Frases de Maria Callas

Maria Callas Foto
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Maria Callas

Fecha de nacimiento: 2. Diciembre 1923
Fecha de muerte: 16. Septiembre 1977

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Ana María Cecilia Sofía Kaloyerópulos , conocida como María Callas , fue una soprano griega nacida en Estados Unidos, considerada la cantante de ópera más eminente del siglo XX. Capaz de revivir el bel canto en su corta pero importante carrera, fue llamada «La Divina» por su extraordinario talento vocal y actoral.

Aún hoy genera controversia su peculiar voz, de registro amplio y que unida a su dominio de la técnica, le permitió cantar roles desde soprano ligera a los dramáticos incluso de mezzo y alternar entre personajes de coloratura ágil y dramáticos pesados con éxito. También recordada por rescatar diversos personajes de la ópera en su esencia dramática y expresiva, incluso del olvido.

Su nombre está asociado en la memoria colectiva a Aristóteles Onassis, el gran amor de su vida.

Frases Maria Callas

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

— Maria Callas
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

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

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

„What a lovely voice, but who cares?“

— Maria Callas
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

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„[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.“

— Maria Callas

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