Maria Meneghini Callas: A Biography of a Diva with Selections from Her Memoirs

by Michael Scott

Book Overview

Along with John Ardoin's The Callas Legacy, this is the essential work about the most remarkable and disturbing singer to emerge after World War II. -- Opera News

• Format: Hardcover
• Language: English
• ISBN: 1555531466
• ISBN13: 9781555531461
• Release Date: August 1992
• Publisher: Northeastern University Press
• Length: 320 Pages
• Weight: 0.10 lbs.
• Dimensions: 1.2" x 6.4" x 9.5"

Customer Reviews

Forget the gossip - this is a serious book!

This book can seem rather controversial for some people, since it is highly critical (in the positively objective sense of the word) of Maria Callas, who has been deified by a number of her other biographers. Maria Callas was a human being, which means that she had a private life as well as a career. For some people her private life seems very interesting and these readers will probably be somewhat disappointed with this book, since the biography of Callas the private person is only of second importance in Michael Scott's book. But if you are interested in Callas the musician there is no other book that is more accurate, more peercing in its analysis - or simply, more interesting! When I first read the book I worshipped Callas uncritically. I was very offended several times because of Scott's judgement, for instance of her "Madama Butterfly": "Callas' reading of "Un bel dì" may be remarkable for the finish of her phrasing but not for the beauty of her singing...". But yet, this is so much more revealing and again, objective, than when John Ardoin writes in "The Callas Legacy" of the same role: "...Callas' voice seems a vessel which can be filled or drained to various levels of intensity at will". So to me, this is the best book about Callas available - after all, what gives her importance is her abilities as a musician, NOT a tragedy queen!

An honest attempt to de-deify Callas

I remember the first time I read this book I became angry because I thought Scott was trying to make Callas less important than she had always been in my eyes. It is good to see something through another's eyes, particularly when they belong to a very incisive, observant writer. I have have gone back over the ensuing years and re-read chapters. Each time I find an item that makes me stop and think about my position on Callas. I still love Callas above any other singer, but I am much more honest in my admiration for her art. It wouldn't hurt some of her hysterical followers to examine the reasons behind their rabid worship of a person, who was after all, just human. Maria herself disliked being called "Divina" I am very offended by those who hurl epithets at anyone who dares not to worship at the altar of their godesses. To call a work this well researched and thought out "garbage" displays a small mind indeed.

Carefully researched study of Callas the musician

Michael Scott's book on the life and career of Maria Callas holds a strong appeal for the musician. Although he orders his study chronologically and includes quite a bit of biographical detail, this is not a book for gossip lovers. Instead, Scott dispassionately evaluates Callas' singing in general and major performances and roles in particular. Scott's basic thesis is that Callas reached her vocal peak early, in the first part of the 1950s, and her great weight loss was in large part responsible for a general vocal decline thereafter, at first slow, then precipitous after her divorce from Meneghini.At times his viewpoint provides a useful corrective to stories that have been handed down and repeated that are not exactly true--his take on the infamous Rome Norma of January 1958 is a striking example. His opinion that the root cause of many of the "scandals" that dogged her career was escalating vocal trouble certainly deserves serious consideration.On the other hand, Scott is too quick to dismiss much of Callas' work from the later 1950s. By then, the early, prodigious vocal endowment had somewhat diminished, true; but for most opera lovers these years were the time when her still responsive voice was matched with her most exquisite musicianship. Most readers will disagree, perhaps vehemently, with some of Scott's judgements and opinions; yet, by virtue of his firsthand witnessing of many of Callas' performances and determined avoidance of scandalmongering, his book joins a select company of work by Fitzgerald, Ardoin, Jellinek and a few others as one that sheds true light on the art of this much-discussed singer.

The Ultimate Callas Reading.

This is the best book on Callas currently available. And do you want to know why? Because it concentrates on Callas the Musician. Not Callas the supposedly famous workaholic. Of course she rehearsed all hours of the day and night, what was the alternative? The leering Meneghini? Did she sleep with him often? I bet she did! You can't stay at La Scala rehearsing all day. Mercifully not Santa Maria di Galatopulos either. Nor Callas the cheapskate who has been mugged by her friends with sawdust filled socks,[Stancioff and Robert Sutherland], Still less Little Maria the tiresome daughter, sister, cousin! wife. Callas the musician, whose voice disintegrated while she was singing. Callas who sang for a short time in Europe and America for about a decade or so after the end of the war. Callas, who, while mouthing platitudes about being faithful to 'the composer' didn't hesitate to take the scissors to score after score. Callas who stopped singing to go on a cruise and didn't see the opera world speed up and got sadly stranded.Scott clearly loves Callas, and is refreshingly clear sighted about her. He is not blind to her faults, vocal or otherwise, and it's time someone shot down the image of Walter Legge as Callas's recording Svengali. She'd have been better off staying at Cetra almost. There are some strange double standards in opera. For years people carped about Joan Sutherland's choice of her husband as her conductor, but no-one ever thinks to quibble about Rescigno's Charlie McArthur like contribution to Callas' art. Listen to Callas's recordings with Tonini and hear the difference.There are a few inaccuracies in this book, more editorial than factual, but I can live with them.It's good to see Callas discussed frankly, and without denigrating her artistic achievements Scott made me aware of how unnecessary Callas's tragedy actually was. Let's face it, she was almost an Upper Class Version Of Judy Garland. Almost.I've always been able to take or leave Callas, and if it weren't for Scott, and Wisneski, Ardoin and Fitzgerald, and Ardoin's Callas Legacy, I would be increasingly leaving her. But I don't. I'm too fascinated by this woman, as we all are, lets face it, who managed to have a career in spite of herself.This is the book on Callas that, more than any other, will stand the test of time, because as younger people discover her art for themselves, names like Walter Legge, Onassis, Rudolf Bing, Meneghini et al will be forgotten figures of the past. As Scott cleverly points out: We have her recordings and that's enough.

Rather too technical for the average reader

This book is best at pointing out individual moments to listen to in Callas's recordings. It does give short shrift to her life, and so isn't for everyone. The ideal reader is one who already knows quite a bit about music and singing. It's also interesting for the author's views on individual recordings. His one glaring fault is that he gives more discussion to performances he himself attended rather than the recorded music the rest of us have access to.