By John Ardoin
Maria Callas back to the degree in 1971 to coach grasp sessions at Juilliard. This exciting discussion board later encouraged Terrence McNally's acclaimed play grasp type. Outspoken and uncompromising in her inventive ideals, Callas labored via her mythical arias from Mozart, Verdi, Rossini, Puccini, and others. John Ardoin brilliantly captures the insights of a considerate singer who finds herself to be no longer the imperious diva of her acceptance, yet a supremely self-aware artist concerned about passing alongside an exceptional musical culture.
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Additional resources for Callas at Juilliard: The Master Classes (Amadeus)
Wait and breathe well before beginning 'Io non voglio': "In some performances of Medea you will find the repeat of 'non voglio che te solo' omittedabout a measure of music. Why, I do not know. < previous page page_41 next page > < previous page page_42 next page > Page 42 I have sung it both ways. ' Two years later, he reinstated this missing bar: "When you reach the'pietà's, breathe well before and after each. This will not only give the thought emphasis but will prepare you for the B-flats, especially the difficult ones in'per tanto amor': "And each'torna a me' will be hushed to contrast with the'pietà's: "The exceptions, of course, are the final two statements of'torna sposo per me,' which ride up to B-flat.
Go over and over them with your mind. Think the notes, but do no more than hum them. Eventually, you will have them in your head and know where you are going without unduly using your voice. < previous page page_25 next page > < previous page page_26 next page > Page 26 "I don't know if a conductor would permit it or not, but I would make an accelerando towards the end of the next set of staccati; it makes a more dramatic effect and enables you to sing all four measures in a single breath: "Again, sing with good strength and support the phrase after the staccati: Make the final note before the fermata short for dramatic impact: "With the final notes be very aware of what you are saying: 'Listen, listen, gods of vengeance,' and really let your voice out.
You must have them and use them to convey the great authority of the Queen. Remember that in neither of her arias has Mozart written a piano, and I feel the necessity for a compelling sound in both. "It is not enough to have a high D or F in this music. These notes, of course, are very nice, but they are not the main thing; either you have them or you don't. What is of more importance is the great strength of this woman, and this you will capture only with a well-supported, sustained sound. From the very first phrase, give the notes their full value: At the end of the recitative do not let your voice drop when the line drops, but keep it full: < previous page page_21 next page > < previous page page_22 next page > Page 22 "Perhaps you will feel the beginning of the aria as piano.