Get Callas at Juilliard: The Master Classes (Amadeus) PDF

By John Ardoin

Maria Callas back to the degree in 1971 to educate grasp sessions at Juilliard. This exciting discussion board later encouraged Terrence McNally's acclaimed play grasp type. Outspoken and uncompromising in her creative ideals, Callas labored via her mythical arias from Mozart, Verdi, Rossini, Puccini, and others. John Ardoin brilliantly captures the insights of a considerate singer who unearths herself to be no longer the imperious diva of her recognition, yet a supremely self-aware artist enthusiastic about passing alongside an excellent musical culture.

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Extra resources for Callas at Juilliard: The Master Classes (Amadeus)

Example text

In the second phrase'tu conosci la mia fè'again be careful not to separate too much. Do not sing 'tu/co/no/sci' but tie the notes together with a good legato. Keep to the line: < previous page page_16 next page > < previous page page_17 next page > Page 17 "The next is a small matter, but it is attention to details that makes a performance. ' It can be sung with a break after the fermata on 'mora,' but to me it is less stylish and causes the music to stop its flow: "Also, watch the pronunciation of 'mora' at the cadence.

Think the notes, but do no more than hum them. Eventually, you will have them in your head and know where you are going without unduly using your voice. < previous page page_25 next page > < previous page page_26 next page > Page 26 "I don't know if a conductor would permit it or not, but I would make an accelerando towards the end of the next set of staccati; it makes a more dramatic effect and enables you to sing all four measures in a single breath: "Again, sing with good strength and support the phrase after the staccati: Make the final note before the fermata short for dramatic impact: "With the final notes be very aware of what you are saying: 'Listen, listen, gods of vengeance,' and really let your voice out.

When you reach the famous staccati, make certain you do not lose the < previous page page_24 next page > < previous page page_25 next page > Page 25 acciaccatura at the beginning. Keep the staccati crystalline, like glass; there must be a ping to the sound. Above all, no crescendi; they must all be the same: "Once again, be especially conscious of the final phrase after the staccati: This is once more a summing up and mustn't be slighted. "Later, with the repeated F's, which are almost like fanfares, be certain you keep your tone full.

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