CD编号：7243 5 67470 2 9
卡拉斯（Maria Callas, 1923-1977）原名玛丽亚·卡罗盖洛波乌罗斯(Maria Kalogeropoulos)。美国女高音歌唱家。原籍希腊。十三岁入雅典音乐学院。1938年在雅典皇家歌剧院首次登台，扮演《乡村骑士》中的桑士查。1945年去纽约。1947年应邀在意大利维罗纳演出彭吉埃里（Amilcare Ponchielli，1834-1886）的歌剧《歌女》。后长期在意、英、美、法等国演出。擅演19世纪早期的意大利歌剧。嗓音清亮宽厚，舞台动作洗练优美。毕生演出歌剧四十余部，录有二十余部完整歌剧的唱片。 （摘自《辞海》）
Cecilia Sofia Anna Maria Kalogeropoulos was born in New York from George ed Evangelia, her Greek parents.
She leaves America with her mother and sister to return to Greece.
She debuts in Athens as Santuzza in Mascagni's Cavalleria Rusticana, in a performance for Conservatory students. She meets Elvira de Hidalgo, the teacher who did understand Maria's temper and voice more than any other teacher.
In a radio broadcast Maria interprets the whole part of Suor Angelica in Puccini's "Trittico".
Official debut at Athens Opera on August 27th, as Tosca.
Maria embarks on the "Stockholm" to return to America, longing to reencounter her father, whom she hadn't met since 1937.
In New York, Maria desperately tries to obtain a part. She meets a greedy "impresario", named Bagarozy, who promits her to be Turandot in a good number of performances, but everything vanishes into nothing. She meets Nicola Rossi Lemeni, who introduces her to an old tenor, Giovanni Zenatello, who is looking for sopranos able to be Gioconda at Verona's "Arena".
On June 27th she embarks to Italy. On August 2nd she debuts as Gioconda at Verona's Arena; the conductor is Tullio Serafin. She meets Giovanni Battista Meneghini, an old entrepreneur who falls in love with her.
The schedule becames more and more busy. She sings as Isotta (Tristan und Isolde - Wagner), Turandot, Leonora (Forza del destino - Verdi), in Venezia, Genoa, in Rome at Caracalla's Baths. At the end of the year she debuts as Aida and Norma.
In January she interprets Brunhilde in Wagner's "Die Walküre", and only three days later she is Elvira in Bellini's "Puritani". It's an incredible vocal shift, which will be recorded forever in Opera history. She marries G.B. Meneghini, ending a situation that saw her as a concubine.
In march she accepts to substitute Renata Tebaldi at Milan's La Scala as Aida.
It's the 50th anniversary of Verdi's death. To celebrate it, Maria sings La Traviata at Florence's "Comunale", Il Trovatore in Naples, Aida at Reggio Calabria, I Vespri Siciliani at Florence's "Maggio Musicale". La Scala finally opens the gates to her, and the superintendant Ghiringhelli proposes her to sing I Vespri, Norma, Mozart's The Rape.
The conquest of La Scala. Hundreds of performances all around the world.
Maria sings Medea for the first time, and her "interpretative fire" is at last recognized by everyone. At Chicago's Lyric Theatre she sings Norma, Lucia di Lammermoor and Traviata. She is defined "the greatest soprano in the world".
She starts the important work with Luchino Visconti, with Spontini's La Vestale, which opens the 1954-55 season at La Scala.
La Traviata Callas-Visconti, a real "must". If you are still reading you can't avoid buying it.
Il Barbiere di Siviglia at La Scala must be recorded. Fiercely criticized, even defining Rosina as "rude". By our opinion, that Rosina is still unequalled. During fall Maria sings Norma at the Metropolitan, the theatre wich refused her when she was younger.
Glory and problems. In April 57 Maria, Gavazzeni and Visconti produce Donizetti's Anna Bolena after 80 years of oblivion. The critics were enthusiastic. At a party held for her at Elsa Maxwell's she meets the greek tycoon Aristotele Onassis. On January 2nd, 1958 she sings Norma at "Opera di Roma" in front of Italy's President Gronchi, but she feels bad and took lots of pills to be able to sing. Maria has to quit before the end. The audience is angry and shouts against her. Shortly after, a violent quarrel with Rudolph Bing, Met's chief, causes the end of her presence in that theatre.
Maria leaves her husband and starts a love affair with Aristotele Onassis. She is frequently aboard the "Christina", Onassis' yacht.
Nothing of musically relevant, lots of buzzing. Medea at La Scala was the only important exhibition.
Maria in Paris. On June 5th she sings at the Champes Elysées Theatre with Georges Prêtre as conductor. It's a triumph. During that year Maria moves forever to Paris, at first in 44 Avenue Foch.
The most relevant fact was Tosca at Covent Garden with Zeffirelli. We could also remember Norma and Tosca at Paris "Opéra". Each performance is a success, but Maria starts to feel her voice's decay.
The journalists are no more so interested in her. She lives in Paris and moves to her new flat at 36 Avenue Georges Mandel. She spent the summer on the "Christina", but she was often alone aboard the immense yacht.
Onassis marries Kennedy's widow. Maria starts to slip towards the end.
Maria teaches her precious secrets at Juilliard School students. She obtains divorce from Commendator Meneghini, exploiting the new italian law. She reinforces the old friendship with Giuseppe di Stefano, preparing a triumphal "rentrée" with him in the more important theatres.
She directs I Vespri Siciliani inaugurating Turin's Teatro Regio.
Maria dies, alone in her home at Avenue Georges Mandel, officially by a heart attack. The only witnesses of her last moments of life were the midwife and the butler. Her ashes were scattered in the Aegeus Sea during a storm.
1. L´amour est un oiseau rebelle (Bizet)
2. Près des remparts de Séville (Bizet)
3. Les tringles des sitres tintaient (Bizet)
4. Casta Diva (Bellini)
5. Ebben? ne andrò lontana (Catalani)
6. O mio babbino caro (Puccini)
7. Vissi d´arte (Puccini)
8. Un bel dì vedremo (Puccini)
9. D´amor sull´ali rosee (Verdi)
10. In quelle trine morbide (Puccini)
11. Sì. Mi chiamano Mimì (Puccini)
12. Donde lieta uscì (Puccini)
13. Ecco: respiro appena. Io son l´umile ancella (Cilea)
14. Ah, fors´ è lui (Verdi)
15. Tu che di gel sei cinta (Verdi)
16. Signore, ascolta (Puccini)
17. Tu che di gel sei cinta (Puccini)
18. Al dolce guidami castel natio (Donizetti)
19. Spargi d´amaro pianto (Donizetti)
1. La mamma morta (Giordano)
2. Gualtier Maldè!... Caro nome (Verdi)
3. Una voce poco fa (Rossini)
4. Ombra leggiera (Meyerbeer)
5. Ah! Je veux vivre (Gounod)
6. Printemps qui commence (Saint-Saens)
7. Mon coeur s´ouvre à ta voix (Saint-Saens)
8. J´ai perdu mon Eurydice (Gluck)
9. De cet affreux combat... Pleurez, mes yeux! (Massenet)
10. Je ne suis que faiblesse Adieu, notre petite table (Massenet)
11. Depuis le jour (Charpentier)
12. O Nume tutelar (Spontini)
13. Ah! non credea mirarti (Bellini)
14. Porgi, amor (Mozart)
15. Ave Maria (Verdi)