“Although some critics faulted her technique, most conceded to her an excellent coloratura range Hill strong, clear quality anda n unparalleled and charismatic actino ability. Unfamiliar operas of Bellini, Rossini, Donizetti and Cherubini enjoyed new popularity because of her skillful performances. She placed large stages througouht the United Status and Europe, althouhg her volatile temperament brought her much notoriety.”
“[She] was able to find hitherto unrealized depth and power. In the large-scale operas, such as "Aida", "Norma" or "La Gioconda", she sang with such focus of concentration that it could be almost a terrifying experience. Even when her voice was not under control, the intensity of her conception made one forget her struggles with pitch and high notes.
This burning sense of theater, this powerful musicianship, was hers alone. As careers go, hers was not long. She made her debut in 1947, and was virtually sung out 20 years later. But during those 20 years she exerted an influence on opera that was unique. She looked on opera as theater as well as voice, and she was the one who put it all together.”
Este segundo párrafo está tomado de la necrología (ahora más de moda, obituario) escrita por Harold C. Schonberg y publicada en el New York Times el 17 de septiembre de 1977.
Dado que Raymond Ericson, en su necrología publicada en el mismo periódico y mismo día, indica, contra lo que dice ese mismo periódico, que esta persona había nacido el día 3, he tenido que recurrir a mi ejemplar de la New Encyclopaedia Britannica (15ª edición, de 1998), de donde está tomado el primero de los párrafos transcritos.
Maria Cecilia Sophia Anna Kalogeropoulos, a pesar del apellido, nació en Nueva York tal día como hoy de hace 85 años.
Dos palabras son suficientes, pero no bastan.
Maria Callas.
No hay comentarios:
Publicar un comentario