Maria Callas - La Callas... Toujours
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DVD Cover Information
Artist: Maria CallasBrand: EMI
DVD: Region Code 1
Audio: English (Unknown); English (Subtitled); French (Subtitled); English (Original Language)
Format: Classical, Color, DVD, NTSC
Picture Format: 1.33:1
Running Time: 91 minutes
DVD Release Date: 2001-07-03
Audience Rating: NR (Not Rated)
Studio: EMI Classics
Movie Reviews of Maria Callas - La Callas... Toujours
Movie Review: La Callas Toujours, Paris, 1958 and a trouble in Rio de Janeiro in 1951.
Summary: 5 Stars
Unfortunately, the great Callas left us a plethora of audio recordings and no complete opera on video. I know several people who have assisted in Sao Paulo and Rio de Janeiro in 1951. Ensure that all the Greek soprano had a unique voice and a dramatic flair unmatched. He worked the character completely, gave his all and was one of the pioneers in bringing the arts to the opera. In video, we have exhausted "La Callas Toujours," bringing in the first part of a concert with works by Bellini (Norma), Verdi (Il Trovatore) and Rossini (Il Barbiere de Siviglia). His voice and his dramatic talent has been reflected in concert, leaving a serious Trovatore for a comic Rossini. Callas does not just stand still and sing, even in a concert she plays. Many singers today have not learned the lesson, are like a pole.
The best is the second part of the program, the entire second act of Puccini's Tosca, in full version, with sets and costumes. Whoever comes is the great Tito Gobbi, one of the great baritones of the mid-twentieth century. Voice mass grave, massive and exceptional performance.
Callas Tosca and have everything in common. Were made for each other. His voice dark, bulky and elusive tone is perfect for the heroine of Puccini. Its performance is another factor that turns on Callas Callas. Today is the obligation to know singer act, but in the distant year of 1958 was rare. Callas was one of the pioneers in bringing the theater to opera.
The genius of it was manifested on stage and busy life. He put about 300 trouble around the world. One was in Rio de Janeiro, where they have thrown an ashtray and hit the director of the Municipal Theater of the time, Baker Pinto.O buddy, with all the pomp and circumstance, tried a pass that turned out badly, had no idea who he was stirring.
My friend Edson Lima, one of the most knowledgeable opera in Brazil and in the theater at this time, had the opportunity in 70 years, talking with Callas. She vowed to stand by that even threatened the said cujo.Lenda or reality, I do not know but in the case of Callas, anything is possible.
La Callas -Toujours, Paris ,1958 e uma encrenca no Rio de Janeiro em 1951.
Infelizmente, a grande Callas nos deixou uma infinidade de gravações em áudio e nenhuma ópera completa em vídeo. Conheço diversas pessoas que a assistiram em São Paulo e no Rio de Janeiro em 1951. Todas garantem que o soprano grego tinha uma voz única e um talento dramático inigualável. Entregava-se ao personagem completamente, dava tudo de si e foi uma das precursoras em trazer as artes cênicas à ópera. Em vídeo, temos o esgotado "La Callas-Toujours": trazendo na primeira parte um concerto com peças de Bellini (Norma), Verdi (Il Trovatore) e Rossini (Il Barbiere de Siviglia). Sua voz e seu talento dramático já transparecem no concerto, saindo de um sério Trovatore para um cômico Rossini. Callas não se limita a ficar parada e cantar: mesmo em um concerto, ela interpreta. Muitas cantoras até hoje não aprenderam a lição, ficam que nem um poste.
O melhor é a segunda parte do programa, todo o segundo ato da Tosca de Puccini, em versão completa, com cenários e figurinos. Quem a acompanha é o grande Tito Gobbi, um dos grandes barítonos da metade do século XX. Voz de massa grave, enorme e uma performance excepcional.
Tosca e Callas tem tudo em comun. Foram feitas uma para a outra. Sua voz escura, volumosa e de timbre indefinível é perfeita para a heroína de Puccini. Sua atuação é outro fator que transforma Callas em Callas. Hoje é obrigação cantor saber atuar, mas no distante ano de 1958 era raridade. Callas foi uma das pioneiras em trazer o teatro à ópera.
O gênio dela se manifestava no palco e na vida atribulada. Arrumou umas 300 encrencas pelo mundo afora. Uma delas foi no Rio de Janeiro, onde dizem ter atirado e acertado um cinzeiro no diretor do Teatro Municipal da época, Barreto Pinto.O amigão, com toda a pompa e circunstância, tentou uma cantada e se deu mal, nem imaginava com quem estava mexendo.
Meu amigo Edson Lima, um dos maiores conhecedores de ópera do Brasil e presente no teatro na época, teve a oportunidade, nos anos 70, de conversar com Callas. Ela jurou de pé junto que nem sequer ameaçou o dito cujo.Lenda ou realidade , não sei mas, em se tratando de Callas, tudo é possível.
Ali Hassan Ayache
Summary of Maria Callas - La Callas... Toujours
Studio: Emi Music Distribution Release Date: 03/17/2006The career of Maria Callas was just a bit too early and too brief to receive full and satisfying video documentation like that now being accorded to such singers as Renée Fleming and Luciano Pavarotti. This black-and-white televised recital (Callas's Paris debut) took place at the Paris Opera on December 19, 1958 when television was still in its infancy. We might wish that it had happened earlier, when her voice was in better condition, or later, when video recording technology was more advanced--so that, for example, we would not have to take the narrator's word that Callas is wearing a red dress. But this is probably the best available Callas video recording, and her fans will welcome it warmly. Visual elements were as important as the vocal dimensions in her art.
The material, carefully chosen to show Callas at her best and most versatile, includes "Casta Diva" from Bellini's Norma (a Callas specialty), the haunting "Miserere" scene from Verdi's Il trovatore, and the mischievous "Una voce poco fa" from Rossini's Barber of Seville, a fine series of stylistic contrasts in which the essential point is not pure tonal beauty but characterization and subtle expressive nuances. Others have made this music sound prettier; nobody has presented it with more impact.
But the climax of this program is its second half, a staged performance of Act II of Puccini's Tosca. This is a study in police brutality, sexual harassment, and sheer violence, psychological and physical, that has some of opera's most extreme moments--including the great aria "Vissi d'arte," the murder of the villain Scarpia, and the contemptuous dismissal flung at his corpse--"and all Rome trembled before him!" In this segment, Callas goes mano a mano with Tito Gobbi, her only equal as a singing actor during her career. They savor this material in a virtuoso performance. --Joe McLellan
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