MARIA!!!!!!!!!!!!!!!!!!!!!!!

Maria Callas, 12/2/23
We never knew of the fabulous "Pirates" from 1949-1955,etc. when one day at a party with Maestro Armen Boyajian,Paul Plishka,Franco Gratale,etc... someone had a very poor sounding end of Aida act 2 with CALLAS taking E flat...Che cosa???? We went NUTS!!! I forget if the "second Mexico E flat lady" was there....Marisa Galvany,who did a "Second Callas" (E flats were unheard of in those days in Aida.)
We had heard many of the Angel commercial recordings, but there were no "pirates" to speak of at that time. Now we know her entire output(well,Loretta Corelli did have Fedora....but we never got it.)
However, as much as I knew of Callas, the 1956 Met debut was a disaster...I was shocked! Happily,in 1958 the Lucias and Traviatas were far better...but really the 1949-1955 "skinny" performances were to me a positive sensation....in ALL opera...and she could have done almost every role..imagine "Elektra!!"
Mme.de Hidalgo did not do quite enough, because the tremolo was there...but not bad until the later part of her career, and to me some singing (Poliuto)was almost unlistenable, despite the great artistry.
I love Moedl, Gencer, and other "flawed" sopranos, but when it come to the last note of the Cenerentola aria,I shudder......however, I would be a fool to deny the sensational lady's gift to opera, despite the well-known vocal problems.(and Onassis did not help.)
I always quote J.B. Steane's detailed account of her "Casta Diva" in "The Grand Tradition."...."As if in a trance..." We weigh vocal flaws differently....no question that she could be (for me) a disaster on top later on, but I forgive Moedl..don't I????
What we know is that,despite the controversies,the lady ranks Numero UNO to those who appreciate what she achieved....and on her birthday....so sad to think of her very early end.....we must treasure the great Maria....who loved to run home to watch "I love Lucia..Lucy.before VCR's!!!)
God bless her memory forever!!!!!!!!!!!!!!!!!!!

Maria Callas, 12/2/23 We never knew of the fabulous "Pirates" from 1949-1955,etc. when one day at a party with Maestro Armen Boyajian,Paul Plishka,Franco Gratale,etc... someone had a very poor sounding end of Aida act 2 with CALLAS taking E flat...Che cosa???? We went NUTS!!! I forget if the "second Mexico E flat lady" was there....Marisa Galvany,who did a "Second Callas" (E flats were unheard of in those days in Aida.) We had heard many of the Angel commercial recordings, but there were no "pirates" to speak of at that time. Now we know her entire output(well,Loretta Corelli did have Fedora....but we never got it.) However, as much as I knew of Callas, the 1956 Met debut was a disaster...I was shocked! Happily,in 1958 the Lucias and Traviatas were far better...but really the 1949-1955 "skinny" performances were to me a positive sensation....in ALL opera...and she could have done almost every role..imagine "Elektra!!" Mme.de Hidalgo did not do quite enough, because the tremolo was there...but not bad until the later part of her career, and to me some singing (Poliuto)was almost unlistenable, despite the great artistry. I love Moedl, Gencer, and other "flawed" sopranos, but when it come to the last note of the Cenerentola aria,I shudder......however, I would be a fool to deny the sensational lady's gift to opera, despite the well-known vocal problems.(and Onassis did not help.) I always quote J.B. Steane's detailed account of her "Casta Diva" in "The Grand Tradition."...."As if in a trance..." We weigh vocal flaws differently....no question that she could be (for me) a disaster on top later on, but I forgive Moedl..don't I???? What we know is that,despite the controversies,the lady ranks Numero UNO to those who appreciate what she achieved....and on her birthday....so sad to think of her very early end.....we must treasure the great Maria....who loved to run home to watch "I love Lucia..Lucy.before VCR's!!!) God bless her memory forever!!!!!!!!!!!!!!!!!!!