THE ICE CREAM OF OPERA
By Elizabeth Perryman
Alright, alright, alright. My fellow opera singers and aficionados, I’m fully aware that my following DECLARATION may be fighting words for the devout Callas crew but I cannot continue without proclaiming the following:

Whilst listening to Suicidio….
Tebaldi before Callas, NO BUENO.
Callas before Tebaldi, ALL GOOD. (However giggles may ensue after Tebaldi’s excitingly effortless monster octave leap-JESUS)

Trust me, I WANT to love Callas. I have TRIED in earnest to admire her. And YES there are some recordings, early and lyric coloratura, that are lovely and clearer. I seek to find what we all have to offer as diverse performing artists. Callas’ Chenier aria is also very moving dramatically BUT I just can’t get past her murky timbre and lack of bel canto vowels/tongue contortion.

And yet again today, JUST as I was starting to think that Callas’ Ponchielli was good and was getting EXCITED by her chest voice, my acutely tuned ear wizard opera coach Giovanni Longo suggested that I take another listen to Tebaldi’s version.

OY VEY. My loud trucker laugh was engaged at the dramatic vocal shift from SD to HD. I guess it’s better to listen in this order because MC following RT would be no bueno indeed. Sorry not sorry.

I do however believe that taste is like ice cream; to each his own FLAVOR. Callas’ ability to completely immerse herself fearlessly with abandon is something to behold and aspire to as an artist. Maria Callas has a cult following for a reason. She obviously moves many people and imho that’s what this all about, so CARRY ON and enjoy La Divina.

akintsucrooner