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AA100 THE ARTS – PAST AND PRESENT TMA: 03 QUESTION TITLE How does the newspaper review help us to understand Callas’s reputation as a diva' A Diva is a female operatic star. Callas fits on this definition because of her talented natural voice. Cassidy wrote a review article about Maria Meneghini Callas on her singing and acting performance at the Metropolitan Opera House, New York on 3 December 1956. She played ‘the Mad Scene Act 3 of Ohime sorge il tremendo’. In the ‘Mad Scene’, in which Callas plays the role of Luci in Donizetti’s opera, Lucia di Lammermoor’, the chaplain Raimondo enters the post-wedding celebrations and announces that Lucia has gone mad and murdered the husband she was tricked into marrying. Lucia then enters the hall, imagining that she will wed her true love, Edgardo, but instead she dies and he kills himself with hopes of meeting her in heaven (Met, 2009). In my opinion, Callas’s performance is presented with deep emotions. In the 'Mad Scene', we can see how she comes down the stairs, while singing and acting, which requires tremendous effort, practice and years of experience in opera. Callas’s piece of the play brought the opera to life. Cassidy significantly researched Callas’s career. In the first three paragraphs of Cassidy’s article she is sceptical about Callas’s voice. For example, Cassidy states that ‘I am told by a source that doesn’t give me alibis that Callas had such a bad throat at the dress rehearsal they weren’t even sure she could go on’ (Cassidy, 1956). I argue that Callas’s throat dryness was to cover her doubt and insecurity at reaching the high notes that abruptly ended the ‘Mad Scene’ prior to her finishing her part. Cassidy’s argument is that she could reach the high notes in other scenes of Act 3. She was informed that Callas rehearsals went well. In the second part of the article, Cassidy provided positive feedback about Callas’s singing. She draws a detailed portrayal of her beauty that compliments the quality of her performance. For example, Cassidy writes about her ‘myopic eyes, those long, lovely hands, that drifting serenity on stage’ (Cassidy, 1956). Callas’s exquisite body movements gave her a flourishing image as a Diva. ‘Callas had a way of even transforming her body for the exigencies of a role’ (Ardoin, 1978). I argue that Callas’s performance in the ‘Mad Scene’ demanded extraordinary musical and dramatic efforts in the Metropolitan Opera House. Nonetheless, it is here where her voice falters before reaching the high notes that brings heavy criticism from Cassidy. Cassidy concludes that although Callas had difficulties in reaching the high notes in the ‘Mad Scene’, she is still a talented singer and unique in her acting performances, both of which qualify her as a Diva. She argues that Callas had an ‘exquisite coloratura’ voice and could improvise ‘fioriture’ in her singing. Cassidy’s article is valuable today because we can understand more of Callas’s presentation on stage. This article also helps modern music historians to examine Callas’s popular theatrical personality that is reflected in her voice. Cassidy’s review shows that Callas is a Diva. She has a commanding, colourful and electrifying voice. She can adjust her voice with softness and strength where needed. Her voice and body movements were synchronised. In conclusion, the newspaper review helped me to evaluate Callas’s unique performance and what makes Maria Callas an unforgettable Diva is her strong, determined personality and vast knowledge of opera. Modern technology could have given her a better chance to avoid skeptical comments. Today, opera performers see Callas as one of the twentieth century’s best Divas. She is a true entertainer who knows how to impress the audience. Callas deservedly is called ‘La Divina’. Part 1, ‘the diva’ Word Account: 597 BIBLIOGRAPHY Audio CD: John Ardoin. (1978). Callas, A Documentary. (DVD BCS-D0194), Bel Canto Society. The Diva. (2008) (Audio CD CDA5933), Milton Keynes, Open University. Books: Fear, Trevor. (2008) ‘Training to Become a Diva’, in Moohan, E. (ed.) Reputations (A-A100 Book 1), Milton Keynes, The Open University, pp. 173-181. Stassinopoulos, Ariana. (1981). ‘Maria Callas: The Woman Behind the Legend’. New York: Simon and Schuster, pp.100-110. Electronic Sources: Cassidy, C. (1956) review of Lucia di Lammermoor at the Metropolitan Opera House, New York, Chicago Tribune, 3 December available on line: http://archives.metoperafamily.org/archives/scripts/cgiip.exe/WService=BibSpeed/fullcit.w'xCID=173330 (Accessed 23 April 2011). Films: ‘The Diva’ (2009), (AA100 The Arts Past and Present DVD Film), Milton Keynes, Open University. Lecture Notes: Halliday, Siobhan. (2011) ‘the diva’ Lecture notes, The Open University