How_Does_the_Newspaper_Review_Help_Us_to_Understand_the_Singing_Qualities_of_an_Operatic_Diva_Such_as_Callas_

Assignment 03 Part 1 The Diva How does the newspaper review help us to understand the singing qualities of an operatic diva such as Callas' ‘I think it is an aura that some of them [singers] exude...something which many good, even excellent singers may not necessarily possess. There has to be something unusual, as well as competent about a Diva, something compelling about her personality, whether you like it or not, whether it be charming or repellent...or both at the same time.’ (Sir Charles Mackerras, AA100, Book 1 Reputations, Elaine Moohan, p163) Maria Callas’ short but remarkable opera career and the scrutinised glamour of her social life made her an iconic figure. Using Sir Charles Mackerras’s traditional definition of a Diva and comparing it to Winthrope Sergeants review of Verdi’s, ‘La Traviata’ I will explore the qualities Maria Callas posses and how they make her a true Operatic Diva. After reading through Sargeant’s 1958 review of the performance of La Traviata at the Metropolitan Opera House, the first thing I noticed was Sargeant’s changed view of Callas after watching her performance. Sergeant mentions that previously he found her ‘Reedy’ voice to be a lack of competency but now finds that its quality improves the performance, ‘I am beginning to accept the reedy tone quality as a characteristic of Miss Callas’s vocal personality.’ (Winthrope Sergeant, 6th of February 1958, New Yorker) From this alone we can see that Callas is displaying a major characteristic of Mackerra’s diva, her unusual voice. ‘Hers is not a pure, innocent voice (pure, innocent voices are a dime a dozen) but a fiery conveyance for female passion.’ (Winthrope Sergeant, 6th of February 1958, New Yorker) In this Sergeant is complimenting Callas’ individuality, she stands out from her contemporaries because of her voice. In the lavish, emotional, outlandish world that is opera, Callas displayed new heights of ‘fiery female passion.’ Sergeant also makes a point of Maria Callas’ acting talent. He notes, ‘I might also call attention to her acting, which – in this role, at least – would qualify as extraordinarily perceptive and gripping.’ (Winthrope Sergeant, 6th of February 1958, New Yorker) in this performance at least Callas is making a deep impression on her audience, not only is her performance accomplished, it is original and outstanding. ‘In her approach to the role, to act is to sing and to sing is to act.’ Callas is displaying the skill to combine her art as one, the wobbles on her high notes are no longer a display of her inability but an absorbing emotional addition to her acting, ‘What emerges is a highly personal interpretation of Violetta, in which it is impossible to disentangle the dramatic elements from the vocal ones.’ (Winthrope Sergeant, 6th of February 1958, New Yorker) Whether or not Maria Callas’ controversial vocal abilities make her a technically superior opera singer, I cannot say. But within Winthrope Sergeant’s review are proof of her displaying every traditional aspect of an Operatic Diva. Whether her vocals where to your taste or not she had undeniable originality, flair and technical skill that lead to her being the legend she is today.