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Home , Alexis (poet), Alexis Minotis, Dallas Opera, Ettore Bastianini, Fiorenza Cossotto, Giuseppe Modesti

and Alexis Minotis – Part I An engaging collaboration for a and in Greek style

Introduction a German-educated stage director who Primadonna assoluta Maria Callas (1923- John C. Bastias had attended the Reinhardt Seminar and 1977) and actor and stage director Alexis become an assistant to Germany’s great- Minotis (1898 or 1900-1990), whose age est interwar director, Max Reinhardt, at placed them one generation apart, both ides. It must indeed be many years since a the and the Deutsches delved with great enthusiasm and perse- singer has given so compelling a dramatic Theater in Berlin. Reinhardt was experi- verance into the past of their respective performance”.[1] menting with ancient Greek tragedies theatrical fields. Cretan-born Minotis’ presented in circuses, because they were contribution to the revival of ancient 1. Alexis Minotis and the revival of an- the closest theatrical architectural forms Greek tragedy in the thirties, first as an cient Greek tragedy at the National to their open-air ancient Greek counter- actor and later as a stage director, left its (Royal) Theatre of parts, instead of the closed Italianate Eu- mark indelibly inscribed ropean theatres. in this archetypical theat- It was Politis and Ron- rical art form, while Cal- diris who were responsible las’ contribution to the bel for the revival of ancient canto revival of the fifties Greek tragedy, creating is considered the most what came to be called important element in the “the tradition of the Na- restoration of this early 19th tional Theatre of Greece”. A century musical art form. number of attempts were As the music critic of The known both in Greece Observer (), Peter and abroad beginning in Heyworth, wrote about the 19th century up to poet Callas’ love of the forgot- Angelos Sikelianos’[3] 1927 ten , when and 1930 Delphic Festivals, he saw the Covent Garden where ’s Pro- production of Cherubini’s metheus Bound and The Sup- Medea in June 1959, after pliants were staged respec- she and Alexis Minotis had tively at Delphi. However, already inaugurated their it was stage directors Politis collaboration in in and Rondiris and the thea- 1958: tre’s general director Costis “Unlike most of her kind, Bastias, who established Maria Callas has never in the thirties a systematic, been content to subsist on theatrical tradition that be- a diet of Butterflys and Aid- sides the Athenian Odeon as; her singing is essentially of Herodes Atticus, dared too creative for her to be to use for the first time satisfied with mere repeti- since antiquity the hard- tion of well-worn successes. , Ancient Theatre, 19 June 1960: to-reach ancient theatre of During the past few years Actor and stage director Alexis Minotis as Oedipus Epidaurus in 1938, present- her search for new fields in ’ The Phoenician Women ing ’ , to an to conquer has led to the audience of 2500! revival of a number of almost forgotten As it seems, both Callas and Minotis par- It is at this time that Minotis becomes works, and notably those lying in that ticipated in revivals of forgotten theatri- Greece’s top actor, especially after the shadowy and deserted trough between cal wonders before they even met. Mino- National (Royal) Theatre’s 1939 tour of the decline of eighteenth-century tis developed his acting skills under the Oxford, Cambridge, London, Frankfurt seria and the rise of Verdi and Wagner. guidance of stage director, Fotos Politis,[2] and Berlin, in June and July, two months […] Madame Callas is much nearer to of the National Theatre of Greece, from before World War II broke out in Poland. ancient Greece than to revolutionary its initial performance in March 1932 to He appeared in , a role he had me- France. While Cherubini trundles out his Politis’ early death in 1934. Politis was suc- thodically studied in depth, as was his way clichés she storms the heights with Eurip- ceeded by Dimitris Rondiris (1899-1981), with everything that had to do with his

Maria Callas Magazine 20 No. 76 – November 2015 performances. It is interesting that in 1936, and Sophocles’ . But, most His repertoire included Prometheus Bound, the Theatre had sent him to Germany to important, he was on stage or followed Agamemnon, , Oedipus Rex, familiarize both himself and Bastias and rehearsals closely, watching Rondiris’ ex- , Antigone, Philoctetes, Rondiris back home with the German hausting teaching methods and interpre- Hecuba, Medea, The Phoenician Women, theatrical scene. In one of his many let- tations of the ancient texts and realizing and Hippolytus. And his best lady was his ters to , he relates that he saw twice the many problems like the role of the equally famous wife, Oscar winner and performing and also met Gustaf Gründ- chorus, the movement of the actors and tragedienne . gens, Germany’s greatest Hamlet, studied their gestures, innumerable speech exer- his every motion,[4] and believed that the cises, face expressions, the rhythm of the Notes: Greek troupe had nothing to fear from performance and others. 1. Peter Heyworth, “Cherubini and Callas”, the competition. He was not wrong. Mi- In 1941, during the German occupa- 21 June 1959, The Observer (London). notis was also lucky to see in Athens the tion, Minotis escaped from Greece and 2. See https://en.wikipedia.org/wiki/Fotos_Politis Old Vic troupe (29 March - 2 April 1939), joined his wife, the actress Katina Pax- 3. See which staged Hamlet with the young Alec inou, who was in the U.S., where he spent http://en.wikipedia.org/wiki/Angelos_Sikelianos Guinness in the title role, gaining much the next ten years acting in Hollywood 4. This letter (10 October 1936), as well as many valuable knowledge of the British way of movies, like ’s Notorious others by Minotis, is kept in the Costis Bastias putting on a Shakespearian tragedy. At in 1946 alongside and Ingrid Archive in Athens. Minotis’ perfor- 5. “This Hamlet will mance of Hamlet be all Greek to him”, at ‘His Majesty’s Daily Mail (London), Theatre’ in London, 20 June 1939. Alec Guinness was 6. V. T., Evening News in the stalls watch- (London), 21 June ing this new Greek 1939. Hamlet.[5] It was his turn to see an- 2. The Dallas other Hamlet. The Cherubini Medea London Evening (1958) News summed up As Minotis worked the impression left on his tragedies in by Alexis Minotis’ Greece and else- Hamlet in prewar where, another Britain as follows: Greek performer, “A Hamlet who, the world’s most in turn was cruel, famous soprano, cunning, gener- Maria Callas, was ous, sympathetic, making a name hysterical, and yet for herself inter- remained the most nationally. One lovable of men of her favourite – a Hamlet unfor- Dallas, 5(?) November 1958, State Fair Music Hall, with Yannis Tsarouchis, operas, Medea gettable. Alexis , Alexis Minotis and by Luigi Cheru- Minotis was this bini, had been in astonishing character. Even if you have Bergman. her repertoire since she first sang it at counted your by the hundreds Upon his return to Greece in 1951, Mi- in 1953, staged by Margherita you might very well place this one at the notis again joined the National Theatre Wallmann with maestro Vittorio Gui top”.[6] of Greece acting but also directing an- . She also sang it at His participation in the National The- cient tragedies in the theatre of Herodes the same year with the conductor Leon- atre (1932-1941), under the guidance of Atticus and from 1955 also at Epidaurus, ard Bernstein. In 1958, she opened at La Politis and then Rondiris, gave him the during the summer outdoor drama fes- Scala on 9 April with five performances opportunity to appear in many other tivals. He continued acting and directing of and on that same evening Shakespearean roles including Mark until 1989, one year before his death. Al- Alexis Minotis and the National Theatre Anthony in Anthony and Cleopatra, Julius most forty years of continuously staging of Greece opened in at the Théâtre Caesar, Shylock in , Aeschylus, Sophocles and Euripides and des Nations in the historic Théâtre Sarah- Richard III, Henry IV, and Edgar and later playing the lead roles. As his fame grew, Bernhardt, with Euripides’ Medea. Lear in . At the same time he he was invited to appear with his troupe Callas had never met Minotis officially, appeared in ancient Greek tragedies like abroad, both in the U.S. and Europe, be- but she remembered him when she was Aeschylus’ Agamemnon and The Persians coming an iconic figure of ancient drama. hired for the first time professionally by

No. 76 – November 2015 21 Maria Callas Magazine Dallas, 6(?) November 1958, State Fair Music Hall

Maria Callas Magazine 22 No. 76 – November 2015 Costis Bastias at the National Opera of Minotis and it seems that his corrections The year 1958 was to be the Dallas Civ- Greece in 1940.[1] Minotis was then the were finally minimal. ic Opera’s first season with a full opera, star of the National Theatre of Greece, The next problem was that Minotis in fact two, both with Callas. Its general which coincidentally also housed the proposed the famous Greek painter, Yan- director Lawrence Kelly and its artistic newly found Opera, while she was an nis Tsarouchis,[3] for sets and costumes. director and conductor unknown. Now, he was also the stage Callas was delighted, but the Civic Op- would become internationally known, director with new staging methods and era informed them that the local trade and a new U.S. regional opera would be interpretations that people were talking unions would not allow foreigners to established that could compete with Chi- about. Callas decided to use him to stage replace their workers. Finally, a compro- cago, San Francisco and even the austere the Dallas Medea. mise was reached that all costumes would ‘Met’ in New York. In fact it would often That same summer of 1958, Callas be prepared in Greece and sent to Dal- be referred to as ‘La Scala West’.[6] closed the agreement with the Dallas Civ- las, ready to wear, while the sets would be Upon arriving at Dallas, one more fa- ic Opera for two performances of La tra- prepared by local American workshops miliar face from the National Opera of viata staged by Franco Zeffirelli and two to scale models by Tsarouchis. Of course, Greece, who was now making a career at of Medea in early November, but said that Tsarouchis would follow Minotis to Dal- La Scala, joined them. It was the Nico- for the latter she la Zaccaria (King would soon choose ), whose her own director. Greek name was She called Minotis Zachariou and and suggested that was born in 1923, he undertook the the same year as stage direction. Mi- Callas. As Minotis notis was surprised recounts, Callas and replied that enjoyed speaking such an offer was Greek with her an honour for him Greek colleagues but added: during rehearsals “I have no idea and informal out- about opera. I have ings. According to never directed this the programme, type of theatre. And she would first ap- please forgive me pear in La traviata, Mrs. Callas, but I staged by film don’t even like it.”[2] director Franco Finally, Callas Zeffirelli on 31 overwhelmed him October 1958 for and even agreed two performances, to send maestro and Minotis’ Me- Nicola Rescigno dea would follow to Athens to guide Dallas, 6(?) November 1958, State Fair Music Hall on 6 November him through the for two more per- score. Rescigno, who would conduct the las, for last-minute changes and the neces- formances. The cast also included dramat- opera, stayed for a week, but a new prob- sary supervision. ic as , American lem arose when Minotis had read the On his way to Dallas to meet Callas soprano Elisabeth Carron as Glauce and libretto. He discovered many alterations and begin rehearsals, Minotis stopped mezzo-soprano Teresa Berganza as Neris to Euripides’ original myth which he de- in New York to see his wife Katina Pax- and, of course, conductor Rescigno, who manded that they be restored. The prob- inou and conductor had coached Minotis in Athens. lem was that Callas wasn’t singing the (1898-1960),[4] sole music director of the Zeffirelli, with a most original brain- original French opéra-comique Médée by New York Philharmonic Orchestra and wave, shows Violetta on her death-bed François-Benoît Hoffmann, but an Ital- principal conductor of the Metropolitan during the first-act prelude, and the rest ian version translated from a German ver- Opera. He confessed to him that he was a of the opera seems like a flashback, until sion. To confuse matters even more, there bit worried about working with someone the conclusion comes round again to the were shorter and longer versions, with who was considered a tigress. Mitropou- death-bed. Minotis also pointed out his recitatives added that were not composed los reassured him saying: sign of originality to music critic Eugene by Cherubini. Still, against the advice of “Callas never has problems with real Lewis by saying upon arrival: the American producers and the Italian artists who know their business. I have “I believe that this will be the first time musicians, Minotis got his way. However, worked many times with her and every- that the Cherubini opera has had an au- we have never seen a corrected version by thing went smoothly.”[5] thentic classical Greek staging”. [7]

No. 76 – November 2015 23 Maria Callas Magazine After the performance at the Dallas map. Italian-born Cherubini, the lead- ty minutes”.[1] One of the most authori- State Fair Music Hall seating 4500 people, ing composer of French operas during tative figures in the London opera scene, 800 more than New York’s ‘Met’, Lewis the French Revolution, highly regarded British music critic, scholar and opera wrote again: by Beethoven, became fashionable again, director Andrew Porter (1928-2015), for “It was Callas herself who rescued al- while music reviewers throughout the over twenty years the lead critic of The most single-handedly this work from the U.S., but also in Europe, wrote in their Financial Times, wrote in his column: musicologists and proved in our time that columns with enthusiasm, save for a few “Her acting was fiery: her singing made it is both singable and actable to eloquent remarks concerning Callas’ high notes. its effect through superfine gradations effect. Medea may be Callas’ greatest role. Offers arrived for exchange programmes of tone-colour-delicate shadings of par- Half goddess, half woman scorned, the from major and historic opera houses like ticular words and lines drawn with the character provides the greatest actress of the Paris Opéra and London’s Royal Op- sureness and subtlety of a great artist. Her our lyric stage today the opportunity to era House Covent Garden. Only two roles voice was in a beautifully responsive state, twist a kaleidoscope of emotions. […] But were changed in the London production taking all the colours she played upon the what is equally important is phrases, and no unwanted or the voice. And in no other art- sour ones. Mme. Callas is not ist of our time does the voice only superior, but essentially and the music so serve the rep- different in quality from other resentation of moods and emo- singers to-day. To her alone can tions.”. [8] we apply the kind of praises that once were lavished on Notes: Pasta, Malibran and Viardot. 1. John Bastias, “Maria Callas’ In performance she becomes a Greek Adventure”, pp. 25-26, Maria dedicated servant of the com- Callas Magazine, No. 70, Nuenen, poser and his librettist, seeking The Netherlands, November 2013. everything of value that they 2. Alexis Minotis, Distant Friend- put into their score.”[2] ships (in Greek), pp. 113-120, Kaktos In an interview for The Times Editions, Athens 1981. In 1985, Tas- (London), Callas explains, with sos Lignadis, artistic director of the passion, that which is to sing National Theatre of Greece, collab- and especially to act in an op- orated in a collective work in Greek, era, something often forgot- The Actor Alexis Minotis, where he ten both by the public and also mentions how Callas came to the singers. At one particular choose Minotis as stage director of point she says: the Dallas Medea. “Let’s face it. We are used to 3. See hammy, stuck-together pro- http://en.wikipedia.org/wiki/Yan- ductions. People would love nis_Tsarouchis opera if given a chance, but 4. See there are singers who don’t act, http://en.wikipedia.org/wiki/Dimi- Dallas, November 1958, with Nicola Zaccaria who sing the notes and don’t tri_Mitropoulos and Yannis Tsarouchis during a masked ball bother about the sense. They 5. Alexis Minotis (1981), ibid p. 117. think that singing notes well is 6. Ronald L. Davis, La Scala West: The Dallas – Neris was replaced by mezzo-soprano enough, but it is just the beginning. There Opera under Kelly and Rescigno, Southern Meth- and Glauce by sopra- are mechanisms, such as phrasing, and on odist University Press, A & M University, no . Part of the arrangement to fioriture, legato, portamento, scales, trills. Dallas 2001. was for London to reciprocate, by sending Then recitative, speaking in music, which 7. Eugene Lewis, “ welcomes pro- their Callas/Zeffirelli production of Lucia is difficult because there is no exact indica- duction pair”, 2 October 1958, Dallas Times di Lammermoor to Dallas. And since Callas tion, and the values are approximate. Still Herald. would again be in Dallas for Lucia, it was it is only a beginning. Some critics, even, 8. Eugene Lewis, “Civic Opera revives its Me- decided that she would also have the op- don’t understand, are content with sound. dea”, 20 November 1958, Dallas Times Herald. portunity to appear once more in Medea It is not your own personal sound. You in November 1959. serve the composer, the period, the kind 3. The London Cherubini Medea at Cov- The Medea opened to a full house on of music. The sound I make in is ent Garden (June 1959) 17 June 1959, for five performances. It had not the same sound as in Norma, though The Callas/Minotis Medea triumph at not been heard at Covent Garden since both are by the same composer.”[3] Dallas in 1958 uncovered a completely 1870 and Maria Callas took twelve cur- Alexis Minotis’ contribution to the new Medea to the opera world and tain calls “while the audience stamped, staging of Medea was highly appreciated placed the new Dallas Civic Opera on the clapped and cheered for more than twen- by the British music critics, who under-

Maria Callas Magazine 24 No. 76 – November 2015 London, 15 June 1959, Covent Garden

No. 76 – November 2015 25 Maria Callas Magazine stood that his work was very different appeared on the stage of His Majesty’s “You must have great theatre in Greece,” than Margherita Wallmann’s. It stayed Theatre in London, under the patronage replied Hitchcock. “Just before the War, closer to the principles of ancient tragedy, of the Duke and Duchess of Kent, and I was in London and I attended a Greek which he knew so well, having played and played a memorable Hamlet. Theatre representation of Hamlet. I don’t remem- staged innumerable tragedies before Cal- critic Anthony Squire wrote in his col- ber the name of the actor, but he was mag- las decided that this was what she wanted umn, at that time: nificent”. And Minotis replied timidly, “It for Medea. Already for the Dallas produc- “Let me begin by saying that this pro- was I.” tion, the previous year, music critic Jack duction makes every ‘Hamlet’ that I have Kilpatrick had noted: ever seen in this country or any other look Notes: “Minotis brought refreshing new con- like the flimsiest amateur theatricals.”[6] 1. “The triumph of Callas”, Daily Mirror (Lon- cepts to the trite and tired traditions of Maybe, twenty years is far too long for don), 18 June 1959. operatic stage movement. Still, he did so people to remember. However, when in 2. Andrew Porter, “Medea”, The Financial Times without usurpation of the prerogatives of the sixties I visited Minotis in his Athens (London), 18 June 1959. music and without distortion of propor- apartment with a photographer, who 3. “Mme. Callas on Acting in Opera”, The Times

London, 17 June 1959, Royal Opera House Covent Garden, after Medea, with Joan Carlyle, Yannis Tsarouchis, Jon Vickers, Nicola Rescigno, Alexis Minotis, Nicola Zaccaria, Douglas Robinson (?) and Fiorenza Cossotto tions that must properly exist.”[4] was to prepare a photo for the cover of a (London), 22 June 1959. The Times (London) commented on magazine I was publishing, over a cup of 4. Dr. Jack Kilpatrick, “For the first time in Minotis’ work that: coffee he told me a story about his audi- America, the Callas ‘Medea’ is heard”, Dallas “In Mr. Minotis, who is the foremost tion with Alfred Hitchcock for the 1946 Times Herald. 7 November 1958. actor and producer in Athens and inci- filmNotorious with Cary Grant and Ingrid 5. “London to hear Mme. Callas as Medea”, The dentally the husband of the great Mme. Bergman. I feel I can digress a bit and let Times (London), 24 April 1959. Paxinou, the opera has an authority on my readers enjoy the story. It seems Mi- 6. Anthony Squire, “ ‘Hamlet’ as Greek drama”, the production of Greek tragedy, and the notis was finding it difficult to be hired News Chronicle (London), 21 June 1939. whole staging of the work is on classical by the huge Hollywood studios, because lines, even down to the right number for his English was rather poor. He tried out 4. Aristotle Onassis invades Maria the chorus.”[5] at the Notorious audition and Hitchcock Callas’ serene life style Still, it is strange that none of the Brit- who was present in person chose him. Few people realized that Callas’ extrava- ish music critics ever realized that twenty After the audition Hitchcock asked him gant life-style, with the world’s press, TV, years earlier, on 19 June 1939, Minotis had where he was from. “Greece,” said Minotis. and radio promoting her constantly, with

Maria Callas Magazine 26 No. 76 – November 2015 magazine covers hanging on newsstands which lasted four days. Maxwell intro- ing top French society applauding the in every country, with ‘La Divina’, as duced them to Greek shipping tycoon little Greek girl from the Bronx. After the she came to be called by her millions of Aristotle Onassis and his wife Tina. The performance, he and his wife went back- fans, taking curtain calls in the greatest next time the two couples met was at the stage to congratulate their newly found theatres of the world, often with heads Paris Opéra where, on 19 December 1958, friend and invite her and Titta to their of state in the audience at gala famous yacht, the Christina, for performances, was actually a Mediterranean cruise. Callas a rather bourgeois existence, was hesitant in view, amongst with many hours devoted to other obligations, of her up- studying, memorizing parts, coming London performances playing the piano, exercising of Medea in June 1959. Onas- her voice with an accompanist sis said that he knew Alexis and rehearsing over and over Minotis well and his wife tra- again. For every performance, gedienne Katina Paxinou and she would memorize not only would be present on opening her part, but every other part night. in the opera. She would expect Of course, arriving in Lon- from herself and everyone else don a few days before the participating to be well re- performance of 17 June, little hearsed, prompt and attentive did he imagine that all tickets and would express her disap- would be sold out. After be- proval in no uncertain terms ing overwhelmed by Callas’ when she felt that some people triumph in Paris, he felt he weren’t taking the business on couldn’t appear at the Royal hand seriously. For the years Opera House with just two at , where she lived with seats for his wife and himself. her husband Giovanni Bat- He had to turn to the black tista “Titta” Meneghini on the market and pay through the Via Buonarroti and appeared nose to secure the seats he at La Scala, after rehearsals or wished, unfortunately scat- performances the Meneghinis tered in groups of two or three would often go out to dinner in the stalls and the Grand with their friends, who were Tier boxes. Especially since predominantly colleagues he had started having other from the opera, conductors thoughts for the first woman etc. Sometimes, after dinner he had ever met who was on a they would return to the Via par with him, and whose fame Buonarroti with them, because internationally superseded his Callas needed more time to un- own. He would invite the best wind. On such occasions, Me- of British society to the opera, neghini would often ask to be a party of 33 guests, to be fol- excused, because he was tired lowed by dinner and dancing and had to go to bed, while the in honour of Callas at the ex- others carried on till late. clusive Dorchester Hotel, to Then, in 1957, she met inter- be joined with an additional national high life columnist 160 impressive guests. Under Elsa Maxwell, who was syn- the title “A scramble for tick- dicated all over the U.S., and ets and twelve curtains for everything changed. She was Callas begin the big night” (18 introduced to high society par- London, 17 June 1959, Dorchester Hotel June 1959), William Hickey of ties where the rich and famous the Daily Express covered the were habitués and loved it, dragging Titta Callas gave a gala concert in honour of event at the Onassis party. Present were behind her, bewildered and speaking the ‘Légion d’Honneur’ in the presence Lady Churchill, wife of Winston Church- little English. On one such occasion, in of the President of the French Republic. ill, her daughter Sarah Churchill, Dame early September 1957, the Meneghinis The Opéra was at its best, with uniforms, Margot Fonteyn, Alexis Minotis, Mr. and attended the Elsa Maxwell Venice party decorations and French glamour, as le Mrs. Douglas Fairbanks, Sir John Gielgud, at the Excelsior Hotel on the Lido beach, Tout-Paris was present. Onassis was im- Mr. and Mrs. Gary Cooper, Mr. and Mrs. followed by a party at the Danieli Hotel, pressed and dazzled by the event, watch- Stavros Niarchos, Onassis’s brother-in-

No. 76 – November 2015 27 Maria Callas Magazine law and rival, the Earl and Countess of engaged that scholarly classicist, Alexis also led the orchestra in the Medea perfor- Harewood, Cecil Beaton and others. Minotis, to stage it. Action both choric mances with Callas and Minotis at Dal- Many calls had preceded the London and choreographic and scenery by John las in 1958, London in 1959 and again in premiere, with both Aristotle and Tina Tsarouchis, went into a tug of war with Dallas in November 1959. His final col- Onassis insisting that Callas accept their Cherubini’s somewhat pedantic score. laboration with the Callas-Minotis team invitation for the cruise. At the Dorches- Cherubini has profusely wished solos, was at Epidaurus in August 1961. The ter party, ‘La Divina’ finally accepted and ensemble pieces and sonorous declama- Minotis production of Medea continued the following month, on 22 July 1959, the tion on his heroin. And Madame Callas at La Scala in December 1961 for three Christina sailed for Greek and Turkish wa- sang them with some tonal velvet and performances and in May 1962 for two ters, with the fated couples on board and positively mezzo-soprano richness and performances, but with Thomas Schip- various guests including Sir Winston and variety in middle and lower register. […] pers conducting. Lady Churchill. Though Callas Callas had to arrive early in was delighted with her affair Dallas to appear first in Doni- with Onassis, that began dur- zetti’s – as ing the cruise, and even hoped agreed between the Dallas Civ- for marriage, the shipping ty- ic Opera and coon never really understood House Covent Garden – on 6 her importance in the world of and 8 November, and then in music and never appreciated Medea on 19 and 21 November her frail soul and her need for 1959. In between the two ope- love. She was mostly another ras she flew to to appear at trophy to his many collections. a hearing in Brescia, where her In fact, he often insulted her husband Meneghini had filed talent and her profession. Still, suit for legal separation, as well he continued seeing her, even as property, jewels, art works after his marriage to Jacque- etc., that all had to be settled. line Bouvier-Kennedy, at her Among other things, she was Paris apartment on the Av- awarded their Milan home on enue Georges Mandel in Paris, the Via Buonarroti. The next until his death in 1975. day, she flew back to Dallas just in time for the dress rehearsal 5. The second Dallas Medea of Medea. (November 1959) – “La Scala Closing the 1959 season, West” Rual Askew, assistant editor John Rosenfield, “the cultural of The Dallas Morning News, pontiff of the Southwest” ac- under John Rosenfield (see cording to Time Magazine, above), summed up the 1958 wrote in The Dallas Morning and 1959 seasons, where a new News, where for 41 years he was U.S. regional opera had had considered the cultural spokes- such spectacular success with man of Texas, about this sec- Callas, Minotis, Zeffirelli and ond appearance of Maria Cal- a thrilling array of artists, by las in Cherubini’s Medea, with writing: the Dallas Civic Opera: “Yes, Dallas Civic Opera has “[Callas] was there, in excep- Dallas, circa 7 November 1959, State Fair Music Hall, been fortunate beyond even its tionally good voice, for a role , Franco Zeffirelli and Alexis Minotis own wildest dreams in having that lies well in her scale. This the incomparable talents of La permits her to add tone- from This production of Medea remains the Callas at its disposal, but it has responded an extraordinary palette to the creative most creative achievement of the Dallas in kind by providing the most exciting enactment of a role larger, by far, than Civic Opera. How was it received by the artistry in depth of an American opera the opera or even the several adaptations throng? With a standing ovation.”[1] stage today, in our considered opinion.”[2] of the Euripides play. […] For the better November 1959 was actually Maria part of the decade Madame Callas has Callas’ third visit to Dallas. She first inau- Notes: sought to wrench Medea from Cherubini gurated the Dallas Civic Opera with a gala 1. John Rosenfield, “Opera in Review: Callas (1760-1842) and return her, with music, concert performance on 21 November States Ferocities of Hellenic Soul”, daily The to Euripides (circa 431 B.C.). The concept 1957, conducted by the Italian-American Dallas Morning News, 20 November 1959. reached ultimate flower last year and conductor Nicola Rescigno, and for this 2. Rual Askew, “Opera’s Future Builds”, daily only with the Dallas Civic Opera, which she was named its “godmother”. Rescigno The Dallas Morning News, 22 November 1959.

Maria Callas Magazine 28 No. 76 – November 2015 Dallas, 19 or 21 November 1959, State Fair Music Hall, dressing room

No. 76 – November 2015 29 Maria Callas Magazine Maria Callas and Alexis Minotis – Part II

An engaging collaboration for a Norma and Medea in Greek style

6. First opera at Epidaurus: Bellini’s Atticus at the foot of the Acropolis, had Norma (August 1960) John C. Bastias been turned into a political scandal by In Antiquity, pilgrims arrived from all the opposition party because of her fee, over Greece to worship the god of health, which they considered exorbitant. At that Asclepius, at his shrine at Epidaurus. Later, Civil War, and from then on it would only time, she had said that she would never the theatre was built, the most magnifi- be used for ancient tragedies. sing again in Greece. cent theatre of the ancient world with the Bastias had to convince the govern- But she had a weak spot for Bastias, most wonderful acoustics. Lost through ment to approve his request to stage an who was the first person to recognize the centuries, ex- her talent after an cavations began in audition in 1940 at 1881 and are still his home, arranged ongoing having by her teacher, vet- revealed, besides eran coloratura the main theatre, soprano Elvira de a multitude of Hidalgo. She was shrines, a smaller immediately hired. theatre, temples [1] and other build- Bastias was ings. again appointed When the Greek Director-General National Opera of the National booked Maria Cal- Opera in late 1959, las to appear at the when the Opera open-air ancient was now appearing theatre of Epidau- in its new building rus in 1960, it was on Academias St., considered quite and immediately a coup. The Greek met with Minotis Opera, founded who was now with in 1939 by Costis the National Thea- Bastias, its first tre, as an actor and Director-General, stage director, es- originally began pecially for ancient its performances in tragedies in the March 1940, as part theatres of Hero- of the National dus Atticus and Theatre of Greece, Epidaurus. Bastias housed in the was interested in 1900s neo-classical Cherubini’s Medea theatre to plans by to be staged by the Austrian architect, Epidaurus, Xenia Hotel, 24 August 1960, with Alexis Minotis Greek National Ernst Ziller. It was Opera in Epidau- Bastias, who had been Director-General Italian opera in the most sacred ancient rus with Minotis directing, after its tri- of the National Theatre since 1937, who theatre of Greece, against strong protests umphant representations in Dallas and dared in 1938 to use the remote Epidaurus both from the National Theatre, which London in 1958 and 1959. He first secured theatre, for the first time since Antiquity, now had the monopoly of its use for sum- the Prime Minister’s approval and Mino- to stage Sophocles’ Electra with stage di- mer festivals, and from the press, part of tis’ agreement and then contacted Callas. rector, Dimitri Rondiris, and tragedienne, which considered such representations a His argument was that an opera had nev- Katina Paxinou, in the lead role. The thea- sacrilege. He also had to convince Callas, er appeared at Epidaurus, one of the most tre was not to be used again until 1954, whose last visit to Greece in 1957, for a important historic theatres in the world. because of World War II and the Greek concert at the ancient theatre of Herodes Callas would be the first soprano to sing at

Maria Callas Magazine 24 No. 77 – March 2016 a theatre with the most perfect acoustics kind to the humans on this exceptional closer to the rules of ancient Greek trag- ever. It would be front-page news every- evening. A heavy downpour rained out edy, as he had already done with Cheru- where. He also suggested that Callas offers the performance, a little before the open- bini’s Medea in Dallas and London. As the her fee to the Greek Opera to inaugurate ing, something very rare in August. Peo- performance began, the public sitting in a scholarship fund for young singers to ple scrambled to their cars or gathered the tiered semi-circular cavea could see travel abroad to perfect their voices and under trees seeking protection, as Cal- the Argolic hills in the distance beyond gain valuable training. Callas finally las was driven to the port of Epidaurus, the stage, as if they were part of the set, and agreed but told Bastias that she preferred where Onassis had sent his yacht’s tender they could hear Norma’s father, Oroveso, Bellini’s Norma to Cherubini’s Medea be- to bring her on board. chief of the Druids, sending them there cause it was “more to wait for the bel canto.”[2] They new moon. Both also agreed on the stage director, three performances Minotis, and the in August 1960. set designer, Tsa- Maria Callas ar- rouchis, showed rived in Athens on respect both for 9 August 1960, and the sternness and the next day a press simplicity of this conference was held natural set and for at her hotel, the the ancient theatre, Grande Bretagne. and adapted their She explained how interpretation ac- the agreement be- cordingly. tween her and Bas- Years later, dur- tias came about and ing one of their when she reached conversations on the question of her what it was like fee, she turned to to direct Callas, him and said: “Do Minotis told her you want to say biographer Stelios it better, Costis? Galatopoulos: To explain it bet- “I never ceased to ter then I?” And be amazed by her Bastias continued instinctive ingenu- explaining for the ity and resource- first time how the fulness. Certain Maria Callas Schol- movements that arship Fund would took us years in the be set up. theatre to improve Opening night and develop, were was the evening of performed by her 21 August 1960, and quite spontane- the whole country, ously. They simply sensing that some- came to her natu- thing of outstand- rally. I cannot ex- ing importance was plain Maria’s dra- taking place, felt matic instincts, her great pride and Epidaurus, Xenia Hotel, 24 August 1960, genius, better.”[3] joy. Using every during rehearsals for Norma, with Bruna Lupoli But Callas had possible means, in- also discussed with cluding cars, busses, trains, even ships to A new opening was announced for Galatopoulos her movements on stage in a nearby port, 15,000 spectators crowded 24 August, and, in spite of the previous the two operas that Minotis had directed into the serene, Argolic plane to attend disappointment, another 15,000 specta- her: the performance at this most elegant an- tors attended the new opening. This time “Even though my acting springs from cient theatre with the perfect acoustics – without a hitch. They were not to be dis- the music, instinct does play a part. It must Epidaurus! Though everyone had heard appointed this time. It was a magnificent be the Greek in me that speaks, as I have of Callas, most had never seen or heard performance. Minotis worked very hard done nothing outside the operatic stage. I her on stage. But the gods were not to be with Callas to bring Bellini’s masterpiece was quite surprised when once I watched

No. 77 – March 2016 25 Maria Callas Magazine Epidaurus, Ancient Theatre, 24 August 1960: Norma, above: with Ferruccio Mazzoli, and ; below: with Mirto Picchi and Ferruccio Mazzoli

Maria Callas Magazine 26 No. 77 – March 2016 the Greek actor-producer Minotis re- them somewhat closer to an imitation Diva’, would be sung. I quote from Mino- hearse the Greek chorus in Cherubini’s of the ancient classical style, that blends tis’ book (in Greek), Distant Friendships: Medea that I was appearing in. Suddenly with our own amphitheatre.”[5] “The rehearsals, with the whole cast eve- I realized they were performing the same Typical of the way Callas worked and ry evening, were not enough for her. At movements I did as a few years of her attention to detail is Minotis’ de- about 10 every morning, she would want before. I had never me to escort her to seen Greek tragedy the theatre, as the performed. When sun was beginning I was in Greece it to bake the marble, was mostly during so she could search the war and I was for the right spot studying singing. I for the ‘Casta Diva’, did not have much testing the acous- time or money for tics. We wore wide- anything else and reamed straw hats yet my movements to protect us from as the Greek Alces- the sun and stayed te were similar to in the amphithea- those of the Greek tre for long hours, chorus in Medea. It while Callas tested must be instinct.”[4] her voice and her It seems, how- steps on Tsarou- ever, that Minotis chis’s inclined had also studied sets.”[6] the Druids to dis- Dionisis Yatras, cover if there was the music critic any connection of the major Ath- between them and ens daily To Vema, Ancient Greece. wrote in his Satur- And, in fact, there day column about was. Influenced by another aspect of the teachings of the the performance. philosopher and “The many com- mathematician, plications that , they or surface whenever their contemporar- an operatic work, ies even used Greek created for a closed characters to write theatre, appears in about the Druids, an ancient amphi- since it was forbid- theater were solved den to pass on their by Alexis Minotis knowledge in writ- in such a convinc- ten form. In his ing way that they article about the became invisible. staging of Norma, And thus, a new ad- published in the vantage was added, Epidaurus perfor- which does not ex- mance’s playbill, ist in the closed the- Minotis has writ- atres. The ancient ten: theatre imposed “The Druids... itself in such a way were influenced by the teachings of Py- scription of the rehearsals. Since it was the as to allow the best possible use for the thagoras. All the texts they left are written first time that she or anyone else had sung performance.”[7] with Greek characters. Such information in the theatre of Epidaurus – and it was But things were not that simple. There and other similar sources, have facilitated an open-air theatre, making it easier for was much concern and there were dif- us to present the characters of the opera sound to escape, she wanted to test the ferences of opinion, not so much about and its environment with a much re- acoustics and pinpoint the exact place Callas’s feat and interpretation, but about strained primitiveness, [...] and to bring from were the famous arias, like the ‘Casta the very use of an open-air ancient thea-

No. 77 – March 2016 27 Maria Callas Magazine tre for a musical masterpiece composed at Nuenen, The Netherlands. another time by a composer who wrote 2. Following the above article in the Maria Cal- it when theatres were no longer in the las Magazine, the Athens press conference by open. Cherubini never imagined that Maria Callas and Costis Bastias was translated Norma would be performed at Epidaurus. into English in the same issue (pp. 38-41), and He was composing for the theatres of his published complete for the first time; in it, Cal- time. Belgian-born Greek composer and las relates in her own words the agreement she music critic, Marios Varvoglis,[8] stood up reached with Bastias. against the use of ancient theatres, amphi- 3. Galatopoulos, Stelios, Maria Callas, Sacred theatres or arenas, not because a sacrilege Monster, pp. 286-87, Fourth Estate, London 1998. was taking place against a specific people 4. Galatopoulos 1998, op. cit., pp. 430-431. and their traditions, but for purely musi- 5. Alexis Minotis, “Directing Norma”, pp. 8-11, cal reasons. He wrote in his column: National Opera of Greece playbill, Norma – Maria “I am confident that no other open-air Callas, 24 August 1960. theatre in the world could transmit with Epidaurus, 24 August 1960, 6. Alexis Minotis, Distant Friendships (in Greek), such fidelity even the very last note of with Aristoteles Onassis p. 118, Kaktos Editions, Athens 1981. Norma, to the last listener sitting at the 7. Dionisis Yatras, “Norma in Epidaurus with highest row of the cavea at the vast theat- Maria Callas”, daily To Vema (Athens), 26 Au- er of Epidaurus. But I’m just as confident Notes: gust 1960. that despite its exquisite acoustics, the an- 1. For a detailed account of Maria Callas’ ca- 8. See http://www.bach-cantatas.com/Lib/Varvog- cient theatre cannot compete with any- reer in Greece see: John Bastias, “Maria Cal- lis-Marios.htm one of the closed theatres. We must finally las’ Greek Adventure. The story of a strained 9. Marios Varvoglis, “Norma at Epidaurus” (in realize that music and song are adversely relationship and the man who stood by her”, Greek), daily Ta Nea (Athens), 2 September affected when exposed to open spaces.”[9] Maria Callas Magazine, No. 70, November 2013, 1960.

Epidaurus, Ancient Theatre, 24 August 1960: Norma, with Costis Bastias, Tullio Serafin, Michalis Vourtsis, Kiki Morfoniou and Alexis Minotis

Maria Callas Magazine 28 No. 77 – March 2016 7. The Epidaurus Medea (August 1961) fame and the fact that her parents were In the meantime, Onassis sailed for the Cherubini’s Medea in 1961 was better un- Greek, went wild with excitement and seaside Athens suburb of Glyfada, next to derstood by the Greek public than Bell- anticipation about her arrival. Finally, on the airport, to catch his plane for Egypt. ini’s Norma in 1960. After all, it was origi- 3 August, at 1 pm, Onassis’ yacht docked In the dressing room, Minotis, Tsarou- nally a Greek tragedy by Euripides, whose at the old port of Epidaurus, where Costis chis, who was responsible for sets and cos- plot even Greek children knew. Conse- Bastias and Alexis Minotis were waiting tumes, and eight seamstresses were wait-

Epidaurus, 4 August 1961: Medea left: with Alexis Minotis, Nicola Rescigno and Costis Bastias, right: with Alexis Minotis, Costis Bastias and Yannis Tsarouchis quently, it was much more popular, and to board for brunch with Callas and Onas- ing to start the fitting for Callas’ costumes. Bastias felt that it would help establish sis. Afterwards, Callas, Bastias and Mino- Then the sandals didn’t fit well and Mi- his dream to present another major op- tis drove to the ancient theatre, and the notis sent a car to Ligourgio, the nearby era at Epidaurus every summer. The pub- small Xenia hotel annex next to it, where village, to bring back the shoemaker to lic – not the opera goers, but the general La Divina could rest for two hours, fol- take measurements for two new pairs of public, very few of whom had ever seen lowing Minotis’ directions, and be at the custom-fit sandals to be ready by the next an opera – were carried away by Callas’s theatre at 6 pm for the first dress rehearsal. morning. Callas entered the theatre with

Epidaurus, 4 August 1961: Medea, during dress rehearsals, with Nicola Rescigno and Giuseppe Modesti

No. 77 – March 2016 29 Maria Callas Magazine Epidaurus, 4 August 1961: Medea, during dress rehearsal

Maria Callas Magazine 30 No. 77 – March 2016 Epidaurus, 4 August 1961: Medea, during dress rehearsals, with Jon Vickers (a.l.), Kiki Morfoniou (a.r., b.r.) and Giuseppe Modesti (b.l.)

No. 77 – March 2016 31 Maria Callas Magazine Bastias around 8 pm and they climbed his other daughter, Jackie and looking several rows up the cavea waiting for very proud. Other guests included the Callas’ cue. She was not in costume, like Prime Minister, Constantine Karamanlis, everyone else, but had changed into a with his wife Amalia; the Vice-President, simple print dress. The Italian-American Professor Panayiotis Kanellopoulos; maestro, Nicola Rescigno, looking very most of the Greek Cabinet; Greek inter- tanned and athletic, raised his baton and national pianist, Gina Bachauer; society said “Avanti”. The orchestra began the In- columnist, Elsa Maxwell accompanied by troduction. Ten minutes later, Callas was Prince Pierre (father of Prince Rainer of on stage. Monaco); ’s daughter Besides the above, credit should be giv- Wally Toscanini, her daughter Emanuela en to the chorus master, Michalis Vourt- Castelbarco, Duchess of Acquarone; and sis; the choreographer, Maria Hors, under another 16,000 people, eager to see and the supervision of Minotis, who died this hear La Divina. A second performance year, Canadian tenor, Jon Vickers (Jason); took place the following Sunday 13 Au- Italian bass-, Giuseppe Mod- gust. esti (King Creon); Greek soprano, Soula Music critic and violinist D. A. Hamou- Glantzi (Glauce); Greek mezzo-soprano, dopoulos, who became Director-General Kiki Morfoniou (Neris); and many others. of the National Opera of Greece in 1970, The next day, Friday 4 August, the final Epidaurus, Ancient Theatre, wrote in his column in the daily Eleftheria dress rehearsal started after a 20-minute 13 August 1961, Medea (Liberty),[1] about Callas’s major contri- delay because the singers and the musi- with Alexis Minotis and Nicola Rescigno bution to opera: cians refused to begin unless BBC TV “If opera, vis a vis drama or symphonic withdrew its cameras as no agreement and more people arrived and sat down music, is considered a ‘shallower’ art form, had been reached on the BBC’s rights. outside the theatre in small groups, some this is due to the ignorance of conductors The rehearsal took place in the presence having picnics. As the parking area began and the lack of vision, especially of sing- of a few tourists who had sneaked into to fill up with the 2500 automobiles, 200 ers, who are only concerned with the bril- the huge theatre and some villagers from busses and 80 diplomatic cars belong- liance of their voice, incapable to discern nearby villages who sat very quietly, full ing to embassies and foreign missions what is hidden deeper in the song and of awe, admiration what is needed for and respect at this its fulfilment, i.e., wonder of human meaning, thought, cultural achieve- emotion, expres- ment that was tak- sion. The art of op- ing place before era has declined be- them. Journalists cause consciously and photographers or unconsciously, had also started ar- from selfishness or riving for the big ignorance, it has event on Sunday. been mistreated by Sitting apart with the experts and the his cameras was connoisseurs. And one of the 20th cen- this decline – alas! tury’s greatest pho- – has become ‘tradi- tographers, Henri tion’. Today, Maria Cartier-Bresson, Callas, clashing who spent a whole with this ‘tradition’, week taking photo- restores to opera graphs before dress what has been lost rehearsals had and what has been even begun until Epidaurus, Ancient Theatre, 6 August 1961, Medea, refused: of its real after the first night. with Ulysses Lappas, Prince Pierre of Monaco and Elsa Maxwell power and content. On Saturday, Cal- This is why Callas las rested her voice to be in shape for the that would eventually arrive, the public is great, great in the history of opera.” Sunday performance. started congregating around the thea- Notes: Opening night was Sunday 6 August at 8 tre’s entrances to catch a glimpse of the 1. D. A. Hamoudopoulos, “Medea by Cherubi- pm, but there had been a festive atmos- celebrities. One of the first was Callas’s ni”, daily Eleftheria (Liberty), Athens, 8 August phere since the early afternoon as more father George Kaloyeropoulos, escorting 1961.

Maria Callas Magazine 32 No. 77 – March 2016 8. Medea at La Scala cording to the musical score, the orchestra the “great evening” of that La Scala season, (December 1961 and May 1962) stops for a moment and then the soprano with Cherubini’s pre-Beethoven master- After the Epidaurus performances of the repeats the word “crudel” as the orches- piece, confirmed that the 1961-1962 Medea Callas/Minotis Medea, the next and last tra starts again to play. Callas’ biographer performances were Callas’ final triumphs step in this developing itinerary was Mi- Pierre-Jean Rémy, who seems to have at La Scala. She was not to sing Medea lan’s Teatro alla Scala. A whole year had been present, relates how Callas, furious, again at this temple of opera. gone by since Callas had last appeared at delayed the second “crudel”, with a long, Milan’s foremost music critic, Franco La Scala as Paolina in Donizetti’s suspense-filled pause: Abbiati, who for 36 years worked for the in December 1960, and her fans as well as “The music stopped. Everyone wait- Corriere della Sera, wrote in his column: her enemies were waiting impatiently to ed. Callas stared out at the audience [...]. “For us, this Medea remains unique see this new inter- in the world for its pretation of Medea intensely psycho- in order to cheer or logical penetration jeer. of the role, for its Maestro Nicola internal passion Rescigno returned and for a touching, to the States and harmonious shud- another American der.” [2] conductor, Thomas And stage director Schippers, highly Alexis Minotis told regarded for his Achilleas Mamakis, work in opera, who theatre reviewer of died young in 1977, the Athenian week- the same year as ly Eikones, a copy Callas, joined the of the French Paris Medea troupe. Be- Match, when asked sides tenor Jon what happened at Vickers, most of the Milan: other protagonists “Without ques- were replaced: bass tion, hysteria. The Giuseppe Mod- whole La Scala the- esti (Creon) by the atre packed with an Bulgarian Nicolai audience of 2400 Ghiaurov, Greek mostly subscrib- mezzo Kiki Morfo- ers, i.e., both select niou (Neris) by Gi- and knowledge ulietta Simionato, people, who were and Greek sopra- opera regulars, un- no Soula Glantzi endlessly glorified (Glauce) by Ivana La Callas. All these Tosini. spectators were Opening night standing and call- was on 11 Decem- ing “Maria... Maria”, ber, 1961 and La and for countless Scala was packed times the incom- from the stalls parable Greek so- all the way to the Milan, Teatro alla Scala, ca. 8 December 1961, Medea prano returned gallery, where the during rehearsals, with Alexis Minotis again and again on younger genera- stage.”[3] tion but also the hired claques, that were When it came, her second ‘crudel’ was ad- Sadly, Minotis’ enthusiasm doesn’t re- a tradition in this most famous of all Ital- dressed to her audience. ‘Ho dato tutto appear concerning the Milan Medeas in ian opera houses, clapped or booed with a te’ – ‘I gave you everything.’ She shook books written by some of Callas’s most enthusiasm or fanaticism. And thus, in her fist at the audience and at the world. fervent supporters. Though for the 11 De- the first act, where Medea is pleading with From then on there were only bravos and cember 1961 première, most music critics Jason, a note or two didn’t come out just shouts of enthusiasm.” [1] in the press and writers in their biogra- right. The claques didn’t miss the oppor- And thus, the thirty curtain calls that phies accepted that Callas was at the top tunity to boo. Callas was pleading with brought Callas on the stage again and of her form, the same did not hold for Jason singing “crudel” (cruel man). Ac- again and established this performance as the following two performances on 29

No. 77 – March 2016 33 Maria Callas Magazine Milan, Teatro alla Scala, ca. 10 December 1961: Medea, during dress rehearsals, with Jon Vickers

Maria Callas Magazine 34 No. 77 – March 2016 Milan, Teatro alla Scala, ca. 10 December 1961: Medea, during dress rehearsals, with (a.r.)

No. 77 – March 2016 35 Maria Callas Magazine Milan, Teatro alla Scala, 11 December 1961: Medea, with

Maria Callas Magazine 36 No. 77 – March 2016 May and 3 June 1962. Pierre-Jean Rémy, Notes: Bibliography a diplomat, a member of the Académie 1. Rémy, Pierre-Jean, Foreword by Lord Hare- Books française and a prolific writer, wrote in wood, Maria Callas, A Tribute, pp. 154-155,New • Ardoin, John and Fitzgerald, Gerald, Callas, a) pain in his Callas biography about these York 1978. The same incident is recounted The Art and the Life (Ardoin) and b) The great two last performances: by Gerald Fitzgerald, in Callas – The Art and years (Fitzgerald), Holt, Rinehart and Winston, “But now we come to those dreadful the Life, , The Great Years, Gerald New York 1974. performances of Medea on 29 May and 3 Fitzgerald, pp. 185-186, New York 1974. • Ardoin, John, The Callas Legacy, 4th edition, Am- June 1962 at La Scala. Physically her voice adeus Press, Pompton Plains, New Jersey 1995. had never been • Galatopoulos, Stelios, worse. Maria Callas, Sacred [...] In Alexis Monster, London 1998. Minotis’ monu- • Hamilton, Frank, Ma- mental pro- ria Callas 1934-1977: duction [...] Performance Annals, Callas-Medea www.frankhamilton. stood, her arm org. raised in a ges- • Jellinek, George, Cal- ture which was las: Portrait of a Prima never anyone’s Donna, Dover Publica- but hers, trying tions, 1986. in vain to stop • Rémy, Pierre-Jean, time slipping foreword by Lord through her Harewood, Maria Cal- fingers [...] She las, A Tribute, New York prepared to say 1978. the words every- • Tosi, Bruno (ed.), The one feared. Who Young Maria Callas, was this myste- Guernica Editions, To- rious stranger, ronto 2010. cloaked in black, Articles defying Corinth • Bastias, John, “Maria and those who Callas’ Greek Adven- knew her? ‘Io? ture. The story of a Medea!’ ‘I am strained relationship Medea!’ and and the man who stood suddenly her by her”, Maria Callas voice cracked. Magazine, No. 70, No- Unbearably sad vember 2013, Nuenen, to watch, her The Netherlands. voice on the • Dontas, Nicos A., point of giving “Norma, a ‘Greek affair’” out, she some- (in Greek), daily news- how struggled paper I Kathemerini through the (Athens), 6 June 2010. part but her • Fleischer, Dr. Tsippi, voice was failing “The Opera Médée by and would not (1797): obey her [...] Overview, Sources, An outstanding Milan, Teatro alla Scala, 11 December 1961, after the performance of Medea, and Cuts”, Israel Stud- achievement – with Frixos Theologides, Katina Paxinou and Alexis Minotis ies in Musicology, vol. VI, this is what we Israel Musicological remember when we listen to any of Cal- 2. Abbiati, Franco, “Callas Medea”, Corriere Society, Jerusalem 1996. las’s recordings of Medea. It needed Cal- della Sera, Milan, 19 December 1961. • Leotsakos, Yiorgos, “Beyond her myth. Placing las to rescue Cherubini’s music from the 3. Mamakis, Achilleas, “Minotis speaks about Callas in her epoch” (in Greek), newspaper The century and a half of pompous dreariness Callas”, weekly Eikones, Athens, December Sunday Vema (Athens), 25 September 1977. into which it had sunk. [...] But in Milan 1961. • Minotis, Alexis, “Norma, Maria Callas” (in in 1962, it seems, only the ghost of a voice 4. Rémy (1978), ibid, pp. 157-158. Greek), National Opera of Greece playbill (Epi- survived”.[4] daurus), 24 August 1960.

No. 77 – March 2016 37 Maria Callas Magazine