By John Ardoin
Maria Callas again to the degree in 1971 to educate grasp sessions at Juilliard. This exciting discussion board later encouraged Terrence McNally's acclaimed play grasp classification. Outspoken and uncompromising in her creative 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 unearths herself to be no longer the imperious diva of her acceptance, yet a supremely self-aware artist curious about passing alongside a good musical culture.
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Extra resources for Callas at Juilliard: The Master Classes (Amadeus)
Keep the staccati crystalline, like glass; there must be a ping to the sound. Above all, no crescendi; they must all be the same: "Once again, be especially conscious of the final phrase after the staccati: This is once more a summing up and mustn't be slighted. "Later, with the repeated F's, which are almost like fanfares, be certain you keep your tone full. Do not peck at these notes; they are too important: "The most difficult part of this aria is not the staccati to high F; it is the triplets that will make you sweat blood.
Highlight 'era' [was] and 'io' [I]: < previous page page_30 next page > < previous page page_31 next page > Page 31 "Also, on 'per lui vivea' [for him I lived] go straight to the E-flatdon't linger on the Fand make the last phrase'voglio morir per lui' [I want to die for him]rich in feeling, emphasizing the F-sharp of 'morir' and the G of 'per': "With the conclusion of the opening scene, the most difficult part of the aria is behind you, provided you can sing it with a good, long line. It must be calm, tender, and very sustained.
This gives the phrase more drive and makes it more exciting: "Make the repeated G-sharps like a trumpet call: On the last G-sharp, held for two measures, gradually crescendo and then breathe before the final scale. ' If you choose ah, then end the phrase on 'die Liebe': < previous page page_37 next page > < previous page page_38 next page > Page 38 "Incidentally, some singers add an appoggiatura upward to F-sharp before the final note. " < previous page page_38 next page > < previous page page_39 next page > Page 39 Cherubini: Medea Act I: "Dei tuoi figli" "This aria is a killer.