Maria Callas - Revision history

Irlandos at 10:17, July 22, 2006

2006-07-22T10:17:47Z

Irlandos at 14:28, June 18, 2006

2006-06-18T14:28:49Z

Irlandos at 08:18, April 4, 2006

2006-04-04T08:18:45Z

Lazarus at 22:32, December 17, 2005

2005-12-17T22:32:52Z

Lazarus at 19:25, December 3, 2005

2005-12-03T19:25:53Z

Lazarus at 19:53, September 15, 2005

2005-09-15T19:53:55Z

Lazarus at 19:46, September 15, 2005

2005-09-15T19:46:37Z

Lazarus at 19:44, September 15, 2005

2005-09-15T19:44:34Z

Lazarus at 19:14, September 15, 2005

2005-09-15T19:14:21Z

Lazarus at 19:01, September 15, 2005

2005-09-15T19:01:04Z

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'''Maria Callas''' (or Kallas), born as '''Maria Anna Cecilia Sofia Kalogeropoulou''' (Greek name: Μαρία Καλογεροπούλου) on [[December 2|2nd December]] [[1923]] in New York, the same year that her parents had [[Greek American|migrated to the USA]]. From early on her great talent for music presented itself and in [[1931]] she began piano and solfeggio lessons. Her first contact with music is shown in a film from 1935 in which Callas under the pseudonym of Nina Foresti talks and then sings the aria 'Un bel di vedremo' from Madame Butterfly.

In [[1937]] Maria Callas returned with her mother to [[Greece]] and having already demonstrated her vocal gifts was allowed to study free of charge at the [[National Conservatory]] and studied in the class of Maria Trivella. However, the first decisive influence on her came during the period [[1939]]-[[1943]] when she studied at the Athens Conservatory under Professor Elvira de Hidalgo. Her teaching, which frequently lasted from morning to evening, is considered as having played a decisive role in shaping Callas' artistic personality. In relation to her golden voice, the critic Jacques Bourgeois noted that "she is like the [[Acropolis]], the more she decays, the more beautiful she is". Even after her death in 1977 she lives on in the memories of everyone as an irreplaceable soprano, and as a major actress with a glorious career in the world of opera.

In [[1939]] she performed the role of Santuzza in "Cavalleria Rusticana" in a student performance at the Athens Conservatory. In [[1940]] she appeared with the Conservatory in the role of Amelia in "Un Ballo in Maschera" and as Aida in the opera of the same name by Verdi. On 27th November of the same year she made her first professional performance in the National Opera House where she played Beatrice in "Boccaccio" by Suppe. For the next five years ([[1940]] - [[1945]]) she collaborated with the National Opera House. She sang Tosca, Cavalleria, Smaragda in "Protomastora" by ?. Kalomiris, Martha in "Tiefland" by d' Albert and Leonora in "Fidelio". On [[August|3rd August]] [[1947]] she made her first impressive appearance in the arena of Verona with "La Gioconda" by Ponchielli. During the same year she performed Isolde in Vienna. In 1948 she triumphed with Turandot. One triumph succeeded the other. In [[1949]] she appeared in Buenos Aires with Norma at the Theatro Collon. In [[1950]] she played in Mexico in the role of Leonora in "Il Trovatore", Fiorila in "Il Turco in Italia" in Rome, Traviata at the Communale of Florence. During the same year once again at the Communale of Florence she performed the role of Helen in "I Vespri Siciliani" and Eurydice in "Orpheus and Eurydice". on 2nd April 1952 she appeared for the first time at La Scala, Milan as Constanza in "Die Entfuhrung aus dem Serail" by Mozart. She sang Armida in Florence, Lucia and Jilda in "Rigoletto" in Mexico, and Lady Macbeth in "Macbeth" at La Scala. In [[1953]] during the Florence Music Month (May) she presented a wonderful performance of Medea in the opera of the same name by Cherubini. Of course, the titles do not stop here. Her magnificent career continued...

For six years ([[1954]]-[[1960]]) she dominated La Scala in Milan. Her career took off. She played Alcistis, Elizabeth in "Don Carlos", Julia in "La Vestale", Madalena in "Andrea Chenier", Rozina in "Il Barbiere di Siviglia", Fedora, Anna Bolena, Iphigenia at Taurus, Amelia in "Un Ballo in Maschera", Imogen in "Il Pirata" and Paulina in "Poliuto". Her performance in "Traviata" in [[1955]] under the direction of Lucino Visconti was triumphant. In [[1957]] she returned to [[Athens]] and appeared in the Athens Festival. In 1960-61 she sang at the Ancient Theatre of Epidaurus both Norma and Medea under the direction of [[Alexis Minotis]]. In 1962 she excelled in Medea directed by Alexis Minotis and in costumes designed by [[Giannis Tsarouchis]]. In [[1964]] she had a new artistic triumph in the opera of Paris with Norma. On 5th July 1965 she appeared for the last time in an opera. It was at Covent Garden in London in "Tosca" directed by Franco Zefirelli. In [[1970]] she appeared in a film version of "Medea" directed by Pier Paolo Pasolini. In 1973 she ended her career with Giuseppe di Stefano directing "I Vespri Siciliani" by Verdi. The [[December 8|8th December]] [[1973]] is considered to be her last public appearance, with Maria Callas singing arias at the Opera House of Paris. That day the public brought her back on stage for 10 encores. The cry "Viva Maria" shook the hall and the stage was flooded with bouquets. It was truly an unrepeatable, exceptional artistic career from which nothing can be omitted. The successes of Callas are the pieces of a mosaic constituting her uniqueness. She was like no other.

In referring to Callas, Antonio Gringielli, for 24 years director of La Scala, Milan, he who knew and gave artistic advice to the great tragedian, said, "Maria Callas does not have a difficult character, she just has a character with personality". The personal life of Maria Callas even today continues to hold her legend alive. Her obsession with dieting and in particular her love for [[Aristotle Onassis]] and their 9 year relationship were constant food for the cosmopolitan article writers of the time who while contributing to the creation of her legend often times also followed her private life suffocatingly closely. Her marriage to the industrialist Giovanni Battista Meneghini in [[1949]], many times her senior, and the position of other men in her life such as Pier Paolo Pasolini and the tenor Giuseppe di Stefano were much commented on by the public.

Her death from a heart attack on [[September 16|16th September]] [[1977]] in her apartment in Paris seems like an incident which has never occurred. Her body was incinerated and her ashes scattered across the [[Aegean Sea]], its blue waters becoming her eternal, permanent home.

In her last interview, Maria Callas herself spoke openly: "You know, it is a very strange feeling to be a living legend while I am still on the earth. Perhaps it would be better if all those people who admired my voice decided to consider me immortal following my death. If that happened I would sit on some cloud, looking down and I would enjoy the view instead of sitting and worrying about whether I could manage to get out the high notes." Through her interviews and her biographies the sensitive, human side of Maria Callas is revealed, the woman who loved, was admired and deified.

Maria Callas' life was incomparable, unique and unrepeatable like she herself. Many have identified her name with opera and the art of opera itself while roles such as Medea for example are hard to accept performed otherwise now. The image of Maria Callas is one of the 'absolute Diva' and in this way she will remain indelibly marked on the best pages of world music history.

@@ Line 5: / Line 5: @@
 In [[1937]] Maria Callas returned with her mother to [[Greece]] and having already demonstrated her vocal gifts was allowed to study free of charge at the [[National Conservatory]] and studied in the class of Maria Trivella. However, the first decisive influence on her came during the period [[1939]]-[[1943]] when she studied at the Athens Conservatory under Professor Elvira de Hidalgo. Her teaching, which frequently lasted from morning to evening, is considered as having played a decisive role in shaping Callas' artistic personality. In relation to her golden voice, the critic Jacques Bourgeois noted that "she is like the [[Acropolis]], the more she decays, the more beautiful she is". Even after her death in 1977 she lives on in the memories of everyone as an irreplaceable soprano, and as a major actress with a glorious career in the world of opera.
-In [[1939]] she performed the role of Santuzza in "Cavalleria Rusticana" in a student performance at the Athens Conservatory. In [[1940]] she appeared with the Conservatory in the role of Amelia in "Un Ballo in Maschera" and as Aida in the opera of the same name by Verdi. On 27th November of the same year she made her first professional performance in the National Opera House where she played Beatrice in "Boccaccio" by Suppe. For the next five years ([[1940]] - [[1945]]) she collaborated with the National Opera House. She sang Tosca, Cavalleria, Smaragda in "Protomastora" by [[Manolis Kalomiris]], Martha in "Tiefland" by d' Albert and Leonora in "Fidelio". On [[August|3rd August]] [[1947]] she made her first impressive appearance in the arena of Verona with "La Gioconda" by Ponchielli. During the same year she performed Isolde in Vienna. In 1948 she triumphed with Turandot. One triumph succeeded the other. In [[1949]] she appeared in Buenos Aires with Norma at the Theatro Collon. In [[1950]] she played in Mexico in the role of Leonora in "Il Trovatore", Fiorila in "Il Turco in Italia" in Rome, Traviata at the Communale of Florence. During the same year once again at the Communale of Florence she performed the role of Helen in "I Vespri Siciliani" and Eurydice in "Orpheus and Eurydice". on [[April 2]], [[1952]] she appeared for the first time at La Scala, Milan as Constanza in "Die Entfuhrung aus dem Serail" by Mozart. She sang Armida in Florence, Lucia and Jilda in "Rigoletto" in Mexico, and Lady Macbeth in "Macbeth" at La Scala. In [[1953]] during the Florence Music Month (May) she presented a wonderful performance of Medea in the opera of the same name by Cherubini. Of course, the titles do not stop here. Her magnificent career continued...
+In [[1939]] she performed the role of Santuzza in "Cavalleria Rusticana" in a student performance at the Athens Conservatory. In [[1940]] she appeared with the Conservatory in the role of Amelia in "Un Ballo in Maschera" and as Aida in the opera of the same name by Verdi. On 27th November of the same year she made her first professional performance in the National Opera House where she played Beatrice in "Boccaccio" by Suppe. For the next five years ([[1940]] - [[1945]]) she collaborated with the National Opera House. She sang Tosca, Cavalleria, Smaragda in "Protomastora" by [[Manolis Kalomiris]], Martha in "Tiefland" by d' Albert and Leonora in "Fidelio". On [[August 3]] [[1947]] she made her first impressive appearance in the arena of Verona with "La Gioconda" by Ponchielli. During the same year she performed Isolde in Vienna. In 1948 she triumphed with Turandot. One triumph succeeded the other. In [[1949]] she appeared in Buenos Aires with Norma at the Theatro Collon. In [[1950]] she played in Mexico in the role of Leonora in "Il Trovatore", Fiorila in "Il Turco in Italia" in Rome, Traviata at the Communale of Florence. During the same year once again at the Communale of Florence she performed the role of Helen in "I Vespri Siciliani" and Eurydice in "Orpheus and Eurydice". on [[April 2]], [[1952]] she appeared for the first time at La Scala, Milan as Constanza in "Die Entfuhrung aus dem Serail" by Mozart. She sang Armida in Florence, Lucia and Jilda in "Rigoletto" in Mexico, and Lady Macbeth in "Macbeth" at La Scala. In [[1953]] during the Florence Music Month (May) she presented a wonderful performance of Medea in the opera of the same name by Cherubini. Of course, the titles do not stop here. Her magnificent career continued...
 For six years ([[1954]]-[[1960]]) she dominated La Scala in Milan. Her career took off. She played Alcistis, Elizabeth in "Don Carlos", Julia in "La Vestale", Madalena in "Andrea Chenier", Rozina in "Il Barbiere di Siviglia", Fedora, Anna Bolena, Iphigenia at Taurus, Amelia in "Un Ballo in Maschera", Imogen in "Il Pirata" and Paulina in "Poliuto". Her performance in "Traviata" in [[1955]] under the direction of Lucino Visconti was triumphant. In [[1957]] she returned to [[Athens]] and appeared in the Athens Festival. In 1960-61 she sang at the Ancient Theatre of Epidaurus both Norma and Medea under the direction of [[Alexis Minotis]]. In 1962 she excelled in Medea directed by Alexis Minotis and in costumes designed by [[Giannis Tsarouchis]]. In [[1964]] she had a new artistic triumph in the opera of Paris with Norma. On [[July 5]], [[1965]] she appeared for the last time in an opera. It was at Covent Garden in London in "Tosca" directed by Franco Zefirelli. In [[1970]] she appeared in a film version of "Medea" directed by Pier Paolo Pasolini. In 1973 she ended her career with Giuseppe di Stefano directing "I Vespri Siciliani" by Verdi. The [[December 8|8th December]] [[1973]] is considered to be her last public appearance, with Maria Callas singing arias at the Opera House of Paris. That day the public brought her back on stage for 10 encores. The cry "Viva Maria" shook the hall and the stage was flooded with bouquets. It was truly an unrepeatable, exceptional artistic career from which nothing can be omitted. The successes of Callas are the pieces of a mosaic constituting her uniqueness. She was like no other.

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 In [[1939]] she performed the role of Santuzza in "Cavalleria Rusticana" in a student performance at the Athens Conservatory. In [[1940]] she appeared with the Conservatory in the role of Amelia in "Un Ballo in Maschera" and as Aida in the opera of the same name by Verdi. On 27th November of the same year she made her first professional performance in the National Opera House where she played Beatrice in "Boccaccio" by Suppe. For the next five years ([[1940]] - [[1945]]) she collaborated with the National Opera House. She sang Tosca, Cavalleria, Smaragda in "Protomastora" by [[Manolis Kalomiris]], Martha in "Tiefland" by d' Albert and Leonora in "Fidelio". On [[August|3rd August]] [[1947]] she made her first impressive appearance in the arena of Verona with "La Gioconda" by Ponchielli. During the same year she performed Isolde in Vienna. In 1948 she triumphed with Turandot. One triumph succeeded the other. In [[1949]] she appeared in Buenos Aires with Norma at the Theatro Collon. In [[1950]] she played in Mexico in the role of Leonora in "Il Trovatore", Fiorila in "Il Turco in Italia" in Rome, Traviata at the Communale of Florence. During the same year once again at the Communale of Florence she performed the role of Helen in "I Vespri Siciliani" and Eurydice in "Orpheus and Eurydice". on [[April 2]], [[1952]] she appeared for the first time at La Scala, Milan as Constanza in "Die Entfuhrung aus dem Serail" by Mozart. She sang Armida in Florence, Lucia and Jilda in "Rigoletto" in Mexico, and Lady Macbeth in "Macbeth" at La Scala. In [[1953]] during the Florence Music Month (May) she presented a wonderful performance of Medea in the opera of the same name by Cherubini. Of course, the titles do not stop here. Her magnificent career continued...
-For six years ([[1954]]-[[1960]]) she dominated La Scala in Milan. Her career took off. She played Alcistis, Elizabeth in "Don Carlos", Julia in "La Vestale", Madalena in "Andrea Chenier", Rozina in "Il Barbiere di Siviglia", Fedora, Anna Bolena, Iphigenia at Taurus, Amelia in "Un Ballo in Maschera", Imogen in "Il Pirata" and Paulina in "Poliuto". Her performance in "Traviata" in [[1955]] under the direction of Lucino Visconti was triumphant. In [[1957]] she returned to [[Athens]] and appeared in the Athens Festival. In 1960-61 she sang at the Ancient Theatre of Epidaurus both Norma and Medea under the direction of [[Alexis Minotis]]. In 1962 she excelled in Medea directed by Alexis Minotis and in costumes designed by [[Giannis Tsarouchis]]. In [[1964]] she had a new artistic triumph in the opera of Paris with Norma. On 5th July 1965 she appeared for the last time in an opera. It was at Covent Garden in London in "Tosca" directed by Franco Zefirelli. In [[1970]] she appeared in a film version of "Medea" directed by Pier Paolo Pasolini. In 1973 she ended her career with Giuseppe di Stefano directing "I Vespri Siciliani" by Verdi. The [[December 8|8th December]] [[1973]] is considered to be her last public appearance, with Maria Callas singing arias at the Opera House of Paris. That day the public brought her back on stage for 10 encores. The cry "Viva Maria" shook the hall and the stage was flooded with bouquets. It was truly an unrepeatable, exceptional artistic career from which nothing can be omitted. The successes of Callas are the pieces of a mosaic constituting her uniqueness. She was like no other.
+For six years ([[1954]]-[[1960]]) she dominated La Scala in Milan. Her career took off. She played Alcistis, Elizabeth in "Don Carlos", Julia in "La Vestale", Madalena in "Andrea Chenier", Rozina in "Il Barbiere di Siviglia", Fedora, Anna Bolena, Iphigenia at Taurus, Amelia in "Un Ballo in Maschera", Imogen in "Il Pirata" and Paulina in "Poliuto". Her performance in "Traviata" in [[1955]] under the direction of Lucino Visconti was triumphant. In [[1957]] she returned to [[Athens]] and appeared in the Athens Festival. In 1960-61 she sang at the Ancient Theatre of Epidaurus both Norma and Medea under the direction of [[Alexis Minotis]]. In 1962 she excelled in Medea directed by Alexis Minotis and in costumes designed by [[Giannis Tsarouchis]]. In [[1964]] she had a new artistic triumph in the opera of Paris with Norma. On [[July 5]], [[1965]] she appeared for the last time in an opera. It was at Covent Garden in London in "Tosca" directed by Franco Zefirelli. In [[1970]] she appeared in a film version of "Medea" directed by Pier Paolo Pasolini. In 1973 she ended her career with Giuseppe di Stefano directing "I Vespri Siciliani" by Verdi. The [[December 8|8th December]] [[1973]] is considered to be her last public appearance, with Maria Callas singing arias at the Opera House of Paris. That day the public brought her back on stage for 10 encores. The cry "Viva Maria" shook the hall and the stage was flooded with bouquets. It was truly an unrepeatable, exceptional artistic career from which nothing can be omitted. The successes of Callas are the pieces of a mosaic constituting her uniqueness. She was like no other.
 [[Image:Callas-onassis.jpg|frame|left|Maria Callas with Aristotle Onassis.]]In referring to Callas, Antonio Gringielli, for 24 years director of La Scala, Milan, he who knew and gave artistic advice to the great tragedian, said, "Maria Callas does not have a difficult character, she just has a character with personality". The personal life of Maria Callas even today continues to hold her legend alive. Her obsession with dieting and in particular her love for [[Aristotle Onassis]] and their 9 year relationship were constant food for the cosmopolitan article writers of the time who while contributing to the creation of her legend often times also followed her private life suffocatingly closely. Her marriage to the industrialist Giovanni Battista Meneghini in [[1949]], many times her senior, and the position of other men in her life such as Pier Paolo Pasolini and the tenor Giuseppe di Stefano were much commented on by the public.
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 [[Category:1923 births|Callas, Maria]]
 [[Category:1977 deaths|Callas, Maria]]

@@ Line 5: / Line 5: @@
 In [[1937]] Maria Callas returned with her mother to [[Greece]] and having already demonstrated her vocal gifts was allowed to study free of charge at the [[National Conservatory]] and studied in the class of Maria Trivella. However, the first decisive influence on her came during the period [[1939]]-[[1943]] when she studied at the Athens Conservatory under Professor Elvira de Hidalgo. Her teaching, which frequently lasted from morning to evening, is considered as having played a decisive role in shaping Callas' artistic personality. In relation to her golden voice, the critic Jacques Bourgeois noted that "she is like the [[Acropolis]], the more she decays, the more beautiful she is". Even after her death in 1977 she lives on in the memories of everyone as an irreplaceable soprano, and as a major actress with a glorious career in the world of opera.
-In [[1939]] she performed the role of Santuzza in "Cavalleria Rusticana" in a student performance at the Athens Conservatory. In [[1940]] she appeared with the Conservatory in the role of Amelia in "Un Ballo in Maschera" and as Aida in the opera of the same name by Verdi. On 27th November of the same year she made her first professional performance in the National Opera House where she played Beatrice in "Boccaccio" by Suppe. For the next five years ([[1940]] - [[1945]]) she collaborated with the National Opera House. She sang Tosca, Cavalleria, Smaragda in "Protomastora" by [[Manolis Kalomiris]], Martha in "Tiefland" by d' Albert and Leonora in "Fidelio". On [[August|3rd August]] [[1947]] she made her first impressive appearance in the arena of Verona with "La Gioconda" by Ponchielli. During the same year she performed Isolde in Vienna. In 1948 she triumphed with Turandot. One triumph succeeded the other. In [[1949]] she appeared in Buenos Aires with Norma at the Theatro Collon. In [[1950]] she played in Mexico in the role of Leonora in "Il Trovatore", Fiorila in "Il Turco in Italia" in Rome, Traviata at the Communale of Florence. During the same year once again at the Communale of Florence she performed the role of Helen in "I Vespri Siciliani" and Eurydice in "Orpheus and Eurydice". on 2nd April 1952 she appeared for the first time at La Scala, Milan as Constanza in "Die Entfuhrung aus dem Serail" by Mozart. She sang Armida in Florence, Lucia and Jilda in "Rigoletto" in Mexico, and Lady Macbeth in "Macbeth" at La Scala. In [[1953]] during the Florence Music Month (May) she presented a wonderful performance of Medea in the opera of the same name by Cherubini. Of course, the titles do not stop here. Her magnificent career continued...
+In [[1939]] she performed the role of Santuzza in "Cavalleria Rusticana" in a student performance at the Athens Conservatory. In [[1940]] she appeared with the Conservatory in the role of Amelia in "Un Ballo in Maschera" and as Aida in the opera of the same name by Verdi. On 27th November of the same year she made her first professional performance in the National Opera House where she played Beatrice in "Boccaccio" by Suppe. For the next five years ([[1940]] - [[1945]]) she collaborated with the National Opera House. She sang Tosca, Cavalleria, Smaragda in "Protomastora" by [[Manolis Kalomiris]], Martha in "Tiefland" by d' Albert and Leonora in "Fidelio". On [[August|3rd August]] [[1947]] she made her first impressive appearance in the arena of Verona with "La Gioconda" by Ponchielli. During the same year she performed Isolde in Vienna. In 1948 she triumphed with Turandot. One triumph succeeded the other. In [[1949]] she appeared in Buenos Aires with Norma at the Theatro Collon. In [[1950]] she played in Mexico in the role of Leonora in "Il Trovatore", Fiorila in "Il Turco in Italia" in Rome, Traviata at the Communale of Florence. During the same year once again at the Communale of Florence she performed the role of Helen in "I Vespri Siciliani" and Eurydice in "Orpheus and Eurydice". on [[April 2]], [[1952]] she appeared for the first time at La Scala, Milan as Constanza in "Die Entfuhrung aus dem Serail" by Mozart. She sang Armida in Florence, Lucia and Jilda in "Rigoletto" in Mexico, and Lady Macbeth in "Macbeth" at La Scala. In [[1953]] during the Florence Music Month (May) she presented a wonderful performance of Medea in the opera of the same name by Cherubini. Of course, the titles do not stop here. Her magnificent career continued...
 For six years ([[1954]]-[[1960]]) she dominated La Scala in Milan. Her career took off. She played Alcistis, Elizabeth in "Don Carlos", Julia in "La Vestale", Madalena in "Andrea Chenier", Rozina in "Il Barbiere di Siviglia", Fedora, Anna Bolena, Iphigenia at Taurus, Amelia in "Un Ballo in Maschera", Imogen in "Il Pirata" and Paulina in "Poliuto". Her performance in "Traviata" in [[1955]] under the direction of Lucino Visconti was triumphant. In [[1957]] she returned to [[Athens]] and appeared in the Athens Festival. In 1960-61 she sang at the Ancient Theatre of Epidaurus both Norma and Medea under the direction of [[Alexis Minotis]]. In 1962 she excelled in Medea directed by Alexis Minotis and in costumes designed by [[Giannis Tsarouchis]]. In [[1964]] she had a new artistic triumph in the opera of Paris with Norma. On 5th July 1965 she appeared for the last time in an opera. It was at Covent Garden in London in "Tosca" directed by Franco Zefirelli. In [[1970]] she appeared in a film version of "Medea" directed by Pier Paolo Pasolini. In 1973 she ended her career with Giuseppe di Stefano directing "I Vespri Siciliani" by Verdi. The [[December 8|8th December]] [[1973]] is considered to be her last public appearance, with Maria Callas singing arias at the Opera House of Paris. That day the public brought her back on stage for 10 encores. The cry "Viva Maria" shook the hall and the stage was flooded with bouquets. It was truly an unrepeatable, exceptional artistic career from which nothing can be omitted. The successes of Callas are the pieces of a mosaic constituting her uniqueness. She was like no other.

← Older revision		Revision as of 22:32, December 17, 2005
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	Maria Callas' life was incomparable, unique and unrepeatable like she herself. Many have identified her name with opera and the art of opera itself while roles such as Medea for example are hard to accept performed otherwise now. The image of Maria Callas is one of the 'absolute Diva' and in this way she will remain indelibly marked on the best pages of world music history.		Maria Callas' life was incomparable, unique and unrepeatable like she herself. Many have identified her name with opera and the art of opera itself while roles such as Medea for example are hard to accept performed otherwise now. The image of Maria Callas is one of the 'absolute Diva' and in this way she will remain indelibly marked on the best pages of world music history.
		+
		+	[[Category:1923 births\|Callas, Maria]]
		+	[[Category:1977 deaths\|Callas, Maria]]

@@ Line 1: / Line 1: @@
 [[Image:Maria_callas_01.jpg|thumb|200px|Maria Callas still regarded as one of the greatest singing actresses of all time]]
-'''Maria Callas''' (or Kallas), born as '''Maria Anna Cecilia Sofia Kalogeropoulou''' (Greek name: Μαρία Καλογεροπούλου)  on [[December 2|2nd December]] [[1923]] in Brooklyn, New York, the same year that her parents had [[Greek American|migrated to the USA]]. From early on her great talent for music presented itself and in [[1931]] she began piano and solfeggio lessons. Her first contact with music is shown in a film from 1935 in which Callas under the pseudonym of Nina Foresti talks and then sings the aria 'Un bel di vedremo' from Madame Butterfly.
+'''Maria Callas''' (or Kallas), born as '''Maria Anna Sophie Cecilia Kalogeropoulos''' (Greek name: Μαρία Καλογεροπούλου)  on [[December 2|2nd December]] [[1923]] in Brooklyn, New York, the same year that her parents (George and Evangelia Kalogeropoulos) had [[Greek American|emigrated to the USA]] (Long Island, New York in August 1923). From early on her great talent for music presented itself and in [[1931]] she began piano and solfeggio lessons. Her first contact with music is shown in a film from 1935 in which Callas under the pseudonym of Nina Foresti talks and then sings the aria 'Un bel di vedremo' from Madame Butterfly.
 In [[1937]] Maria Callas returned with her mother to [[Greece]] and having already demonstrated her vocal gifts was allowed to study free of charge at the [[National Conservatory]] and studied in the class of Maria Trivella. However, the first decisive influence on her came during the period [[1939]]-[[1943]] when she studied at the Athens Conservatory under Professor Elvira de Hidalgo. Her teaching, which frequently lasted from morning to evening, is considered as having played a decisive role in shaping Callas' artistic personality. In relation to her golden voice, the critic Jacques Bourgeois noted that "she is like the [[Acropolis]], the more she decays, the more beautiful she is". Even after her death in 1977 she lives on in the memories of everyone as an irreplaceable soprano, and as a major actress with a glorious career in the world of opera.

← Older revision		Revision as of 19:14, September 15, 2005
Line 1:		Line 1:
		+	[[Image:Maria_callas_01.jpg\|thumb\|200px\|Maria Callas still regarded as one of the greatest singing actresses of all time]]
		+
	'''Maria Callas''' (or Kallas), born as '''Maria Anna Cecilia Sofia Kalogeropoulou''' (Greek name: Μαρία Καλογεροπούλου) on [[December 2\|2nd December]] [[1923]] in New York, the same year that her parents had [[Greek American\|migrated to the USA]]. From early on her great talent for music presented itself and in [[1931]] she began piano and solfeggio lessons. Her first contact with music is shown in a film from 1935 in which Callas under the pseudonym of Nina Foresti talks and then sings the aria 'Un bel di vedremo' from Madame Butterfly.		'''Maria Callas''' (or Kallas), born as '''Maria Anna Cecilia Sofia Kalogeropoulou''' (Greek name: Μαρία Καλογεροπούλου) on [[December 2\|2nd December]] [[1923]] in New York, the same year that her parents had [[Greek American\|migrated to the USA]]. From early on her great talent for music presented itself and in [[1931]] she began piano and solfeggio lessons. Her first contact with music is shown in a film from 1935 in which Callas under the pseudonym of Nina Foresti talks and then sings the aria 'Un bel di vedremo' from Madame Butterfly.