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Maria Callas: An Intimate Biography Paperback – February 27, 2003

2.8 out of 5 stars 18 customer reviews

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Product Details

  • Paperback: 368 pages
  • Publisher: St. Martin's Griffin; Reprint edition (February 27, 2003)
  • Language: English
  • ISBN-10: 0312310021
  • ISBN-13: 978-0312310028
  • Product Dimensions: 6.1 x 0.8 x 9.2 inches
  • Shipping Weight: 1.2 pounds (View shipping rates and policies)
  • Average Customer Review: 2.8 out of 5 stars  See all reviews (18 customer reviews)
  • Amazon Best Sellers Rank: #1,984,446 in Books (See Top 100 in Books)

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Customer Reviews

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By klavierspiel VINE VOICE on September 18, 2001
Format: Hardcover Verified Purchase
With so much biographical literature already available on Maria Callas, any new volume at this point, almost a quarter century after her death, had better be prepared to offer something truly new in the way of either information or insight. Although Anne Edwards is a respected biographer of famous, unhappy women (i.e., Viven Leigh, Princess Diana of Wales), her latest effort does not, on the whole, meet this standard.
There are new details about Callas' life that pique the interest: a closer recounting of her miserable years in wartime Greece, painting her mother Litza in even blacker colors than in previous material; gossip about Onassis' encounters with other famous women (I had never heard, for example, of his alleged youthful affair with another diva, Claudia Muzio); and more detail about the tangled web that was woven after her death, when the pianist Vasso Devetzi, who had befriended her in her last years, swindled her mother and sister out of literally millions of dollars from the singer's estate. These tidbits are recounted with enough authority to make the reader wonder where the information came from, since Edwards provides only scanty documentation about her sources. Her refutation of Nicholas Gage's claim of there having been a Callas-Onassis "love child" proves to be largely assertion and re-interpretation of existing fact. Set against this is the mostly familiar retelling of stories that have been told ad nauseam--the feud with Bing, the Rome walkout--perpetuating in some cases falsehoods that have been disproven. Edwards proves unable to shed new light on what created the excitement about Callas in the first place--her vocal and dramatic abilities that made her the most charismatic operatic performer of her time.
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Format: Hardcover
Not having read any biographies on Maria Callas before, I can't judge against other authors' works on the subjects. ...I really enjoyed this version of Callas' work and art. I will second the ... opinion ... of Anne Edwards omitting dates/years when recounting major events--it did make it difficult to place these events in their proper context/chronology.
However, overall I found the book's emphasis on Callas personal life as well as her artistic life to make for a very well-balanced view. I would recommend it to anyone interested not only in opera, but in the life of a great legend! One other shortcoming would be Edwards' lack of attention to the details of Callas' performances--this is not a technical look at her voice, but a general overview of her unique gifts of displaying real emotion through her voice and gestures, both on the stage and in the recording studio.
Viva La Divina...
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Format: Hardcover
This is not yet another sensational biography of Maria Callas. It was difficult to come with a new outlook of Callas' life and career and Anne Edwards hasn't tried to do that. She has tried, and possibly succeeded in balancing Callas the Artist and Maria The Woman, a feat attempted by many previous biographers, but hardly ever successfully. For a purely musical history of Callas, Ardoin remains the ultimate reference. Also, Edwards omits certain anecdotes inextricably linked with Callas, such as her return at La Scala as Anna Bolena in 1958 (after the Rome walkout) when she hurled her lines at the public and won them over by doing just that, and takes liberties with other stories (for example, she only attacked Ghiringhelli at her last Scala performance of "Pirata", not at every performance ; there are other such examples). It would have been helpful for the serious reader to know where Ms. Edwards got some of her more sensational information (Callas' sexual relationship with Visconti, Meneghini's supposed homosexual proclivities, etc). Was she able to interview Callas' maid and butler, Bruna and Ferrucio, who apparently only agreed to open themselves to Nicholas Gage ? In spite of its imperfections, I would consider this one of the best Callas biographies to-date. Twenty-four years after her death, Maria Callas remains the most fascinating character ever to have graced the operatic stage. Whether she did have a child by Onassis or not won't alter the fact that she was an incredible performer, a magnificent singer, and probably a very decent although troubled and ultimately very unhappy human being.
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By A Customer on October 17, 2001
Format: Hardcover
I'd disagree with those here who ... this book. Actually it's about as good as any one-volume Callas bio available. Its focus is very much on the person, not the artist. And Edwards has an irritating habit of not giving years with dates, so that chronology is sometimes hard to follow. But on the whole I found this book consistently interesting and well researched.
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Format: Paperback
I decided to read this book which I found in a small library because I love memoirs. I'm not an afficionado of opera; I'm an afficionado of people. Therefore I can't tell you if this book is accurate in an operatic sense. I can say only that Anne Edwards does an excellent job of showing us the woman, Maria Callas--the whole package--her career, her love life, her dreams. For me, in order to give a book five stars, I need it to be heavy on people and emotions and light on details and technicalities. I do like to learn new things so it was interesting to read about the incredible amount of work which goes into an operatic performance, but after a while I wanted to say, "Enough already!" Opera lovers would probably want more details about Callas' professional performances and less about her personal affairs. About halfway through the book her personal life heats up, and then the story became more interesting for me.

It's a familiar story. We all know of many tragic rags-to-riches stories where the hero or heroine finds life with the white picket fence elusive. Think of Marilyn Monroe or Elvis Presley for instance. This story begins very dramatically as Callas was caught up in a hand-to-mouth existence during World War II. Her lover Onassis admired her greatly for triumphing over such a harrowing beginning. But her life was strewn with broken dreams and adulterous unions and scheming people, not to mention the fact that she had to be a slave to her career. My throat hurt just thinking about her getting out of a sick bed with a sore throat because the "Show must go on!"

Edwards writes this intimate biography with compassion for Maria Callas. In the final pages she speaks of her flaws, but for the most part she helps the reader to empathize with the singer.
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