Maria Callasová citáty

Maria Callasová bola americká sopranistka gréckeho pôvodu, jedna z najslávnejších a najvplyvnejších operných speváčok 20. storočia. Hudobní kritici vyzdvihujú jej techniku bel canto, široký hlasový rozsah a zmysel pre drámu. Jej repertoár zahŕňal klasické opery, bel canto opery od Donizettiho, Belliniho či Rossiniho; ako aj diela Verdiho a Pucciniho; v ranom období kariéry aj dramatickú hudbu Richarda Wagnera. Vďaka hudobnému a dramatickému nadaniu jej publikum dalo prezývku La Divina .

Narodila sa v New Yorku, kde ju vychovávala panovačná matka. Hudobné vzdelanie získala v Grécku a svoju kariéru zavŕšila v Taliansku. Trpela silnou krátkozrakosťou, pre ktorú bola na javisku takmer slepá. Dokázala zmeniť svoj vzhľad obéznej matróny na štíhlu a elegantnú postavu, čo však malo za následok hlasové problémy a predčasné ukončenie jej kariéry. Bola vďačným námetom pre bulvárnu tlač kvôli svojmu temperamentu, údajnej rivalite s Renatou Tebaldiovou a milostnému pomeru s lodným magnátom Aristotelom Onassisom. Aj keď osobný život a aféry často v tlači zatienili Callasovú ako umelkyňu, jej umelecké výkony boli také, že ju Leonard Bernstein neváhal nazvať "Bibliou opery". Americký hudobný magazín Opera News v roku 2006 o nej napísal: „Aj takmer 30 rokov po svojej smrti je stále prototypom divy a najpredávanejšou vokalistkou klasickej hudby“. Wikipedia  

✵ 2. december 1923 – 16. september 1977
Maria Callasová fotka
Maria Callasová: 11   citátov 0   Páči sa

Maria Callasová: Citáty v angličtine

“Don't talk to me about rules, dear. Wherever I stay I make the goddamn rules.”

On her controversial personality and performance, quoted in Wild Women Talk Back : Audacious Advice for the Bedroom, Boardroom, and Beyond (2004) by Autumn Stephens, p. 142

“I admire Tebaldi's tone; it's beautiful — also some beautiful phrasing. Sometimes, I actually wish I had her voice.”

Discussing rival soprano Renata Tebaldi, in a television interview with Norman Ross, Chicago (17 November 1957)

“[Serafin was] an extraordinary coach, sharp as a vecchio lupo [old wolfe]. He opened a world to me, showed me there was a reason for everything, that even fiorature and trills… have a reason in the composer's mind, that they are the expression of the stato d'animo [state of mind] of the character — that is, the way he feels at the moment, the passing emotions that take hold of him. He would coach us for every little detail, every movement, every word, every breath. One of the things he told me — and this is the basis of bel canto — is never to attack a note from underneath or from above, but always to prepare it in the face. He taught me that pauses are often more important than the music. He explained that there was a rhythm — these are the things you get only from that man! — a measure for the human ear, and that if a note was too long, it was no good after a while. A fermata always must be measured, and if there are two fermate close to one another in the score, you ignore one of them. He taught me the proportions of recitative — how it is elastic, the proportions altering so slightly that only you can understand it…. But in performance he left you on your own. "When I am in the pit, I am there to serve you, because I have to save my performance." he would say. We would look down and feel we had a friend there. He was helping you all the way. He would mouth all the words. If you were not well, he would speed up the tempo, and if you were in top form, he would slow it down to let you breathe, to give you room. He was breathing with you, living the music with you, loving it with you. It was elastic, growing, living.”

Callas : The Art and the Life (1974)

“What a lovely voice, but who cares?”

On hearing a recording by Renata Tebaldi, as quoted in The Last Prima Donnas (1982) by Lanfranco Rasponi; also in The Book of Musical Anecdotes (1985) by Norman Lebrecht ISBN 0-02-918710-9

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