Maria Callas, the great singing actress, returned to the stage in 1971 to teach master classes at Juilliard. John Ardoin's transcription, returned to print in this volume, captures the insights of a supremely self-aware artist of impeccable musicianship. In detailed commentaries on seventy-five arias, she talks and sings her way through famous passages of Norma, Violetta, Mimi, and other heroines, not as the imperious diva of her reputation but as a thoughtful artist passing on a great tradition. The intensity that she brought to her roles derived from the clear artistic insight she demonstrates here. With hundreds of music examples, Callas at Juilliard is a truly invaluable resource for every young singer and serious opera lover, and for all those who must have Callas in her own words. "Corrected reprint with new index" 304p.,index. Review copy with the Publisher's PR sheet and card laid in. N� de ref. del art�culo 045170

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Detalles bibliogr�ficos

T�tulo: Callas at Juilliard: The Master Classes (...

Editorial: Amadeus Press, Portland OR

A�o de publicaci�n: 1998

Encuadernaci�n: Soft cover

Condici�n: New

Edici�n: Review Copy.

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Sinopsis:

Maria Callas returned to the stage in 1971 to teach master classes at Juilliard. This intriguing forum later inspired Terrence McNally's acclaimed play Master Class. Outspoken and uncompromising in her artistic beliefs, Callas worked through her legendary arias from Mozart, Verdi, Rossini, Puccini, and others. John Ardoin brilliantly captures the insights of a thoughtful singer who reveals herself to be not the imperious diva of her reputation, but a supremely self-aware artist concerned with passing along a great musical tradition.

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John Ardoin (1935-2001) was the music critic for The Dallas Morning News for more than 30 years. He died unexpectedly, just after completing his work on this book. He was renowned for his encyclopedic knowledge of opera and singers, particularly Maria Callas, and was the author of Callas at Juilliard: The Master Classes, also published by Amadeus Press. He served, as well, as editor of Musical America Magazine, critic for The Saturday Review, New York music correspondent for The Times of London, and New York critic for Opera magazine.

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