“Maria Callas: The Eternal Diva Who Redefined Opera”[embed]https://www.youtube.com/watch?v=5oZi2fovnZQ[/embed][embed]https://www.youtube.com/watch?v=1N2MsIP1CKc[/embed][embed]https://www.youtube.com/watch?v=s-TwMfgaDC8[/embed][embed]https://www.youtube.com/watch?v=Nk5KrlxePzI[/embed]

This is about the personality who had the absolute brilliance of the peak, Maria Callas was opera…

Maria Callas was the greatest Greek soprano, the ultimate diva in the world of lyrical theater. More than any other lyrical artist of the 20th century, the Greek Maria Callas dominated and forever changed the course of opera. With her unique vocal and acting talents, she revitalized opera and its repertoire, particularly the Italian “bel canto.” She passed away on the morning of September 16, 1977, from a heart attack, at the age of 54.

She was hardworking and only stopped when she believed she had reached the maximum of her capabilities. Maria Callas was the ultimate diva. Her stage presence combined with her warm temperament enchanted audiences wherever she appeared.

Her musical training, originality in her performances—with her ability to shape characters, delve deeply, and essentially become the role herself—and her absolute domination over the audience were undeniable. The singer who revived the forgotten repertoire of “bel canto,” the performer who turned the stage into an exhilarating spectacle and true theater, the personality who had the absolute brilliance of the peak, Maria Callas was opera.

In 1940, she was hired at the Lyrical Stage of the then Royal Theater, and in 1941 she made her debut as “Beatrice” in Suppe’s operetta Boccaccio. Afterwards, until 1945, she starred in Tosca (1942, 1943), D’Albert’s Tiefland (1944, 1945), Cavalleria Rusticana (1944), Manolis Kalomoiris’s Protomastoras (1944, the only Greek work she sang), Beethoven’s Fidelio (1944), and the operetta The Student Prince by Viennese composer Karl Millöcker (1945).

On August 24, 1960, Maria Callas performed Vincenzo Bellini’s Norma at the Ancient Theater of Epidaurus, a work she had requested for her first appearance at the ancient theater. She never missed the opportunity to relive the drama and passion of the heroine. At the moment she sang the aria “Casta diva,” two white doves were released into the orchestra, causing a storm of applause. In the end, the audience’s enthusiasm was so great that they called Callas to the stage 10 times.

In January 1964, Maria Callas was persuaded by Franco Zeffirelli to take part in a new production of “Tosca” at Covent Garden. The performance was praised by critics, and later that same year she had another artistic triumph at the Paris Opera with “Norma.”

“Vissi d’arte, vissi d’amore,” (I lived for love, I lived for art), we hear Maria Callas say heart-wrenchingly and proudly in Puccini’s opera “Tosca.” It is no coincidence that Callas always made sure to engage in emotional and romantic relationships with several, if not many, older men, who happened to be dynamic, sometimes even domineering, personalities.

Meneghini, a fatherly figure and twenty-eight years her senior, contributed significantly to the transformation of Maria Sophia Anna Cecilia Kalogeropoulou, which is her real name, into Maria Callas. However, her love affair with Aristotle Onassis is the one that went down in history.

Maria Callas passed into eternity on September 16, 1977, in Paris.

Source: skai.gr

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