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No Doubt. Callas at 48, chic in pantsuit or flowing, ankle-length skirt, does not merely walk out on the stage, she takes possession of it, just as she did during her last public performances in 1965 (Tosca at the Met and Covent Garden). With each student, she proceeds as...

Author: /time Magazine | Title: Music: Putting In the Poetry | 2/21/1972 | See Source »

To be sure that none of the students has any doubt, she stresses, "I don't want you ever to imitate me. I just want you to come to your own interpretation after understanding what is in the score." Molding phrases with her long, expressive hands, she seems to...

Author: /time Magazine | Title: Music: Putting In the Poetry | 2/21/1972 | See Source »

Acting with the voice is a theme that runs through her talk like a Wagnerian leitmotif'. After listening to a coloratura sing Caro Nome from Rigoletto, Callas remarked: "Give it more freedom. You have to be a girl who is passionately in love. True, Gilda is still a virgin...

Author: /time Magazine | Title: Music: Putting In the Poetry | 2/21/1972 | See Source »

No Excuse. Callas' teaching also takes in the more mundane details of performing. She often circles a singer, correcting posture and bearing. "You have a wonderful, wonderful figure," she told blushing Basso John Seabury last week. "Give it to the public." As for the semaphore signals that many youngsters...

Author: /time Magazine | Title: Music: Putting In the Poetry | 2/21/1972 | See Source »

Between sessions, Callas relaxed in her suite at the Plaza Hotel and summed up for TIME'S Rosemarie Tau-ris what she hopes to achieve in her classes: "I try to impart to the students things that came to me naturally, and that may not be natural to others...

Author: /time Magazine | Title: Music: Putting In the Poetry | 2/21/1972 | See Source »

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