Guide Callas at Juilliard: The Master Classes (Amadeus)

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ISBN 10: 1574670425

Track Listing - Disc 2. Casta diva. Vincenzo Bellini. Il barbiere di Siviglia. Una voce poco fa. Syble Young. Gioachino Rossini.

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Cortigiani, vil razza dannata. Sung Kil Kim. Don Carlo. Nei giardin del bello Canzone del velo.

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Sheila Nadler. Track Listing - Disc 3. Act 3. Qui m'aurait dit Des cris joyeux Air des lettres. Anita Terzian. Jules Massenet. Giacomo Puccini.

Madama Butterfly. Che tua madre. Akiko Ikuo Hayashi. Callas' Farewell to the Students. Don Giovanni, opera, K. Non mi dir Wolfgang Amadeus Mozart. Maria Callas Masterclass at Juilliard, March Kyu Do Park Spoken Word. Maria Callas Masterclass at Juilliard, February Pamela Hebert Spoken Word. Maria Callas Masterclass at Juilliard, November Luba Tcheresky Spoken Word. Dei tuoi figli Luigi Cherubini. Norma, opera. Casta diva Vincenzo Bellini.

Syble Young Spoken Word.

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Il barbiere di Siviglia The Barber of Seville , opera. Una voce poco fa Gioachino Rossini. Sung Kil Kim Spoken Word. Is it just a matter of feeling it?

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There must be something more specific a teacher can impart. The Callas Mr. McNally presents is not much help to the students who sing for her. At Juilliard she was frank and demanding but unfailingly patient and encouraging. Above all, she was impressively precise in her technical and interpretive critiques.

Tyne Daly’s ‘Master Class’ Callas vs. the Real Callas - The New York Times

On the recording she gives Ms. Hebert detailed comments, including astute explanations of ornamentation in the Bellini style. Though on the recording Ms.

Her second time through is more elegant. Hebert again cheats a bit on some notes. She then helps Ms. There are many flashes of the great Callas on these revealing recordings. Still, it took courage to expose herself as she did. Her singing is strained yet somehow noble. View all New York Times newsletters.

Il barbiere di Siviglia (1987 Remastered Version) : Una voce poco fa (Act 1) : master class

The play is ultimately about Callas as a woman and as an artist at a crisis point in her art and life. Each of the two acts has a flashback scene in which the classroom disappears, and Callas, alone onstage, becomes caught up in bittersweet memories of past artistic glories and painful recollections of her relationship with Aristotle Onassis, who had abandoned her to marry Jacqueline Kennedy. For some these flashbacks are the emotional high points of the play; for others they are mawkish melodrama.

The play also explores what it must have been like for Callas, the most influential vocal artist of the 20th century and just 48 when these classes concluded, to coach emerging singers, some with ambitions to sing the roles she had owned. McNally is an informed opera enthusiast and a working librettist. And there are charming moments drawn directly from the Juilliard classes, as when Callas advises young Sophie not to wear a short skirt on stage, lest those audience members sitting below see more than Sophie wants them to.

Callas at Juilliard: The Master Classes

Video courtesy of the Manhattan Theater Club. Next student. Callas asks him to translate the Italian text, but he stumbles at the task. Callas helps. His own daughter!