Customer Reviews

Maria Callas - The Callas Conversations (EMI Classic Archive)

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It is one thing to have heard the Harewood conversations with Callas, and another to see them. By the same token,Callas's concert recordings in Paris under Pretre in '65 were stirring, but the sight of her interpretations of the Massenet and Bellini will leave some viewers dumbfounded, because she is clearly singing about her own life and her face betrays this fact. Hert performances are overwhelming.

I am not a Callas fanatic, and have even sold late recordings she completed for EMI, such as the late LUCIA, believing the voice had passed its prime for reasons which exceeded pure use. What I do believe is that Callas was one of the most learned musicians, expert teachers and operatic interpreters of the twentieth century. I also think that for twenty good years, the voice was more beautiful than critics were willing to admit.

As for her theatrical abilities, I'm afraid we won't see the likes of her again. With the sole exception of the 12-minute French interview here, which is quite vapid (although Callas's coy demeanor is really charming) this is a presentation that will sweep you away from daily cares and worries. If you're familiar with Callas, your respect for her professional qualities will deepen. If you're less familiar, you will be sold. If you believe the crtical accolades have been overstated, only suggest you enjoy the sheer intelligence of this marvelous woman, who died far too early, but left much. A great DVD and a real service to all those who love vocal music.

I've watched these Lord Harewood interviews of Callas many times, each time startled by some point, some gesture I'd missed before. Callas is a vessel of fire when she speaks about Art, incendiary and completely vital. One quickly starts to feel keenly the modesty she possessed, owning her workman's ethic for the noble component it is. By that alone, every viewing of the Conversations is an invigorating experience. Harewood's interested courtliness, washed innocent by instinctive intelligence and by a real love for opera, is an important element. His steadiness throughout proves Maria's clear trust in him. Callas' depth of understanding of her art manifests over and again. In extras, her 60's French TV interview with Bernard Gavoty turns almost whimsical with the enthusiasm of them both. Maria's gifted intelligence entices as her youthful Hepburnesque face enchants, in almost daring television lights. Her command of French clicks in impeccably, and matches her English manner of speaking with a measured, forthright cadence, but with a wry coquettishness that would disarm Hannibal. And a shamelessly intense young Callas sings 'Mio babbino caro' with a freedom and elan to make you stand up and cheer. This is a documentary adventure with serious underpinnings, and as significant a witness to the inherent truth of Art as we're ever likely to find. Pure satisfaction to the max.

I am the number ONE Callas fan and this DVD is a must to have. Watching her performed "ah non credea mirarti" was an abosute experience. No words can describe in detail how she interprete the aria with her voice, gesture, movements, even facial and eyes movement when she was not singing - everything is absolutely fantabolous! She is the best of all best. Viva Maria!

I thoroughly enjoyed and learned quite a bit from this DVD. The interviews, especially the one with Lord Harewood are great. One gets a good overview of La Divina's musical philosophy and the intent behind her performances. I was quite surprised to learn that Callas considered Puccini terrible for a performer's voice and balance. This view coincides with the clip of her rendition of O'Mio Babino Caro.

Just the interviews are worth more than the cost of this DVD. Excellent material. Thank you EMI for releasing a product to remember a great artist gone at the young age of 53.

The wonderful thing about these conversations, and what marks them as quite distinct from the approach to interviewing artists these days, is that they concentrate on the work not on the celebrity. Callas speaks with great conviction about her approach to applying the tecnique she'd been taught, her preparation for new roles, her development as a musician. She properly acknowledges the influence of her mentors. The conversations remind us that despite the tragedies in her life - personal and professional - she was a fiercely intelligent musician possessed of a rare charisma. Both her commentary as to why she never performed on stage in a production of Carmen, and her thoughts on her approach over the years to playing Violetta in La Traviata, are particularly interesting. The three 1965 filmed performances of pieces by Massenet, Bellini and Puccini show the singer simply, but to great effect.

I just listened to a wonderful new CD called "Callas: Rare and Unreleased". This CD includes a very brief recording that's even later than Callas' "last" recording that I mentioned a while ago. The one I mentioned before was from 1976; this is from August 1977, only about a month before she died. It's very short; less than a minute, I think. (The CD doesn't give the timing.) I can't really tell from so brief a recording what condition Callas' voice was in, but it seemed to me that her voice had actually improved since 1974. (There are also excerpts from some of her 1974 concerts on this CD.) I certainly thought it sounded better than the 1976 recording. I could be completely wrong, though. By the way, in the 1977 recording, Vasso Devetzi accompanies her on the piano, and I thought that was very upsetting to listen to, after what I read about Devetzi in Galatopoulos' new biography of Callas.

Going back to my question about Callas as the youngest Tosca: I was reading the archives of an e-mail list called Vo2calist; this list is meant for singers, so I'm not a member, and most of the technical discussions go way over my head, but I saw a message from a girl who was 16 at the time she wrote it (this was last year); she said she wanted to sing Vissi d'arte at her high school concert. Other people responded (some very rudely, I thought), saying that any teacher who lets a girl sing Vissi d'arte at 16 must be crazy. Someone said, "don't go near Vissi d'arte for at least another ten years". I immediately thought of Callas, who sang not just Vissi d'arte, but the whole role of Tosca, when she was not much older than this girl. This discussion on Vocalist made it seem even more likely that Callas was the youngest Tosca. And it makes me think, even more, that singing Tosca and other heavy roles so young contributed to Callas' vocal decline.

Posted by Kele at dimanche, octobre 16, 2005 (42 comments)

I simply cannot imagine a better, more succinct explanation of Art and how to create it. If someone who reads this can pass along a comparable lesson on Art, please comment!

This DVD shows Maria's Art, Grace, Elegance and her Intelligence. What wonders...

I have purchased this item as a birthday present for my sister who had it on Tape. It unfortunately was destroyed, so I have replaced it with this purchase. I am interested in purchasing a C.D of the same Title, but have not been successful. The delivery of this item was speedy and arrived undamaged. My sister will be overjoyed on her birthday.
thank you