By John Ardoin
Maria Callas again to the level in 1971 to educate grasp sessions at Juilliard. This interesting 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 unearths herself to be no longer the imperious diva of her acceptance, yet a supremely self-aware artist focused on passing alongside a good musical culture.
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Additional info for Callas at Juilliard: The Master Classes (Amadeus)
Keep your voice in the same position and with one sound throughout: < previous page page_17 next page > < previous page page_18 next page > Page 18 And, on the third 'pietà,' I would phrase it two by two. It lends the line more character: "Also, at the very end, I would sing the final flourish on 'ah' rather than 'pietà' as written. Try it both ways to see what suits your voice best, but to me 'ah' is easier. ' Instead, use 'pietà di': or Mozart: Così Fan Tutte Act I: "Come scoglio" "In this decisive, bold piece of writing, Fiordiligi is ordering a would-be suitor from her home: 'How dare you; get out of here.
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.
Do not lose time and breath on it. Keep to the vowel: Make no ritard on the last three notes of the aria, but sing them strongly to push yourself into the allegro con brio finale: < previous page page_36 next page > < previous page page_37 next page > Page 37 "The allegro must be secco from the beginning but firm. ' 'I bring you sweet comfort,' Leonora sings to Florestan, and you must emphasize this well. Beethoven has instructed the orchestra to wait for the singer here, so make the most of it before the allegro returns: "Once the allegro starts again, it goes relentlessly to the finish.