Selected articles from the
alt.fan.maria-callas newsgroup


From: matt@physics2.berkeley.edu (Matt Austern)
Re: Best Callas Biography?
Date: Thu Jun 03 04:21:34 CDT 1993
Organization: Lawrence Berkeley Laboratory (Theoretical Physics Group)
In-reply-to: dfox@mail.sas.upenn.edu's message of 19 May 93 16:01:54 GMT

> > Any suggestions for a good, complete, insightful biography?
> > I've read the one by her husband that I thought very good.
> > Any others by people who knew her well?
> 
>[David Fox:]   So far,
>I don't think there has been a decent (read non-trashy)
>biography, and perhaps this is due to the fact that Callas
>wasn't all that interesting as a person.  Anyway, the best
>of the bios that I've read is by Arianna Stasinopolous.
>It's pretty cheesy, but still the most complete so far.

I also recommend this biography.  I'd like to point out, in
particular: you probably want to read a biography written by
someone who *didn't* know Maria Callas well.  (Stasinopolous
falls in that category.)

The reason is reasonably clear: Callas led a rather
complicated life and her personal relationships were quite
messy.  Anyone who knew her well, and who is writing a book
about her, almost certainly has some ax to grind.  That
doesn't mean that these books aren't worth reading, just
that you always have to be a bit skeptical about them, and
realize that you're getting your information filtered
through some strong biases.  (Meneghini's biography is
probably the best example of that: it's pretty clear just
what he wanted to prove!)

--
Matthew Austern                 Maybe we can eventually make language
matt@physics.berkeley.edu	a complete impediment to understanding.

From: beckwith@biddeford.com (Chris Beckwith)
Subject: Early Callas performances, etc.
Date: Fri, 26 Apr 1996

Michael  wrote:

> Callas mentions at least one other occasion when she sang on the
> radio.  Jack Benny was the MC, and the judges were other "enfant
> prodiges" ... Callas' term.  She lost 1st place to an accordian
> player(!), and reported that Jack Benny "couldn't believe it" when
> she only came in second.  She won a Bullova wristwatch..... She
> discusses this in a television interview with Norman Ross in
> Chicago in 1956 or so.  On that occasion she sang under the name
> Mary Ann Callas.

Is that performance on the tape you mentioned below?  Do you
remember the name of the later program?  Was it another Major Bowes?

> On my tape of "Nina Foresti", it's followed immediately by the
> Ritorna Vincitor from the Mexico City AIDA, and the contrast of
> the voices 13 years apart is staggering.  I would think Callas
> would be overtly proud that she took a modest voice such as
> "Nina's" and created that voice of rolling thunder...

It occurs to me that she might have had "deniability" on the Nina
Foresti performance but not on the Jack Benny program.  Perhaps the 
earlier appearance was so far below her standards that she did 
everything possible to "cover her tracks," even in the face of 
growing evidence that Nina was a pseudonym for Maria.

> Vis the London AIDA, it was known to have been broadcast, but the
> question as to whether only Act 3 survived was answered by last
> years release of the complete performance, and what a sing it is!
>
> The lost Corelli tapes, if they survive, probably are in very bad
> sound, given the sound quality of mid-50's lap held reel to reel
> tape recorders.  It's my understanding that he literally had her
> tape EVERY performance in his career, and they would come home
> from the theater and he would immediately listen to it before going
> to bed, to check his phrasing, pitch and general performance.  He
> was a perfectionist, sloppy musician though he was, and I believe
> shared the inability to read music with Pavarotti...

I always thought it was a shame that by the time Maria and Franco
got to the recording studio Callas' voice was in tatters.  The 1964
outtake issued on the "Rarities" CD is just painful.

> so somewhere may be the PIRATA, FEDORA and the complete Naples
> NORMA.  One of the thoughts I floated on this group earlier in the
> year was my curiousity as to whether so much material was only just
> now surfacing (ie: the complete AIDA, the 1976 AH PERFIDO, the lost
> mad scene from the Mexico City LUCIA, etc.) because someone came
> into possession of Callas' private recordings at her death and is
> now releasing them 20 years on.  Could Vasso Devetzi's estate be
> the source? What else did Callas, and Callas alone own? Recordings
> of her coaching sessions with Alberta Masiello during her Julliard
> classes?  The Chicago TROVATORE with Bjoerling? The mind fairly
> boggles.  The Genoa TRISTAN, which was broadcast?....  Just some
> thoughts.  Michael 

I own the 1976 "Ah! Perfido," and I'm trying to track down as many of
the Juilliard master classes as possible.  It is generally known that
Maria kept a sizable archive of privately recorded performances.  It
remains uncertain even if much of the abovementioned material exists
in some form whether it would be of sufficient sound quality for
commercial release.  Of course, that didn't keep Gala and Eklipse
from releasing the 1976 Paris practice tape.

Take care,

Chris

From: beckwith@biddeford.com (Chris Beckwith)
Subject: Early Callas performances, later recordings, etc.
Date: Sun, 28 Apr 1996

In 1968 Maria told an interviewer she was planning to perform in San
Francisco, but apparently the injury she suffered while on vacation
in Mexico and the indifferent results of the Paris sessions put her
off for several more years.

> I also wanted to let you know that somehow, there survives a color
> 8 mm film of various scenes of Callas and Corelli IN ACTUAL
> PERFORMANCE during one of the Paris NORMAS, including various high
> points like "ah non tremare" and the finale, as well as curtain
> calls.  On the video copy I have, there is no sound (nor do I think
> there was originally, being a non sound producing movie camera),
> and they've spliced in as closely as possible what Callas was
> singing (from the 1960 EMI set) and essentially given the illusion
> that she's lip synching.  The picture is fuzzy, and was almost
> certainly a hand held camera, and the film appears to be taken from
> the left hand 1st tier box.  But it's definately what it says it
> is, namely the only film known of Callas onstage as Norma, with the
> exception of the one black and white clip of Callas in a rehearsal
> of the same production, which Zeffirelli used in his documentary. 
> It almost makes it worth getting up every day, just to see what new
> material keeps floating to the surface.  I have a feeling that film
> was also in Callas' private collection and only just now
> surfaced...

I suspect this to be the case as well.  I could swear there was a
brief excerpt of this silent film in one of the commercially released
documentaries; memory fails as to whether if it was "Life and Art" or
"Maria."

Is the Zeffirelli PBS documentary from '78 circulating on video,
officially or otherwise?  What about the Lord Harewood or David Frost
interviews?  Also, I understand that "Callas in Her Own Words" was
commercially released, but I have no idea where to obtain them.  The 
"Recorded Interviews" section of "The Callas Legacy" is a very 
tempting treasure trove of material!

Take care,

Chris

From: wolf0065@sable.ox.ac.uk (Graham Ward)
Subject: Hey everyone!  Callas posters!
Date: 14 May 1996

You can order posters of Maria from

  The Theatre Museum Shop
  1E Tavistock Street
  London
  WC2E 7PA
  United Kingdom

The phone number is +44 (0)171 836 7891.  The posters cost 4.95,
with postage+packing 0.50 for UK, 1.50 for US.  Cheques (pounds
sterling only AFAIK) payable to `Victoria and Albert Museum', though
if you're outside the UK it might be better to use a credit card.

The posters are pretty cool.  The picture is a black+white photo by
Houston Rogers taken in 1958 when Maria sang Violetta at Covent
Garden ... and often used by EMI.  I haven't actually seen this photo
anywhere apart from this poster.

Enjoy your Callas posters,

Graham

From: <>
Subject: Callas's Last Recording
Date: 18 May 1996

Recently I bought a CD of the third act of Parsifal with
her singing the part of Kundry.  It's a wonderful recording, but 
more interesting than the Parsifal excerpt is a short
recording of Callas singing in 1976 in Paris.  She is 
practising Beethoven's "Oh, Perfido" aria.  What is amazing
about this recording is the condition of Callas's voice.  

When I first heard this, I thought it was recorded in the mid
1950's.  The voice is fresh, solid, and the high notes are
firm and in good control.  The CD jacket says that she is 
accompanying herself, but later I read that she is being 
accompanied by Jeffrey Tate.  

This recording gives credence to what Titto Gobbi said about 
Callas's vocal decline.  He said, "Nothing happened to her
voice; she just lost her nerve." I did not believe what he
said till I heard this recording made not long before she
died.  It makes me wonder about what she could still have
accomplished with the proper mental and spiritual support.  It
serves to heighten the sense of loss of such an immense talent.

There is supposed to be another recording made in the summer 
of 1977, a month or two before her death, but I haven't heard
it.  She is rumored to be in excellent voice in that recording also. 

Does anyone know where that very last recording can be found?

From: jet@loop.com (Jet)
Subject: Re: Callas books, CDs
Date: Fri, 26 Jul 1996

In article <4sorn0$nmb@news00.btx.dtag.de>, Guido.Heller@t-online.de
(Guido Heller) wrote:

>I'm looking for Books, CD's etc. about Maria Callas.

The following books are available on-line at Amazon Books, an on-line bookstore. 

  http://www.amazon.com

Callas : As They Saw Her; David A. Loew; Hardcover; $22.50

Callas : Portrait of a Prima Donna; George Jellinek; Paperback; $8.95

The Callas Legacy : The Complete Guide to Her Recordings on Compact Discs;
John Ardoin; Paperback; $17.96

Master Class; Terrence McNally; Paperback; $8.05

Maria Meneghini Callas; Michael Scott; Hardcover; $29.95 (Special Order)

The following records are available on-line at CD-NOW 

       http://cdnow.com/

5 Heroines - Maria Callas    $49.77                
CALLAS (SOP) 
EMD/CAPITOL 7777 64418 2

       La Traviata, opera: Excerpt(s)
       Carlo Maria Giulini Maria Callas (SV) 
       Lucia Di Lammermoor, opera: Excerpt(s)
       Tullio Serafin Maria Callas (SV) 
       Madama Butterfly, opera: excerpt(s)
       Herbert von Karajan Teatro alla Scala Orchestra, Milan Maria Callas (SV) 
       Tosca, opera: excerpt(s)
       Victor De Sabata Maria Callas (SV) 

Callas a Paris   $15.76                    
PRETRE/VARIOUS CALLAS (SOP) 
CEMA/CAPITOL 7777 49059 2

       Alceste, opera: Act 1, "Divinites Du Styx"
       Georges Pretre French National Radio Orchestra Maria Callas (SV) 
       Orfeo Ed Euridice, opera: Act 3, "Che Faro Senza Euridice?"
       Georges Pretre French National Radio Orchestra Maria Callas (SV) 
       Samson Et Dalila, opera, Op 47: Act 1, "Printemps, Qui Commence"
       Georges Pretre French National Radio Orchestra Maria Callas (SV) 
       Samson Et Dalila, opera, Op 47: Act 2, "Amour, Viens Aider Ma Faiblesse"
       Georges Pretre French National Radio Orchestra Maria Callas (SV) 
       And 8 more ...
  
D'Art et d'Amour- Arias & Scenes from French & Italian Opera     
$29.97                   
CALLAS (SOP) 
CEMA/CAPITOL 7777 54103 2

       Aria(s)
       Maria Callas (SV) 
    
L'Art de Maria Callas    $43.97                   
CALLAS (SOP) 
EMD/CAPITOL 7777 63244 2

       Cavalleria Rusticana, opera: "Voi Lo Sapete, O Mamma"
       Tullio Serafin Teatro alla Scala Orchestra, Milan Maria Callas (SV), 
           Giuseppe Di Stefano (TV), Ebe
       Ticozzi (AV), Anna Maria Canali (MSV) 
       La Gioconda, opera: "Nessun V'Ha Visto? O Pietosi ..."
       Antonino Votto Teatro alla Scala Orchestra, Milan Maria Callas (SV), 
           Carlo Forti (BV) 
       La Traviata, opera: Act 1, "Ah, Fors' e Lui ... Sempre Libera"
       Franco Ghione Teatro San Carlo Orchestra, Lisbon Maria Callas (SV), 
           Alfredo Kraus (TV) 
       Tosca, opera: Act 1, "Non La Sospiri La Nostra Casetta"
       Victor De Sabata Teatro alla Scala Orchestra, Milan Maria Callas (SV), 
           Giuseppe Di Stefano (TV) 
       And 8 more ...

La Voix du Siecle - Maria Callas    $15.76                     
VARIOUS CALLAS (SOP) 
CEMA/CAPITOL 7777 49502 2

       Barber Of Seville, The, opera: "Una Voce Poco Fa ... Io Sono Dolcile"
       Maria Callas (SV) 
       La Sonnambula, opera: Act 2, "Ah! Non Credea Mirarti"
       Maria Callas (SV) 
       Norma, opera: Act 1, "Casta Diva"
       Maria Callas (SV) 
       Rigoletto, opera: Act 1, "Caro Nome"
       Tullio Serafin Teatro alla Scala Orchestra, Milan Maria Callas (SV) 
       And 4 more ...

Maria Callas - La Divina
CALLAS (SOP) 
SUITE New release (date not available). 23714 5001 2

       I Puritani, opera: Act 2, "Qui La Voce Sua Soave" ("Mad Scene") ...
Vien, Dile
       Maria Callas (SV) 
       Il Trovatore, opera: Act 1, "Tacea La Notte Placida ... Di Tale Amor"
       Maria Callas (SV) 
       Nabucco, opera: Act 2, "Ben Io T'invenni ... Anch'io Dischiuso Un Giorno"
       Maria Callas (SV) 
       Tristan Und Isolde, opera: Act 3, "Liebestod" ("Love Death")
       Maria Callas (SV) 
       And 4 more ...

Maria Callas - Mad Scenes and Bel Canto Arias          $15.76 
RESCIGNO/PHILHARMONIA ORCH CALLAS (SOP) 
CEMA/CAPITOL 7777 47283 2

       Anna Bolena, opera: "Piangete Voi? ... Al Dolce Guidami Castel Natio"
       Nicola Rescigno Philharmonia Orchestra Maria Callas (SV), Monica Sinclair (MSV), 
          John Lanigan (TV),
       Joseph Rouleau (BV), Duncan Robertson (TV) 
       Hamlet, opera: Act 4, "A Vos Jeux, Mes Amis" ("Mad Scene")
       Nicola Rescigno Philharmonia Orchestra Maria Callas (SV) 
       La Fille Du Regiment, opera: Act 1, "Chacun Le Sait"
       Nicola Rescigno Paris Conservatory Orchestra Maria Callas (SV) 
       Lucrezia Borgia, opera: "Com' e Bello!"
       Nicola Rescigno Paris Conservatory Orchestra Maria Callas (SV) 

And the following web sites are dedicated to the object of our affection.

http://www.serendipity.li/callas.html
http://www.cs.Helsinki.FI/~linden/docs/callas.html
http://borg.ncl.ac.uk/miscellaneous/scott/callas.html

That ought to get you started.

----- Jet

From: Fred Tiedemann Croese 
Subject: Re: Maria Callas & Teresa Berganza
Date: Tue, 03 Sep 1996

rherrera@filabres.ualm.es wrote:

>         One time I heard in the radio Teresa Berganza saying she sang
> some times with Maria Callas. She told that Maria ask she for sang with
> her in an opera which I don't remenber and Teresa answer she wasn't ready
> to sang that rol. After a time Teresa call to Maria and Said that then
> she was able to sing it and Maria answered "Troppo tarde Teresinna" (very
> later ... now I can't sing my rol).
> 
>         I know Teresa Bergamza has sung very few roles but I'm Interested
> in what operas did they (Maria and Teresa) sang together?
> 
>                                         Fernando Herrera de las Herras
>                                                 rherrera@ualm.es

The only occasion they sang together is in Medea (performed in '57 or '59 in Dallas).
Berganza was very young at that time.
-- 
Fred Tiedemann Croese

my own home page            : http://www.bart.nl/~ftc

From: "Richard Green" 
Subject: Re: Maria Callas & Teresa Berganza
Date: 3 Sep 1996

Maria Callas and Teresa Berganza sang together in Dallas in 1958 in the
opera Medea by Cherubini.  Berganza sang the role of Neris, Medea's maid. 
Berganza has always said that Callas was the best colleague she has ever
worked with.  In the book "Divas," Berganza explains on how good Callas was
to her and how protective.  She says that Callas treated her like a younger
sister.  There is a live recording of this opera on the Gala label.  It's
one of the recordings every Callas fan should own.  It was a magical night,
and Callas' intensity and Berganza's tenderness have never been equaled.

From: steon@creative.net
Subject: Re: what fans?
Date: Wed, 11 Sep 1996

In article ,
gjfonk@worldaccess.nl wrote:

> Hi Steon, and others!!!!, well, let's make things better. There is talk of a 
> televison film from La Sonnambula 1957, first act only! Of course youknow that 
> in 1953 Maria hadn't even learnt La Sonnambula. About Arianna, I shouldn't be 
> so harsh about her, or her book. It wasn't that bad, and for a lot of people it 
> makes fine reading, and it has made lots of people curious about Callas. 
> So let us make this fan club work. I have been thinking starting something on 
> her high C's, so called knowledgeable people try to make every body believe 
> that they were no good, on account of a few blatant missed ones. The good ones 
> are among the great thrills of Callas' singing, as for instance the repeated 
> high C's in Norma's first act finale. They are like fire ball's of 
> concentrated sound. 
> See what I mean? Hope to hear from you, and others
> 
> love, Jan Gerrit

Life on Mars!  And on this line.  At last.  Still can't agree with you
about Huffington's biography, but  what the hell.  I'm here in San
Francisco, and Arianna and her husband carpetbagged their way into
California politics a few years ago.  And you know a person has no class
when the servants keep quitting.  The bad-taste-in-mouth effect.  
As for Maria's high C's, each one was an adventure, judging by recordings
and the one measly concert I heard her sing in 1958.  (She was supposed to
do a role or two at S.F. Opera, but....  sighhhhhhhh.)   Her high C
problem has been attributed by some to her trying to sing the entire
soprano repertory by the age of 25 (okay, a little exaggeration), and, by
others to the *fact* that she was a pushed-up mezzo.   I read, and can't
recall where, of course, that nailing a high C was always iffy for her, 
just in the nature of her voice.  And, though many would disagree -- and
what is a news group for? -- I feel her incredible dramatic powers put
such a strain on her voice that she sang herself out, essentially, much
too soon.  But what do we want, another Callas (not in our lifetime, gang,
let's face it) or another Carol Van Ness (who is all very well, but....)? 
A friend of mine who is given to rugged individualist opinions feels that
if Maria had had better taste in men and more sense of humor, her high C's
would have been less of a problem, along with the rest of her life. 
Hm....  I wonder.  

Thanks, Jan, for revving things up.  Let's see what happens next.

Cheers, Steon

From: ewaffle@ix.netcom.com(edward c waffle)
Subject: Re: what fans?
Date: 15 Sep 1996

In  gjfonk@worldaccess.nl
writes: 
>
>snip

Hi, gang -- I am ralatively new to opera, though not to the vocal arts. 
I have been listining to opera for only about 10 years, mainly the
Saturday Met broadcasts and CDs.  I have attended only about 20
performances of opera all told.  I am posting to this group bvecause I
am trying to figure out my mild obsession with Callas.  I own three
recordings of her in Tosca, two in Norma, one each in Turco in Italia,
Sonnambula, Barbeire, Lucia di Lammermoor, Carmen, Gioconda, Traviata,
Turandot, Andrea Chenier -- each of them purchased because Callas was on
them.  In addition, several highlight CDs, including the French EMI -
5 Heroines.  I just ordered the Memories disc (MEM 45811) which is billed
as: Callas in Four Versions of Donizetti's Mad Scene, recorded live in
Mexico, 1952.

    I will continue to acquire and be thrilled by Callas recordings -- I
am just not sure why. An example -- recently I got the verona release of
-Andrea Chernier-.  Typical Verona -- a note on the insert says: -high
quality radio recording-.  Actually not TOO bad. (Rest of the cast
includes di Stefano and Taddei, with Votto in the pit.)

    As a bonus, there were highlights of a 1949 La Scala performance of
the same opera, with del Monaco and TEBALDI.  Switching between Callas
and Tebaldi singing __La Mamma morta__ could be done by hitting one
button, which I did.  First Callas, with me trying to listen
critically, then Tebaldi, then Callas again.

    While listening to Tebaldi (whom I have not heard much of at all), I
thought that it was easy to see why she was considered a great singer: 
beautiful sound, no noticeable register break, at least in 1949,
effortless production, ability to float a pianissimo phrase, seemed to
have an emotional connection to the words she was singing.  HOWEVER,
upon switching back to Callas doing the same aria, I forgot all that
and was TRANSPORTED.  Instead of listining to a great singer and
analyzing how she represented a certain role, I was listening to
Maddalena di Coigny herself.

    The point of this interminable post is that I still do not
understand my visceral, emotional reponse to Callas -- does any think
there any point in trying to do so, and if so, how?

    I hae read all the biographies -- the best Callas book encountered so
far is the coffee table sized book by Ardoin and Gerald Fitzgerald
which has good discussions of each of her roles at La Scala and a short
account of her life.

    Heaven, BTW, would be Callas singing Leonore in Fidelio with
Furtwangler conducting, Gobbi as Rocco, Frick as Pizzaro, Schwarzkopf
as Marzelline, although Bartoli would be a perfect Marzelline also. 
Maybe I just have a bad case of 'golden ageism', in which the best
singing was in the era just before one's own.

    Comments to the group appreciated

Subject: Callas, in her own words
From: "GDTOBME" 
Date: 22 Sep 1996

I just finished listening to the new CD "Callas, In Her Own Words".  It's
on Eklipse label, number EKR P-14.

Its  a well done collection of interview and live recording snippets
tracing her history from childhood to her death.  A must have for all
Callas followers and newcomers.  It's written by John Ardoin.

Subject: callas club
From: gjfonk@worldaccess.nl
Date: Mon, 23 Sep 96

The International Callas Club has over 200 members worldwide. Their main 
activity is the issue of a great magazine, with many photographs, and with 
often interesting articles.
For information about membership write to Mrs. Jeanne Handzic, The Maria Callas 
International Club, 7 East Way, Shirley, Croydon, Surrey CRO 8AH,England.

Subject: Re: callas club
From: Fred Tiedemann Croese 
Date: Tue, 24 Sep 1996

gjfonk@worldaccess.nl wrote:
> 
> The International Callas Club has over 200 members worldwide. Their main
> activity is the issue of a great magazine, with many photographs, and with
> often interesting articles.
> For information about membership write to Mrs. Jeanne Handzic, The Maria Callas
> International Club, 7 East Way, Shirley, Croydon, Surrey CRO 8AH,England.--

I'm a member for 4 to 5 years now and I will be for several years at least. 
Besides the magazine you are among  many celebreties like Pavarotti (you don't 
need to like him).
-- 
Fred Tiedemann Croese
----------------------------:--------------------------------
e-mail prive/private        : ftc@bart.nl
e-mail zakelijk/at business : F.A.R.TiedemannCroese@minez.nl
my own home page            : http://www.bart.nl/~ftc
----------------------------:--------------------------------


From gialo@flashnet.it Tue May 20 04:38:07 1997 Newsgroups: alt.fan.maria-callas Subject: PASSION CALLAS From: gialo@flashnet.it (Giampaolo Lomi) Date: Tue, 20 May 1997 11:38:07 GMT PASSION CALLAS - A FRENCH TV SPECIAL NOT TO MISS French networks Arte' and/ or (possibly) Canal 5 are said to plan to air a sensational documentary on MARIA CALLAS on 11 September. This information comes from a well placed source in Milan, and it would seem that both Arte' and Canal 5 can be retrieved from the Eutelsat Satellite. Which network is going to air the documentary is not quite clear. (French liaisons to the rescue) The 90-minute special is titled "Passion Callas - A singer's diary" written by Claire Alby and produced by Gerald Caillat and Guy Seligmann. One of the featured documents is a testament for the Callas Foundation that the legendary soprano launched with her friend Vasso Devetzi in 1977shortly before her death. Callas desire to dispel "a lot of nonsense that can be said about" her is very prominent. Interviews include: Michel Glotz (artistic director and friend of Callas) George Pretre Barbara Hendricks (Callas pupil) James Conlon Jean Roire (Callas and Devetzi friend) Catherine Deneuve (actress and Parisian neighbour of Callas) Maestro Berengo (La Scala) Piccagliani (La Scala photographer) Renzo Allegri (co-author of Meneghini's memoirs and ofc a bio of Callas) Anita Cerquetti (who replaced Callas after the first part of Norma at the fateful Norma given in Rome) Carla Verga (author of an acclaimed book on Callas) Pierre-Jean Remy (author of "Callas - a Life") Herbert Breslin (impresario NY) Wayne Kostenbaum Terrence McNally (author of the "Lisbon Traviata" and "Master Class") Werner Schroeter Jackie Kalogeropoulos (sister of Maria Callas) Kristos Lambrakis (Callas Foundation president, Athens) Irma Kolassi Elizabeth Schwarzkopf Special footage from opera performances includes Tosca - Rai 1950 Trovatore with Di Stefano & Sanzogno cond. Rai 1960 Medea with Vickers & Ghiaurov - La Scala (images only no sound!) 1961 1958 Concert Paris Opera Hamburg Concert 1959-1962 - the other "Casta Diva" 1962 interview by Rolf Mittler Covent Garden Concert 1962 (EMI) Lisbon Traviata excerpts (RTP 1958) Met Tosca 1965 (images only, no soundtrack) Dallas Medea 1959 (amateur video) Other significant footage: Callas as director of Vespri Siciliani with Kabaivanska (RAI) Biographical notes and footage while in Italy (RAI) Paris Medea Scala - with Ghiringhelli, Prince Rainier & Grace 1960 Scala - Poliuto 1961 Scala opening - Medea - interviews with Simionato, Callas, Buzzati and De Chirico 1973 RAI interview with Callas - La Scala Vespri - Callas congratulates Scotto RAI 1976 Magda Olivero reminiscences 1977 La Scala tribute......... some 30 days before Callas' death (RAI) Sirmione speaks about Callas "the legend" The secret Callas (RAI 1987 documentary) Plus French TV footage with interviews with Callas, Luchino Visconti and the film Elvira de Hidalgo. Plus interviews in Germany, Britain, Belgium, Portugal (1958 interview with Alfredo Kraus), USA and Turkey Soundtrack includes excerpts from many EMI recordings, a long interview in Milan 1957 (in English) in reference to the Edinburgh affair, a 1965 French special "Three days with Callas", 1958 BBC interview by David Holmes and many more including a 1952 on-stage interview after the Traviata premiere at Palacio de las Bellas Artes, Mexico (in Spanish and Italian). Of course, there is plenty more including some rare and previously not-released footage and sountrack. This PASSION CALLAS special promises to be a memorable documentary and most opera fans will want to see it. Those who can not view it -- will certainly need safe and sound "liaisons" and reports from the lucky ones. In this respect it would be advisable to keep in touch with our French friends. Else..we can suggest to some of the major USA networks to secure the rights for a re-broadcast on this side of the Atlantic ocean. Let's see and hope! REMEMBER 11 SEPTEMBER either Arte' or Canal 5 Giampaolo Lomi



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