the "Rome Walkout"
> > was the defining line and the turning point.  From that time on, Callas
> had
> > become such a huge star and "celebrity" (in every sense of the word) that
> > she was covered constantly in the newspapers and the tabloids.  The "smut
> > rags" like Confidential Magazine had her on several covers and did cover
> > stories about her, and after Onassis came into her life, she was
> receiving
> > publicity that no previous opera star had ever garnered.  She was always
> > good for a quote, and she attracted journalists and gossip-hounds like a
> > magnet.  She became very hostile towards reporters and always looked like
> > she had a "mad on".  Then, in the recording studio, a different Callas
> was
> > photographed in front of the microphones.  As her public opera
> performances
> > diminished, her celebrity increased to a point where she was bigger than
> > life ---------- none of it to her good.
> >     I heard her say on an interview that "My biggest problem was that I
> > became too famous for my own good."  She was photographed at film
> openings,
> > the opera, circuses, concerts, on Onassis' luxury yacht (where she
> probably
> > lived for a good while), and just about everywhere else, and usually
> > photographed with Princess Grace, Prince Ranier, Liz Taylor, Audrey
> > Hepburn, Gregory Peck, Frank Sinatra, and everyone else.  She looked
> like a
> > movie star, traveled with the stars of films, theater and the musical
> stage.
> >     So she evolved into an "A Lister".
> >     A lot of good it did her.
> >
> >
> >
> >
> > > On December 7, 2018 at 5:38 PM Stephen Charitan <[log in to unmask]>
> > wrote:
> > >
> > >
> > > The documentary "Callas by Maria" finally hit the hinterlands of the
> > > Midwest.  It started today at one theatre in the Cleveland area and I
> was
> > > there for the first showing.  I will most likely go again and buy it
> when
> > > it comes out on DVD.
> > >
> > > Unless you know the basics of the Callas life and career, this is not
> the
> > > best "first step."  For that I would suggest the Ardoin and then the
> Tony
> > > Palmer.  However, if you do know the "back story" this will be the one
> > you
> > > keep coming back to.  It makes you feel like no other telling of the
> > Callas
> > > story, her commitment to her art, the incredible pressure she felt to
> > live
> > > up to the reputation her inherent genius created, and the toll such
> > > dedication took on her as a person.  After watching the film, my
> personal
> > > opinion is that the "Rome Walkout" was the beginning of the collapse of
> > her
> > > ability to cope with the level of popular, professional, and artistic
> > fame
> > > she had dedicated her life  (up to that point) to achieve.  She refers
> to
> > > it as a  low point until just about the very end of her life.
> > >
> > > A few additional comments:
> > >
> > > The film largely ignores her formative years.  There is no recounting
> of
> > > her early career defining anomalies like alternating Walkure with
> > > Puritani.  We jump almost immediately into the glory years at La Scala.
> > > The film maker, Tom Volf did a marvelous job of searching out and
> > restoring
> > > old color footage of Callas in performance - productions I've admired
> in
> > > black and white photos in the Ardoin book suddenly jump to life in
> vivid
> > > reds, blues, and yellows.  How gorgeous she looked in that Trieste
> > "Norma"
> > > and all the fire you would expect is there in those brief flashes of
> her
> > in
> > > performance.  There are also stunning scenes from Vestale, Ballo, the
> '55
> > > Scala Norma, the Lisbon Traviata, the Paris Norma and the London
> Tosca  -
> > > all carefully curated by the director.
> > >
> > > The narration is either in the Callas voice, or by Joyce di Donato
> > reading
> > > the Callas letters.  Brava to di Donato for not trying to imitate any
> > > number of the speaking "voices" the real Callas used to express
> herself -
> > > from Grande Dame in the David Frost interview to the "Fulton Fish
> Market"
> > > shriek after Bing fired her from the MET.  Di Donato captures both
> > surface
> > > and soul without distracting attention from the essence of La Divina.
> > >
> > > If you haven't seen it...don't miss it!
> > >
> > > **********************************************
> > > OPERA-L on Facebook:
> > > http://www.facebook.com/groups/25703098721/
> > >
> >
> --------------------------------------------------------------------------
> > > To UNSUBSCRIBE, send a message to [log in to unmask]
> > > containing only the words:  SIGNOFF OPERA-L
> > >
> >
> --------------------------------------------------------------------------
> > > To stay subscribed but TURN OFF mail, send a message to
> > > [log in to unmask] containing only the words:  SET OPERA-L
> > NOMAIL
> > >
> >
> --------------------------------------------------------------------------
> > > Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> > >
> >
> --------------------------------------------------------------------------
> >
>
> **********************************************
> OPERA-L on Facebook:
> http://www.facebook.com/groups/25703098721/
> --------------------------------------------------------------------------
> To UNSUBSCRIBE, send a message to [log in to unmask]
> containing only the words:  SIGNOFF OPERA-L
> --------------------------------------------------------------------------
> To stay subscribed but TURN OFF mail, send a message to
> [log in to unmask] containing only the words:  SET OPERA-L NOMAIL
> --------------------------------------------------------------------------
> Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> --------------------------------------------------------------------------
>

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

Back to: Top of Message | Previous Page | Main OPERA-L Page

Permalink



LISTSERV.BCCLS.ORG

CataList Email List Search Powered by the LISTSERV Email List Manager