Word: scala
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Dates: during 1960-1969
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Confounding enemies who gossiped that she had gone into seclusion for a nose bob, volatile Soprano Maria Callas returned to Milan's La Scala five days after undergoing punishing treatment for sinusitis and won 25 rapturous curtain calls in Cherubini's Medea. Warbled Callas. tossing off the hasty comeback as mere noblesse obbligato: "Everyone else can be ill and get sympathy, but I cannot afford to be sick because the press watches my every movement for a chance to get a smack...
MARIA CALLAS, 38, has been in semi-retirement for three years, but her fans hope that she may emerge from it. Only last year she was welcomed back to La Scala in an emotion-laden performance of Donizetti's Polinto. Recently she has had cordial correspondence with the Met's Director Rudolph Bing, who canceled her contract three years ago but who now would gladly take her back. How much of her original accuracy, agility and control Callas retains is uncertain; and the Callas voice, even in its finest days, was never the equal of Sutherland...
...commitments with the orchestra despite the most hectic musical schedule maintained by any major conductor: Von Karajan is artistic director of the Vienna State Opera and a conductor of the Vienna Philharmonic, directs major opera recordings for London's Philharmonic Orchestra, appears regularly at Milan's La Scala and at Salzburg...
...Callas, 37, prepared to erupt for the first time before the cameras. Reportedly bankrolled by her great and good friend, Maritime Moneybags Aristotle Onassis, Maria is planning to make a film version of one of her most successful operatic roles, Cherubini's Medea. Setting: Milan's La Scala, not far from the courtroom where Maria's estranged husband, Industrialist Giovanni Battista Meneghini, avowedly plans to enliven an upcoming legal separation trial with an angry aria on La Callas' "wanton search of happiness that she should realize she will never regain...
...expert leadership of Conductor Laszlo Halasz, and with a fine lead performance from Tenor Giuseppe Campora, the opera emerged at least in parts as the melodic masterpiece that the French have come to regard it (the Paris Opera-Comique has it in its regular repertory, as does La Scala). Outstanding were the fine tenor aria in Act I familiar to Caruso fans ("Je crois entendre encore"), the thunderous and majestic choral hymn of vengeance in Act II, a rhapsodic and haunting baritone aria...