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Index of 'Maria Callas Magazine' No's 1 – 82

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Index of 'Maria Callas Magazine' No's 1 – 82 Index of ‘Maria Callas Magazine’ No’s 1 – 82 Founder’s Preface 48-66; 51-66; 54-66; 57-66; 60-66; 63-68; 66-66 October 1958 - October 1959 18-6 – by J. Handzic and K.H. van Zoggel 69-68; 72-68; 75-68; 78-69; 81-70 • Part IV: The Concerts as ‘Maria Callas’: • 1-5; 2-4; 3-4; 4-4; 5-4; 6-4; 7-4; 8-4; 9-4; 10-4; 11-4; 12-4 1960-1965 19-7 13-4 14-4; 15-4; 16-4; 17-4; 18-4 19-4 Changes and Additions to List of Club Members • Part V: The Farewell Recitals 1973-1974 20-18 • 40-59; 41-76; 43-60; 44-72; 46-62; 47-70; 49-62 Preface – by K.H. van Zoggel 50-64; 52-61; 53-70; 55-61; 56-70; 58-61; 59-70; 61-60 Chronology of Maria Callas – by K.H. van Zoggel • 56-4; 57-4; 58-4; 59-4; 60-4; 61-4; 62-4; 63-4; 64-4; 65-4 62-70; 64-60; 65-70; 67-60; 68-70; 70-59; 71-70; 73-58 • Part I: The childhood years in New York, 66-4; 67-4; 68-4; 69-4; 70-4; 71-4; 72-4; 73-4; 74-4; 75-4 74-70; 76-58; 77-70; 79-58; 80-70; 82-58 1923 – 1937 45-34 76-4; 77-4; 78-4; 79-4; 80-4; 81-4; 82-4 • Part II: The years of apprenticeship and war List of Club Members E-mail Addresses in Greece, 1937 – 1945 45-35 Preface – by J. L. Pettitt and K.H. van Zoggel • 33-76; 34-66; 35-73; 36-73; 37-64; 38-73; 39-75; 40-60 • Part III: The years back in America, • 20-4; 21-4; 22-4; 23-4; 24-4; 25-4; 26-4; 27-4; 28-4; 29-4 41-74; 42-69; 43-61; 44-70; 45-66; 46-63; 47-71; 48-71 1945 – 1947 46-38 30-4; 31-4; 32-4; 33-4; 34-4; 35-4; 36-4; 37-4; 38-4; 39-4 49-63; 50-65; 51-71; 52-62; 53-71; 54-71; 55-62; 56-71 • Part IV: The first years in Italy with 40-4; 41-4; 42-4; 43-4 44-4; 45-4; 46-4; 47-4; 48-4; 49-4 57-71; 58-62; 59-71; 60-71; 61-61; 62-71; 63-66; 64-61 Meneghini, 1947 – 1949 46-40 50-4; 51-4; 52-4; 53-4; 54-4; 55-4 65-71; 66-64; 67-61; 68-71; 69-66; 70-60; 71-71; 72-66 • Part V: The years of the opera seasons in Latin 73-59; 74-71; 75-66; 76-59; 77-71; 78-67; 79-59; 80-71; America, 1949 – 1952 47-28 Introduction to this Magazine 81-68; 82-59 • Part VI: The great years at La Scala in Milan, – by K.H. van Zoggel 1952 – 1957 47-31 • 1-8; 2-5; 3-5; 4-5; 5-5; 6-5; 7-5; 8-5; 9-5; 10-5; 11-5 ;12-5 Maria Callas books – by W.B. Loeve • Part VII: The years of the dramatic changes, 13-5 14-5; 15-5; 16-5; 17-5; 18-5; 19-5; 20-5; 21-5; 22-5 • Callas Books, A complete Overview 1-9 1958 – 1959 48-16 23-5; 24-5; 25-5; 26-5; 27-5; 28-5; 29-5; 30-5; 31-5; 32-5 • Callas Books, Revision 11-18 • Part VIII: The years with Aristotle Onassis, 33-5; 34-5; 35-5; 36-5; 37-5; 38-5; 39-5; 40-5; 41-5; 42-5 • Overview of Callas Books 1960 – 1967 49-15 43-5; 44-5; 45-5; 46-5; 47-5; 48-5; 49-5; 50-5; 51-5; 52-5 – Supplement 1 to Revision 14-29 • Part IX: The tragic year, 1968 50-24 53-5; 54-5; 55-5; 56-5; 57-5; 58-5; 59-5; 60-5; 61-5; 62-4 • Part X: The years of the Medea film and the 63-5; 64-5; 65-5; 66-5; 67-5; 68-5; 69-5; 70-5; 71-5; 72-5 Maria Callas on CD – by M. Vandenbergh Master Classes, 1969 – 1972 50-26 73-5; 74-5; 75-5; 76-5; 77-5; 78-5; 79-5; 80-5; 81-5; 82-5 • Part I: The complete operas 2-6 • Part XI: The World Tour and last years in Paris, • Part IIa: The studio recital recordings 3-6 1973 – 1977 51-26 Photograph Gallery • Part IIb: The concerts on historical live- • 3-63; 4-48; 5-56; 8-58; 18-59; 21-33 recordings 5-6 Detailed essays on Maria Callas’ roles • Sixty years on – The summer of 1956; • Part III: The not-original issues – by P. Mul A photographic impression of Maria Callas’ (Highlights and Collection-CDs) 6-6 • Maria Callas as Anna Bolena – Fifty years on: happiest summer 78-39 • Supplement (1) The complete operas 3-21 The Queen still reigns; A detailed essay on • Addenda + Corrections, The complete operas 4-64 Callas’ performances at Teatro alla Scala in Miscellaneous • Correction 5-37 1957 and 1958 50-6 • 1-66; 2-68; 3-66; 4-65; 5-65; 6-69; 7-60; 8-62; 9-67 • Addenda, The complete operas 6-22 • Maria Callas in La sonnambula – Fifty years on: 10-56; 11- 63; 12-64; 13-60; 14-64; 15-61; 16-58; 17-68 A Sleeping Beauty awakes; A detailed essay on 18-70; 19-63; 20-63; 21-63; 22-58; 23-63; 24-63; 25-56 The Theatres (buildings) of Maria Callas Callas’s performances as Amina 51-6 26-62; 27-62; 28-54; 29-63; 30-61; 31-53; 32-63; 33-65 – by K.H. van Zoggel • Maria Callas in Un ballo in maschera – Fifty 34-54; 35-60; 36-57; 37-4; 38-51; 39-59; 40-54; 41-58 • Part I: Introduction 1-30 years on: Callas’s greatness in disguise; A 42-56; 43-54; 44-58; 45-54; 46-56; 47-66; 48-53; 49-52 • Part II: Teatro alla Scala 2-25 detailed essay on Callas’s performances as 50-51; 51-56; 52-50; 53-64; 54-59; 55-54; 56-65; 57-54 • Part III: Arena di Verona 3-25 Amelia 52-10 58-54; 59-60; 60-57; 61-52; 62-56; 63-55; 64-53; 65-59 • Part IV: Théâtre National de L’Opéra de Paris 4-6 • Maria Callas and Norma: The Diva meets the 66-55; 67-54; 68-62; 69-57; 70-50; 71-58; 72-54; 73-50 • Part V: London: Saint Giles Cripplegate 5-25 Divine – Part I; A detailed essay on Callas’ 74-59; 75-54; 76-50; 77-60; 78-57; 79-53; 80-57; 81-56 • Part VI: Royal Opera House Covent Garden 6-24 performances as Norma 53-7 82-51 • Part VII: Venice: Teatro La Fenice 8-13 • Maria Callas and Norma: The Diva meets the • Part VIII: Rome: Teatro dell’Opera 9-15 Divine – Part II; A detailed essay on Callas’ Club Announcements and Information performances as Norma 54-6 • 1-69; 2-72; 3-74; 4-75; 5-69; 6-72; 7-66; 8-69 9-71 The Theatres of Maria Callas • Maria Callas in La traviata: ‘Ahi, cruda sorte!’ 10-62; 11-70; 12-70; 13-63; 14-71; 15-68; 16-63; 17-72 – by M. Vandenbergh (‘Ah, cruel destiny’) – Part I; A detailed essay on 18-73; 19-65;20-70; 21-67; 22-62; 23-68; 24-69; 25-60 • Part II: Callas alla Scala 2-27 Callas’ performances as Violetta 55-6 26-66; 27-66; 28-59; 29-68; 30-66; 31-57; 32-70 • Part III: Callas in the Arena 3-26 • Maria Callas in La traviata: ‘Ahi, cruda sorte!’ 33-68; 34-57; 35-65; 36-64; 37-55; 38-64; 39-66; 40-57 • Part IV: Callas à L’Opéra 4-9 (‘Ah, cruel destiny’) – Part II; A detailed essay 41-72; 42-61; 43-59; 44-68; 45-64; 46-61; 47-69; 48-64 • Part V: Callas in Saint Giles 5-27 on Callas’ performances as Violetta 56-6 49-61; 50-62; 51-64; 52-60; 53-69; 54-64; 55-60 • Part VI: Callas in Covent Garden 6-27 • Maria Callas in Suor Angelica: “I worked hard, 56-69; 57-64; 58-60; 59-69; 60-64; 61-59; 62-69 • Part VII: Callas in La Fenice 8-15 I really slogged at it”; A detailed essay on Callas’ 63-64; 64-59; 65-69; 66-62; 67-59; 68-69; 69-64 • Part VIII: Callas in the Rome Opera 9-18 performances as Suor Angelica 57-6 70-58; 71-69; 72-64; 73-57; 74-69; 75-64; 76-57; 77-69 • Maria Callas in La Bohème: “La storia mia è 78-65; 79-57; 80-69; 81-66; 82-57 Maria Callas on film, ampex, video and laser disc breve”; A detailed essay on Callas’ performances – by M. Vandenbergh as Mimi 57-9 Club Members: News – Personal – Notices • Introduction and Part I: Maria Callas’ • Maria Callas in Manon Lescaut: A temporarily • 1-72; 2-75; 3-75; 4-78; 5-72; 6-74; 7-67; 8-72 9-73 Performances 7-6 embargo for Manon; A detailed essay on Callas’ 10-65; 11-73; 12-73; 13-65; 14-73; 15-72 16-65; 17-74 • Part II: Maria Callas Speaks + Appendix 8-6 performances as Manon Lescaut 57-16 18-74; 19-67;20-71; 21-68; 22-63; 23-69; 24-70; 25-61 • Part III: About Maria Callas 9-6 • Maria Callas in La vestale: Just a footnote in 26-67; 27-67; 28-60; 29-69; 30-67; 31-58; 32-71; 33-69 Callas’ career?; A detailed essay on Callas’ 34-58; 35-66; 36-65; 37-56; 38-65; 39-67; 40-58 Maria Callas on LP Covers – by F.
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