{"id":240,"date":"2021-03-14T22:16:41","date_gmt":"2021-03-14T21:16:41","guid":{"rendered":"https:\/\/der-bussard.de\/en\/?p=240"},"modified":"2023-07-26T20:09:19","modified_gmt":"2023-07-26T18:09:19","slug":"maria-callas-the-chanting-puma-2","status":"publish","type":"post","link":"https:\/\/der-bussard.de\/en\/2021\/03\/14\/maria-callas-the-chanting-puma-2\/","title":{"rendered":"Maria Callas: The Chanting Puma (2.)"},"content":{"rendered":"\n

Continued from part one<\/a><\/h4>\n\n\n\n

Arriving in New York and staying with her father, who lived there, little promising happened at first: more than once she recited for other opera singers and directors, who always told her that she still needed to work on her voice.
Maria soon suspected that she would have little chance of launching a career in New York.
Nevertheless, she met Giovanni Zenatello in 1947, who was the artistic director of the Verona Opera Festival. The opera festival in the Arena di Verona was first held in 1913, to mark the 100th anniversary of Giuseppe Verdi\u2019s birth. Many opera singers celebrated their first success in the northern Italian city and so did Maria Callas.<\/p>\n\n\n\n

Arena di Verona <\/strong><\/h4>\n\n\n\n

The audition to which Zenatello had invited Callas for him was \u201ca revelation and not just an audition\u201c, according to J\u00fcrgen Kesting in his Callas biography. Zenatello was looking for a soprano for the role of Gioconda in the opera of the same name by Amilcare Ponchielli.
Thus it was certain: Maria Callas\u2019 career was to begin in Italy, just as Elvira de Hidalgo had prophesied. In her memoirs, Maria emphasises the great importance that the city of Verona was to   bear in her life: It was there that she met her future husband in 1947, enjoyed her first success in Italy, and met the opera soprano Renata Tebaldi, with whom \u2013 although portrayed differently by the press in the fifties \u2013 she had a deep friendship.
At the end of June 1947, with little money in her pocket, she arrived in Verona, where she was to perform Gioconda<\/em> for the first time on August 3.

But even after this engagement, the hoped-for offers initially failed to materialise.
Until Tullio Serafin, an Italien conductor who is said to have set Maria Callas and Renata Tebaldi on their path, made her an offer to sing in \u201cTristan und Isolde\u201c by Richard Wagner.
She accepted and signed a contract with the Teatro La Fenice<\/em> in Venice that included \u201cTristan und Isolde\u201c and \u201cTurandot\u201c by Giacomo Puccini. It was also at the Teatro La Fenice<\/em> that Maria became friends with Renata Tebaldi.<\/p>\n\n\n\n

Two roles at the same time<\/strong><\/h4>\n\n\n\n

In January 1949 Maria Callas was busy singing \u201cDie Walk\u00fcre\u201c by Richard Wagner in Venice when it was brought to her attention that the soprano Margherita Carosio, who was to sing in \u201cI Puritani\u201c by Vincenzo Bellini, was ill with the flu. Tullio Serafin suggested to take over this role \u2013 in addition to her role in the \u201cWalk\u00fcre\u201c.
What followed was a test of endurance: \u201cDie Walk\u00fcre\u201c and \u201cI Puritani\u201c are two operas written in completely different vocal registers and, according to Tom Volf, few sopranos manage to sing both operas in the course of their careers. Callas sang both operas within two weeks.
She made her first studio recording on March 7, 1949, and the record made at that time has recently been reissued in a remastered version.<\/p>\n\n\n\n

Shortly before Maria Callas embarked on a South American tour in mid-1949, she married the brickyard owner Giovanni Battista Meneghini, whom she had met in Verona. Although she received much acclaim by the public during this tour, she always longed for her husband, whom she had to leave the day after the wedding because of the tour that was about to begin.<\/p>\n\n\n\n

Herbert von Karajan<\/strong><\/h4>\n\n\n\n

After completing her South American tour, new doors opened for her: on December 7, 1951, she opened her first Scala season in the role of Duchess Elena in Giuseppe Verdi\u2019s \u201cI Vespri Siciliani\u201c. Further engagements at the Teatro alla Scala<\/em> in Milan followed, including \u201cLa Gioconda\u201c and \u201cLady Macbeth\u201c \u2013 by the end of 1952 she had secured her status as prima donna.
In January 1954, Austrian conductor Herbert von Karajan staged and conducted a new production of Gaetano Donizetti\u2019s \u201cLucia di Lammermoor\u201c, in which Maria Callas took on the role of Lucia. This production was so successful that the Scala ensemble appeared in Berlin in 1955 and in Vienna in 1956.

On November 17, 1955, Maria sang her third performance of \u201cMadama Butterfly\u201c (Giacomo Puccini) at the Chicago Lyric Opera<\/em>. After being rewarded with extraordinary applause from the audience, she returned to her dressing room where U.S. Marshal Stanley Pringle and Deputy Sheriff Dan Smith were waiting for her: Together they handed the prima donna a fee suit from her former manager Eddie Bagarozy. The \u201chandover\u201c was done by slipping the suit into the kimono that served as her costume during the opera performance. Coincidentally, an Associated Press photographer was also present and took a picture of the utterly enraged Callas yelling after Marshal Pringle. This picture went around the world, permanently damaging the reputation of the prima donna and laying the foundation for many other private affairs of Callas that were to become scandals.
According to J\u00fcrgen Kesting, it is still debated today whether the action was a staging of the \u201cAnti-Callas front\u201c in Chicago.
But this was not to remain the last scandal of her unprecedented career \u2026<\/p>\n\n\n\n

Simon von Ludwig<\/a> <\/p>\n\n\n\n

\n\n\n\n

Part three<\/a><\/p><\/blockquote><\/figure>\n\n\n\n

Main sources: Maria Callas – Lettres & M\u00e9moires, Editions Albin Michel, 2019; Kesting, J\u00fcrgen: Maria Callas, List Taschenbuch, 9th ed. 2018 & Csampai, Atilla: Maria Callas: Gesichter eines Mediums, Schirmer\/Mosel Verlag 1993. <\/em><\/p>\n\n\n\n

Cover picture: Maria Callas in 1973 at Amsterdam Schiphol airport
Image credit: Fotograaf Onbekend \/ Anefo, Nationaal Archief, CC0<\/a><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Arriving in New York and staying with her father, who lived there, little promising happened at first: more than once she recited for other opera singers and directors, who always told her that she still needed to work on her voice.
\nMaria soon suspected that she would have little chance of launching a career in New York.<\/p>\n","protected":false},"author":1,"featured_media":2275,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[240,4,118],"tags":[74,15,86,87,62,88],"class_list":["post-240","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-maria-callas","category-music","category-opera","tag-art","tag-culture","tag-italy","tag-maria-callas","tag-music","tag-opera"],"yoast_head":"\nMaria Callas: The Chanting Puma (2.) – Der Bussard | EN<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/der-bussard.de\/en\/2021\/03\/14\/maria-callas-the-chanting-puma-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Maria Callas: The Chanting Puma (2.) – Der Bussard | EN\" \/>\n<meta property=\"og:description\" content=\"Arriving in New York and staying with her father, who lived there, little promising happened at first: more than once she recited for other opera singers and directors, who always told her that she still needed to work on her voice. 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