Maria Callas returned to the stage in 1971 to teach master classes at Juilliard. John Ardoin brilliantly captures the insights of a thoughtful singer who reveals herself to be not the imperious diva of her reputation, but a supremely self-aware artist concerned with passing along a great musical tradition. Ardoin transcribed and arranged these working sessions on more than 70 arias. Far from the stereotypical self-serving diva putting in a personal appearance, Callas was remarkably practical and specific in her observations. Recurrent themes include diction (particularly the expressive uses of consonants) and the necessity of finding a natural flow for the accents of the words, scrupulously applied to the rhythms of the notes. Callas offered her own ornaments, cadenzas, alterations of word placement, and even cuts; all of these are supplied in musical notation among the copious musical examples in the book. The book provides musical excerpts with Callas' suggestions & comments for each aria. This is an invaluable book for opera singers covering a wide range of repertoire.
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After the celebrated soprano ceased public performances in 1965 she spent years in self-study analyzing every detail of interpretation. The result was a series of master classes in 1971-72 at the Juilliard School of Music. The noted critic of the Dallas Morning News has condensed tapes of the classes into an extremely valuable discussion not only of Callas's distinguished roles but of roles for the other voices as well. The book is organized by composer and within composer by aria. It is richly illustrated by musical examplesnot as they appear in the score, but as Callas suggested they be interpreted. Highly recommended for all voice students and as a manual of performance practice. William Shank, CUNY Graduate Sch. Lib.
Copyright 1987 Reed Business Information, Inc.
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