Biography of Maria Callas

Maria Callas was born in New York December 2, 1923 and died in Paris on 16 September 1977 is an opera singer of Greek origin. Maria Anna Sophia Kalogeropoulos was born in New York December 2, 1923. Despite the simplicity of their name Callas, her parents live a miserable life, which does not prevent her mother dream to establish his daughters as great artists. Maria studied the piano and singing. She is a student of Maria Trivela then Elvira de Hidalgo, which will also be her confidante. It starts at 17 in Boccaccio by Franz Suppe then his career took a decisive turn when she meets the Italian conductor Tullio Serafin, who offers him La Giaconda, the Arena of Verona in 1947. It is he who will make Maria Callas. The same year she married the boss of a brick and opera buff, Giambattista Meneghini. Noisily they divorced in 1960. Maria the "replace" by Aristotle Onassis became its master until 1968, when Jacqueline Kennedy Onassis wife, Maria will consider that as a betrayal. A child Omerio Langrini, born of their relationship:. Born prematurely in Milan, he died a few hours after his birth Surrounded by the most outstanding artists of the century (Mario del Monaco, Giuseppe Di Stefano , Boris Christoff , George Priest), Maria Callas product on the biggest stages in the world (New York, London, Paris, Milan, Venice, Rome - where it caused a scandal by defecting to the end of the first act of Bellini's Norma, forcing the President of the Republic to leave Saragat room - Buenos Aires, Mexico) but also makes the headlines as his character Tigress by his memorable rivalry with Renata Tebaldi (which earned him to be excluded from the Scala).Removed scene from in 1970, she devoted herself to teaching and recitals, suffering many addicts health. In 1970-1971, she devotes to the direction of master singing classes in New York, during which she takes care to explain, detail and reason all the roles covered by his students. Starting in 1974 she locks herself in her Paris apartment, Avenue Georges Mandel, sinking in solitude and listening tirelessly his recordings. She died September 16, 1977 in solitude. The cause of his death remains a mystery today: if the official reason is "heart attack", it is likely that she committed suicide by massive absorption of tranquilizers. The haste with which it was cremated, stealing the urn (recovered a few days later) and the dispersion of his ashes in the Aegean make impossible any autopsy. From soprano range, she addressed a wide range of roles from from bel canto to dramatic soprano, and is remembered as one of the greatest singers of the twentieth century, both by the very specific timbre of his voice and his ability to animate the characters she played. If "the Callas' remains, without doubt, the most famous singer of the second half of the twentieth century, his fame is partly due to the wrong reasons. His private life his relationship with Aristotle Onassis among others, have made ​​one of the tabloids at a time when his career was virtually over. Beyond anecdotes without interest, we forgot everything she had brought to opera at a time when the public began to turn away from traditional shows and routine. , technical His transcendent, allowed him to address as different as styles: Giuseppe Verdi (Nabucco, Macbeth, Rigoletto, Il Trovatore, La Traviata, The Sicilian Vespers, The Force of Destiny, Aida, Otello), Gioacchino Rossini (Il Turco in Italia, Il Barbiere di Siviglia, Armida ) Amilcare Ponchielli (La Gioconda), Gaspare Spontini (The Vestal), Vincenzo Bellini (Norma, The Puritans), Luigi Cherubini (Medea - she embodied in the film by Pasolini, The Somnanbula), Donizetti (Lucia di Lammermoor La Favorite, Lucrezia Borgia), Giacomo Puccini (Tosca, Turandot, Madama Butterfly), Richard Wagner (Tristan und Isolde, Parsifal, Die Walkure) Umberto Giordano (André Chénier). It was the Lucia di Lammermoor of his generation, revealing beyond vocals mastered with insolence, the multiple facets of a disturbing character, which did not prevent him to embody Isolde with the same ardor. No gratuitous virtuosity or reckless hedonism in his interpretations but the objective is to make the most expressive music and return to its musical score and dramatic truth likelihood qualities and defects using a tone of voice whose purity n was not the first quality. It was one of the first to show that the opera, you could play as the theater or cinema, and use his physical (remember how she modeled her own, unflattering, initially) and body. The two roles she has scarred, Norma and Tosca, she real incarnations. All thanks to a flawless artistic intuition supported by ongoing work.Singer released conventions, daring to restore honor to the neglected works, model of rigor and requirements, Maria Callas bequeathed to his successors a lesson that has not always been followed.
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