This incontrovertibly important work of musical history provides footage shot during the Paris debut of La Diva Divina, Maria Callas, 19 December, 1958, upon a rainy Friday evening where, inside of the Paris Garnier (later the Théâtre National de l'Opéra de Paris), the resident chorus and orchestra is well-handled and drilled by conductor Georges Sebastian, properly so in consideration for the significance of an event that elicited a critical verdict of brilliance accorded to the finest dramatic soprano of the second half of the twentieth century, about whom an aesthetic industry has grown apace, particularly since her premature death, having a contradictory body of thought available for every considered opinion. The evening is titled La Grande Nuit de l'Opéra, and it is charged with excitement as we view dignitaries arrive, including René Coty, President of France while, as the camera pans across the interior of the beautiful theatre, other notables from the entertainment realm are recognized, among them Charles Chaplin, Juliette Gréco, and Brigitte Bardot (wrapped in a fur!). This piquant preface to the music requires the VHS taped edition due to its excision from the DVD release of the event and, although the richest portion of the entertainment is yet to come with the appearance of Callas, suspense created from mounting expectancy makes this tape format the correct choice. The film is made for television in France, with narration in French and, although there are no English subtitles, they would be of little use for this dignified yet dazzling spectacle that will command respect, even from detractors of the esteemed soprano for, while there may be some straining during some pieces, anything less than totally refined musicianship is not to be found here. Following a rousing orchestral performance of La Marseillaise, Sebastian leads his instrumental charges in a spirited reading of the overture to Verdi's La Forza del Destino, during which the camera-work is exceptional as we watch soloists and also scan the score. Then the appearance after which all in attendance have been curious: the entrance of Maria Callas, beautifully gowned (crimson, quoth the narrator), coifed (upswept), and ornamented with diamonds (earrings, necklace), all of which ostensibly contributed to the besotting of Aristotle Onassis, among the audience and soon to crave an introduction. An immensely enthusiastic welcome to the diva from the attendees is as expected while fulfillment of the promise due to all from her talents immediately makes the acclamation most appropriate. The initial four arias come from Act I of Bellini's Norma, beginning with Sedizione Voci (with basso Jacques Mars), an ably acted and sung number by both, with chorus. This is succeeded by a well-known speciality of Callas, Casta Diva, again with chorus, as she displays her superior dramatic expertise, extended applause appropriate a result of her sublime execution. The final pair of this Norma set provides material that demonstrates her solid command of emotion, certified here by three curtain calls. From episodes in Act IV of Verdi's Il Trovatore, we are treated to three pieces, including the popular Miserere, again with chorus as well as tenor Albert Lance. Rossini's exciting Overture to Il Barbiere di Siviglia is perfectly played by the orchestra, after which Callas proves to be more than equal to coloratura requirements of Una Voce Poco Fa from Act I of that opera. The final segment of the film is given to a complete performance (in costume) of Puccini's Tosca, Act II. Here, Callas is seen with, among others, baritone Tito Gobbi as Baron Scarpia. Gobbi is a dramatic match for Callas, their acting being top-notch throughout. The diva's rendition, as Tosca, of Vissi d'arte, a mainstay throughout her career, temporarily halts the production because of enthusiastic audience reaction. This film in its entirety is a visceral delight upon a high artistic level, and can be justly recommended for inclusion within the film library of all devotees of Callas and of musical drama.
2 Reviews
La Divina in Paris, a triumph of a Paris debut and an aptly named grand night of opera
TheLittleSongbird22 July 2013
Warning: Spoilers
Maria Callas was by all means one of the greatest and most important(if also controversial in some respects) singers of the second half of the twentieth century, and even of the century itself. Her voice was not the most beautiful of instruments- personally the most beautiful soprano voices were between Mirella Freni and Renata Tebaldi, nor was it an ugly one. No matter of whether you like her voice or not or rate her technique highly or not(she did sound at times as if she had breaks between registers), the quality of her artistry and interpretative skills are undeniable. She had outstanding musicianship, and clearly felt and understood every word she sang and what her character was going through. And when it comes to acting and singing-actresses, Callas was unrivalled, very few if any sopranos/mezzos delved into their roles as deep as she did or embodied every role they sang as well(Renata Scotto did that amazingly well also though even she's, from a personal standpoint, not in the same league).
This concert from 1958 is a perfect documents to La Divina's talents, on its own it is just remarkable but made even more important by that it's her Paris debut. For a debut or any performance for that matter it's a triumph. Callas is in fine voice here, she has some really demanding repertoire here to sing but she doesn't sound taxed and delivers the contrasting moods of the arias and ensembles brilliant. The concert does have occasions where the picture and sound can show its age, but it is exceptionally filmed and once we take into account that technology wasn't as advanced then as it is now comparatively anything coming across as flawed technically can be ignored. And especially so when it doesn't do anything to hinder the performance itself. The orchestra play wonderfully throughout, whether it's spirited in the La Forza Del Destino Overture, hauntingly sensitive in Casta Diva and D'Amor Sull Alli Rosee, light-hearted and buoyant in Una Voce Poco Fa or overwhelmingly dramatic in the second act of Tosca. The chorus sing beautifully and capture the essence of the music they're singing very well, particularly good is the Il Trovatore Miserere. Georges Sebastien keeps things moving swiftly, while still conveying the drama and accommodating the singers.
The music of course is magnificent, some of the best opera music ever written and some of it might be recognisable even to those who are not as big on opera as others(for instance Casta Diva has been used for adverts and Rossini will be familiar for Looney Tunes enthusiasts). And it's organised in a way that each piece contrasts with the one before it. The highlight of the concert for me was the performance of Act 2 of Tosca. It is incredibly compelling musically and dramatically, and who better to perform it than La Divina(her rendition of Vissi D'Arte is one of the most beautiful ever) and the best Scarpia of all time Tito Gobbi, my perception of him is exactly the same as with Callas. Scarpia as a role is very difficult and you don't realise sometimes how many complex dimensions there are with the character, Gobbi meets every single of them with chilling authority(almost like a predator in his interaction with Callas) with a little subtlety thrown in, and he sings with great musicianship and good if not always powerful tone.
Albert Lance does sing Manrico's part in the Il Trovatore Miserere very well, it does have a good ring to it, impassioned in the character's longing for death and there is that effect that he is singing from a tower prison. Jacques Mars sings Oroveso with nobility and resonance, his blending and interaction with Callas- in apparently her signature role- in Sedizione Voci from Norma is strong, if not as riveting as the partnership between Callas and Gobbi which is something truly special. Aside from the music and Gobbi's Scarpia, what really makes this concert is La Divina herself. She looks amazing, every bit the elegant diva, and is in fine voice. As ever her musicality is impeccable and even when slightly restricted in movement she still manages to bring the moods and emotions of the music in a way that not many have done as well as her. Her renditions of Casta Diva and D'Amor Sull Alli Rosee are haunting and moving, Una Voce Poco Fa is sparkling and delightful(the agility for such a dramatic-sounding voice is remarkable) and you just cannot look away for Tosca.
Overall, a debut triumph and if you are looking for a good concert or a night of opera Maria Callas Debuts a Paris is the perfect supplement. 10/10 Bethany Cox
This concert from 1958 is a perfect documents to La Divina's talents, on its own it is just remarkable but made even more important by that it's her Paris debut. For a debut or any performance for that matter it's a triumph. Callas is in fine voice here, she has some really demanding repertoire here to sing but she doesn't sound taxed and delivers the contrasting moods of the arias and ensembles brilliant. The concert does have occasions where the picture and sound can show its age, but it is exceptionally filmed and once we take into account that technology wasn't as advanced then as it is now comparatively anything coming across as flawed technically can be ignored. And especially so when it doesn't do anything to hinder the performance itself. The orchestra play wonderfully throughout, whether it's spirited in the La Forza Del Destino Overture, hauntingly sensitive in Casta Diva and D'Amor Sull Alli Rosee, light-hearted and buoyant in Una Voce Poco Fa or overwhelmingly dramatic in the second act of Tosca. The chorus sing beautifully and capture the essence of the music they're singing very well, particularly good is the Il Trovatore Miserere. Georges Sebastien keeps things moving swiftly, while still conveying the drama and accommodating the singers.
The music of course is magnificent, some of the best opera music ever written and some of it might be recognisable even to those who are not as big on opera as others(for instance Casta Diva has been used for adverts and Rossini will be familiar for Looney Tunes enthusiasts). And it's organised in a way that each piece contrasts with the one before it. The highlight of the concert for me was the performance of Act 2 of Tosca. It is incredibly compelling musically and dramatically, and who better to perform it than La Divina(her rendition of Vissi D'Arte is one of the most beautiful ever) and the best Scarpia of all time Tito Gobbi, my perception of him is exactly the same as with Callas. Scarpia as a role is very difficult and you don't realise sometimes how many complex dimensions there are with the character, Gobbi meets every single of them with chilling authority(almost like a predator in his interaction with Callas) with a little subtlety thrown in, and he sings with great musicianship and good if not always powerful tone.
Albert Lance does sing Manrico's part in the Il Trovatore Miserere very well, it does have a good ring to it, impassioned in the character's longing for death and there is that effect that he is singing from a tower prison. Jacques Mars sings Oroveso with nobility and resonance, his blending and interaction with Callas- in apparently her signature role- in Sedizione Voci from Norma is strong, if not as riveting as the partnership between Callas and Gobbi which is something truly special. Aside from the music and Gobbi's Scarpia, what really makes this concert is La Divina herself. She looks amazing, every bit the elegant diva, and is in fine voice. As ever her musicality is impeccable and even when slightly restricted in movement she still manages to bring the moods and emotions of the music in a way that not many have done as well as her. Her renditions of Casta Diva and D'Amor Sull Alli Rosee are haunting and moving, Una Voce Poco Fa is sparkling and delightful(the agility for such a dramatic-sounding voice is remarkable) and you just cannot look away for Tosca.
Overall, a debut triumph and if you are looking for a good concert or a night of opera Maria Callas Debuts a Paris is the perfect supplement. 10/10 Bethany Cox
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