title: Solanus Casey

texts:
 the rainbows, the sunbursts, the gentle breezes—and the hailstorms—we are liable to meet before, by the grace of God, we shall be able to tumble into our graves with the confidence of tired children into their places of peaceful slumber. “I had been in agony for at least 40 hours, though no one else seemed to know it, and while I tried to thank God for it all, my principal prayer—at least 1,000 times repeated—was ‘God help us.'" "I'm offering my sufferings that all might be one. If only I could see the conversion of the whole world.""Thank God ahead of time." See also

 Franciscan
 Franciscan orders
 Gifts of healing
 Studies on intercessory prayer
 Conrad of Parzham

References

Further reading
<mask>, <mask>; <mask>, Bernadine (ed.). Letters from <mask> <mask> OFM. Cap. : God Bless You and Yours. Detroit: Father Solanus Guild, 2000. Derum, James Patrick.The Porter of Saint Bonaventure's: The Life of <mask> <mask>, Capuchin. Detroit: Fidelity Press, 1968. Odell, Catherine. <mask>: The Story of <mask>. Huntington, Ind. : Our Sunday Visitor Press, 1988. Della Balda, Gabriele.Una carezza di Dio. Vita del beato <mask> <mask>, cappuccino statunitense. Roma, Istituto Storico dei Cappuccini 2019 (ITALIAN)

External links
 Solanus Casey Center
 Hagiography Circle
 Father Solanus Guild
 Find-a-Grave

 Film: The Healing Prophet: <mask> <mask>
 Newspaper article

1870 births
1957 deaths
19th-century venerated Christians
19th-century Roman Catholic priests
19th-century American people
20th-century venerated Christians
20th-century American Roman Catholic priests
20th-century American people
American Roman Catholic clergy of Irish descent
Beatifications by Pope Francis
Burials in Michigan
Capuchins
Clergy from Detroit
People from Pierce County, Wisconsin
People of the Roman Catholic Archdiocese of New York
Religious leaders from Michigan
Religious leaders from Wisconsin
Venerated Catholics by Pope John Paul II
Catholics from

masks:
Casey
Solanus
Casey
Solanus
Casey
Father Solanus
Casey
Father Solanus
Father Solanus
Solanus
Casey
Solanus
Casey


title: Asieh Amini

type: original

texts:
<mask> (born 14 September 1973) is an Iranian poet and journalist currently residing in Trondheim, Norway. She is a Women's Rights activist fighting against the death penalty in general and specifically against the stoning of women and minors in Iran. Early life
<mask> grew up in the Mazandaran Province in northern Iran. She was the third of four sisters. Her family originated from the gentry of feudal times. Aminis father was a teacher. <mask> and her sister's spent a lot of time reading, writing and painting.She started visiting an afternoon's poetry circle at a local library. Asieh wanted to become a painter or writer. <mask>'s life changed after the Iranian Revolution. She hated the mandatory black hijab all girls had to wear and cried when she put it on. Her mother explained to her that it was a rule no one could disobey. Career
<mask> started studying journalism at Tabataba'i University in Tehran in 1993. While still studying she started writing for newspapers.Later, she moved on to the larger newspaper Iran. When a colleague was supposed to interview a poet that <mask> liked he took her along. The poet invited her into his writer's circle. The newspaper Iran started a youth supplement and <mask> became the cultural editor. For these times in Iran, a woman being in such a senior position was unusual. When Mohammad Khatami was elected president in 1997, the bans were lifted a little and more daring publications emerged. More women entered journalism.<mask> took up a job at the newspaper Zan, which covered women's affairs. Although <mask> opposed the idea of segregating news by gender, she took on the job. The newspaper Zan was unfortunately banned. Subsequently, <mask> took on freelancer work. After giving birth <mask> started working as the social editor of the newspaper Etemaad. She also

masks:
Asieh Amini
Amini
Amini
Amini
Amini
Amini
Amini
Amini
Amini
Amini
Amini


title: Asieh Amini

texts:
 ran a website called Women in Iran. After the presidential election 2009, many of journalists and activists were arrested and situation in Iran became too dangerous for her.<mask> decided to leave the country. Through a friend she got the opportunity to become a guest writer within the ICORN network in Trondheim, Norway from 2010 until 2012. She stayed in Norway and completed a master's degree in Equality and diversity at NTNU. <mask> is a member of the Norwegian PEN Board of Directors. Activism
<mask> founded the 'Stop Stoning Forever Campaign' in October 2006. She worked together with a well known feminist from Iran and two writers from outside the country who could publish without censorship. She is fighting gender- based injustices in Iran's judicial system and is advocating for an end of stoning as a form of execution.She started her activism when she met a 16-year-old girl named Atefeh Sahaaleh who had endured a lifetime of sexual abuse. As a result of that abuse she had turned to sex work and was eventually sentenced for extramarital sex to death by stoning. <mask> felt compelled to write about and investigate the practice of stoning. During her investigations she found out that despite Iran's commitment to the international community to abolish the practice stoning were still going on in secret. In 2002, Iran's chief justice declared a moratorium on stoning. <mask> tried to publish her story but was soon after fired from her newspaper. The editor-in-chief of her newspaper said that it was impossible for them to publish the story as she was fighting Sharia law and the Iranian judicial system.She sent the story to another newspaper but they declined. After a long search, a women's publication agreed to publish an edited version. Soon after the publishing of the story of Atefeh <mask> heard

masks: Amini Amini Amini Amini Amini Amini


title: Asieh Amini

texts: of another similar story concerning the fate of Leyla, a nineteen-year old with mental age of an eight year old who was supposed to be hanged for chastity. <mask> found out that the girl was still alive in a prison in Arak and decided to help her. The girl had first been put out for prostitution by her own mother at the age between five and eight. From then onward her mother prostituted her and lived from the money. Leyla gave birth to her first child at age nine and received a 100 lashes sentence for chastity for the first time.She was sentenced to death for incest among other things as her brothers had been among the townsmen who had raped her. <mask> visited the judge who had sentenced Leyla and he said that the law is the law and that he was just applying it. He further stated, under <mask>'s account, that if the society was an apple Leyla was a worm. <mask> wrote a story about Leyla in the magazine Zanan. The story echoed internationally. Even the Norwegian prime minister Kjell Magne Bondevik wrote a letter to Iranian president Khatami. Eventually Leyla had a second trial.With the help of a friend of Shadi Sadr, her human rights attorney, <mask> was able to have Leyla be removed from prison and put in a social organization that provided her with private lessons and helped her to learn to read and to write. In 2007 <mask> was arrested and imprisoned. After this experience <mask> founded the 'Stop Stoning Forever Campaign'. She fights to have to practice of stoning stopped, researches cases of women who have been sentenced to death by stoning and shares their stories with the public. After the re-election of Mahmoud Ahmadinejad in 2009 the situation of humans rights activists became dangerous in Iran. <mask>'s phone calls were wiretapped, her e-mail messaged were surveilled. Four months after

masks: Amini Amini Amini Amini Amini Amini Amini Amini


title: Asieh Amini

texts:
 the re-election <mask> went to exile in Norway.In Norway she continued to be a contributor to a newspaper. She was also a guest writer in Trondheim City of Refuge from 2010 to 2012. Family
At the newspaper Zan Amini met Javad Montazeri, a photographer who came from the Mazandaran region like her. After eight months they decided to get married. After giving birth to her daughter Ava her husband encouraged her to continue to work. When she became pregnant for a second time, she tried to take medicine that would induce a miscarriage, which would make it possible to go to an emergency room in a hospital and have the fetus removed. This was necessary because abortion is illegal in Iran.However, the medicine didn't work and <mask> thought that she had damaged the fetus irreparably. So she proceeded to have an illegal abortion with complications but was able to return to work afterwards. Awards
 Hellman/ Hammett Award by Human Rights Watch in 2009
 Best Iranian poet by UNESCO's office in Tehran in 2005
 Oxfam Novib/ PEN award
 Ord i Grenseland Award in 2014

Writings
 "Hey, ... You Who Have Gone  "
 "Kom ikke til mine drømmer med gevær" ("Do not come into my dream with a gun")
 "Jeg savner å savne deg" ("I miss missing you")
 "Election Fallout- (Participated writer), Directed by Marcus Michaelsen"

References

1973 births
Living people
People from Mazandaran Province
Iranian women activists
Iranian women's rights activists
Iranian anti–death penalty activists
Iranian dissidents
Iranian political journalists
Iranian women poets
20th-century Iranian poets
21st-century Iranian poets
Iranian women journalists
Newspaper journalists
Iranian prisoners and detainees
Prisoners and detainees of Iran
Iranian exiles
Iranian expatriates in Norway
20th-century Iranian women writers
21st-century Iranian women

masks: Amini Amini


title: Jacques Damala

texts:
<mask> (Greek: Aριστεíδης Δαμαλάς, alternative spellings Aristidis or Aristide; 15 January 1855 – 18 August 1889), known in France by the stage name <mask>, was a Greek military officer-turned-actor, who is mostly remembered as being husband to Sarah Bernhardt for a number of years. <mask>'s characterisation by modern researchers is far from positive. His handsomeness was as notable as his insolence and Don Juan quality. Writer Fredy Germanos describes him as an opportunistic and hedonistic person, whose marriage to the great diva would inevitably intensify and maximise his vices, namely, his vanity and obsession with women, alcohol, and drugs. Diplomatic career and notorious social life
<mask> was born at Piraeus, Greece on 15 January 1855 to an aristocratic family. He was the second of three children to Ambrosios (Ambrouzis<mask> (2 June 1808 – 29 July 1869), a wealthy shipping magnate, who later served as mayor of Ermoupoli and Piraeus and his wife, Calliope Ralli (6 June 1829 – 14 February 1891), whose father, Loukas Rallis, had also once served as mayor of Piraeus and Ermoupolis, Syros (he had also came up with the name "Ermoupoli") and was a member of the Executive Committee which attempted the liberation of Chios in 1827, during the Greek War of Independence. The other two children of Ambrouzis and Calliope were a son, Paul (Pavlos) <mask> (17 July 1853 – 25 December 1925) and a daughter, Eirini (ca 1857 – ?).The family later moved to Marseille, France, where they spent several years, until they relocated to Ermoupoli, Syros, after Ambrosios was appointed mayor there. The family later returned to Marseille and eventually to Piraeus. After finishing school in Piraeus, <mask> spent four years abroad, mainly in England and France, where he pursued diplomatic studies. During his time abroad, he became acquainted with representatives of high society, as well as representatives of the theatre world, since he had the dream of excelling as an actor one

masks:
Aristides Damalas
Jacques Damala
Damala
Damala
) Damalas
Damalas
Damala


title: Jacques Damala

texts:
 day. He returned to Greece in 1878 and recruited in the army. He was later trained in the Page Corps in Russia but eventually decided to drop his studies there and return to Paris. By the early 1880s, he had earned a post as a military attaché to the Greek Diplomatic Corps.He quickly acquired a reputation of being "the handsomest man in Europe", as well as the nickname "Diplomat Apollo" by his friends and the assumption of being the most dangerous man in Paris, among the several husbands who feared their wives would fall victim to his charms and be seduced by the young diplomat. <mask> was indeed considered as the epitome of handsomeness of his time, and many women of the high society of Paris were infatuated with him. He rapidly earned the reputation of being a merciless heartbreaker and womaniser of the high circles. Besides his passion for women, he was also said to enjoy the company of young men, as well. His affair with the wife of a Parisian banker, Paul Meisonnier, had ruined the woman's reputation to the extent of forcing her to leave France. It was also rumoured that he had driven two women to divorce and one to suicide. One of his documented affairs was with the young daughter of a Vaucluse magistrate who had left her parents and home to follow <mask> to Paris, where he deserted her when their illegitimate child was born.The young girl was never heard from again; she is presumed to have committed suicide. Following these scandals, <mask> was reassigned to Russia. Meeting with Bernhardt and stay in Saint Petersburg

Prior to his transfer, he was introduced to Sarah Bernhardt by her half-sister, Jeanne, shortly before the summer of 1881. <mask> and Jeanne belonged to a circle of well-known morphine-takers who were associated with the stage world. <mask> had begun playing small parts as an amateur actor with the stage name of "Daria", and used to frequent the green rooms of theatres, along with fellow actors who shared a similar passion for

masks: Damala Damala Damala Damala Damala


title: Jacques Damala

texts:
 morphine. He also frequented these places out of his desire to socialise with people from the theatre world and thus promoting his ambitions of becoming a great actor. Jeanne spoke to Bernhardt of <mask>, and Bernhardt felt simultaneously repelled and fascinated by the perspective of meeting the most notorious man in Paris.Their meeting was a highly anticipated one from both parties. Madame Pierre Berton, who wrote a biography for Sarah Bernhardt, remarks the following:

"It was inevitable that Bernhardt, the famous actress, and <mask>, the equally notorious bon-viveur, should eventually meet. Each knew the reputation of the other and their reputation was only the more whetted thereby (...) Bernhardt prided on her ability to conquer men, to reduce them to the level of slaves; <mask> vaunted his ability as a hunter and a spoiler of women (...) Their two natures were inevitably attracted towards each other (...) <mask> boasted to his friends that, as soon as he looked at her, the great Sarah Bernhardt would be counted in his long list of victims; and Bernhardt was no less certain that she had only to command for Damala to succumb". The two soon met. Even though Bernhardt was appalled by <mask>'s insolence towards her, she was nevertheless strongly attracted to him and soon fell madly in love with the Greek. During that period, Bernhardt was about to begin her world tour; knowing that <mask> was transferred in Saint Petersburg and interested in meeting him again, she decided to arrange a six-month stay in Russia, despite the fact she had previously – repeatedly – rejected offers of making appearances there. Indeed, she resided in Saint Petersburg for a few months, as an official guest of Emperor Alexander III of Russia, during which her romance with <mask> flourished.The openness of their affair scandalised the social circles of the city and proved a common topic of discussion. Marriage and new career
The match was far from being blissful. <mask> developed

masks: Damala Damala Damala Damala Damala Damala Damala Damala


title: Jacques Damala

texts: the habit of openly criticising and mocking Bernhardt in front of her friends. Bernhardt, in return, called him "Gypsy Greek" in an equal attempt to degrade him. However, in most cases, Bernhardt was so overwhelmed by her infatuation for him that she tolerated his insults and even begged him for forgiveness, behaviour which reaffirmed that <mask> had the upper hand in the relationship. After Bernhardt left Russia to extend her tour to other European countries, <mask> resigned from the Diplomatic Corps and followed Sarah's theatre circle. While in London, completing the final part of her tour, Bernhardt had yet another fight with <mask>.Bernhardt was supposed to have created the role of playwright Victorien Sardou Theodora during the tour. Instead, she sent Sardou the telegram: "I am going to die and my greatest regret is not having created your play. Adieu." A few hours later, Sardou received a second message by Bernhardt which simply stated: "I am not dead, I am married". When asked later by Sardou why she had wed, she somewhat naïvely responded that it was the only thing she had never done. Her impulsive decision to marry was probably at her own initiative, as <mask> sarcastically admitted to friends that it was she who had proposed to him. The wedding took place on 4 April 1882 in London, a city that proved a convenient choice for marriage, since religious differences would have been a hindrance for a possible marriage in Paris: Bernhardt was a Roman Catholic and Damala Greek Orthodox.Bernhardt's son, Maurice, was hostile to <mask> and against this marriage. Even though Bernhardt presented <mask> to reporters with the phrase "This ancient Greek god is the man of my dreams", the marriage became the object of criticism and even satire for press. Caricatures of Bernhardt and <mask> virtually flooded newspapers for months. A review of Les Mères Ennemies featured Bernhardt holding <mask> like a puppet, manipulating his limbs. <mask>'s marriage to Bernhardt

masks: Damala Damala Damala Damala Damala Damala Damala Damala Damala


title: Jacques Damala

texts: made him even more unfaithful. Three weeks after the wedding, he had a fight with Bernhardt when he insisted she should change her stage name to <mask> to honour him. Following her refusal, he left the house.He was missing for a few days, much to Bernhardt's anxiety, and during this time was seen in the company of a young Norwegian girl. Upon his return, Sarah accepted his excuses. The tour went on to Ostend. At their last night there, <mask> fled again and was heard from two days later in Brussels, where he was accompanied by a Belgian woman. Bernhardt forgave him again when he returned. Despite the humiliations she endured, giving money to <mask> so as to pay his mistresses and debts to prostitutes, and the fact her husband's infidelity had been a common topic for gossip, the lovelorn Benrhardt tolerated all of these. Following their return to Paris, <mask>, compelled by the perspective of becoming a theatre star, decided to pursue an acting career.Some time later, Bernhardt bought a theatre, the Théâtre de l'Ambigu, and made the unfortunate decision of appointing Maurice as the manager and <mask> as the leading man. Bernhardt's friends could not understand what she saw in him. Her contemporaries were puzzled by her decision to discard professional actors so as to perform next to a rank amateur. Bernhardt seems to have been blinded by emotion: <mask> has been described as exceptionally untalented, lacking any acting qualifications, technique, or timing, and possessing an unintelligible Greek accent. Bernhardt was oblivious of all these shortcomings, and on the basis of her attraction for him, considered him appropriate and cast him as Armand Duval in La Dame aux Camélias (The Lady with the Camelias). Bernhardt is cited as telling a (rather shocked) Alexandre Dumas about <mask>: "Won't he make an excellent Armand? Only by looking at him, you understand why Marguerite Gautier dies in the way she does!".The couple returned to Paris and performed La Dame

masks:
Sarah Damala
Damala
Damala
Damala
Damala
Damala
Damala


title: Jacques Damala

texts:
 aux Camélias. Sarah's performance was exalted; <mask>'s, on the other hand, received less than enthusiastic reviews. <mask> was furious and blamed Bernhardt. Separation
In December 1882, Bernhardt opened in Victorien Sardou's Fédora and again received excellent reviews. Sardou had written the play specifically for her, but had refused to allow <mask> to act in it. Bernhardt appointed her husband manager of her theatrical company on tour ("Head of the Tour"), a decision that proved disastrous, given <mask>'s lack of skills in managing. Bernhardt was eventually forced to remove him from his post and reduce him to Prince Consort.This development, combined with <mask>'s frustration over the way his career developed provoked him to continue the habit of humiliating Bernhardt in front of her friends and openly criticising her. His increasingly deeper addiction to drugs, particularly morphine, created even greater problems in their marriage. <mask>'s drug-influenced behaviour became frequently scandalous. On one occasion, while on stage with Bernhardt, a drug-induced <mask> tore down her dress and exposed her bare buttocks to the audience. On 12 December 1882, Bernhardt lashed out against <mask>, refusing to cover his expenses on women and drugs anymore, to which <mask> responded equally explosively with his own accusations. The next morning <mask> left, without notice, for North Africa. Realising he would never be seen as something more than "Mr Sarah Bernhardt", he decided to enlist for service in the spahi troops in Algeria.Bernhardt was left behind to settle for the debts arising from <mask>'s addiction to drugs and prostitutes as well as her son's gambling. In early 1883, she went to a tour in Scandinavia along with her lover, playwright Jean Richepin. Upon her return to Paris, she found that <mask> was again living in her house. Bernhardt left Richepin and the couple reunited for a while; soon, however, the marriage deteriorated even further, due to

masks: Damala Damala Damala Damala Damala Damala Damala Damala Damala Damala Damala Damala


title: Jacques Damala

texts:
 <mask>'s extreme drug addiction and the final separation was to come. Allegedly, Bernhardt became so distraught over her husband while performing Ophelia on stage, in Italy, that she finished her part earlier, came off stage and said: "That's it". Soon after, she moved him out of the house and put him into a clinic. Six months later, he returned to her house again, much to the dismay of Richepin.Bernhardt tried to prevent the pharmacists from providing him with drugs and then put him again to a clinic and later to a hotel, in the outskirts of Paris. However, the two were not divorced and the marriage legally endured until <mask>'s death in 1889. Since Bernhardt was very strict with her Catholic views, she only opted for a semi-legal separation, which also settled that, in return for certain sums she sent to him on a monthly basis, he would never re-enter her life. Life after separation  and health deterioration
Following his separation from Bernhardt, <mask> attempted returning to the diplomatic world. His re-entrance in the diplomatic profession proved very hard for him, though, and he remained in the acting profession. That same year, in 1883, he performed the most memorable role of his career (save for Armand) as Philippe Berlay opposite Jane Hading in the stage adaptation of Georges Ohnet's novel, Maître de Forges (Ironmaster). The play was a great success and ran through the entire year in the Théâtre du Gymnase, in Marseille.<mask> starred in few memorable productions in the following years. He played the leading man (as Jean Gaussin) in the comedy Sapho, Alphonse Daudet's stage adaptation of his own novel, Sapho, mœurs parisiennes, again with Hading as his partner. The play opened in the Gymnase in Paris, on 18 December 1885. <mask> also participated in the stage adaptation of another Ohnet novel, La Comtesse Sarah, in 1887. Despite these few prolific plays, <mask> was quickly forgotten or even deliberately ignored by the Parisian society,

masks: Damala Damala Damala Damala Damala Damala


title: Jacques Damala

texts:
 following his separation from the great diva. In March 1889, Bernhardt returned to Paris after a year-long European tour and receive a message from <mask> who informed her that he was dying in Marseille and begged her to forgive him and take him back. The fact she had never stopped loving and caring for her husband was proved that very moment: she abandoned her performances in Paris, rushed to him and nursed <mask>, whose health was wasted as a result of his longtime addiction.She took him in her house and after he recuperated, she cast him as her leading man in La Dame aux Camélias. <mask> promised to stop taking morphine and embarked on a European tour with Bernhardt (which also included Egypt). In truth, <mask>'s addiction to drugs became progressively worse. He continued using the drug and occasionally ridiculed himself, his clarity severely reduced from the morphine. On one occasion, he almost got arrested for exhibiting himself naked in the Hotel de Ville in Milan. <mask> reprised his role as Armand but after a six-week run he collapsed and was carried in the hospital. Shortly before his death, he was offered another role by Bernhardt, in the play Lena, at the Théâtre des Variétés.Just after the second performance, he was considered incapable of playing the part, due to his now permanent lack of clarity and continuous influence from alcohol and drugs. Illegitimate daughter
On early 1889, <mask> had also fathered a child with one of his mistresses, a theatre extra, who used to inject him with heroin, during intermissions. After his mistress gave birth to a baby girl, she placed the baby, in a basket, on Bernhardt's doorstep, together with a note. Bernhardt was furious to discover that <mask>'s illegitimate daughter was placed in her care and contemplated having the infant drowned on the river Seine. Bernhardt's servants attempted to notify <mask> of his child, however, he was unable to contemplate the situation, due to severely reduced clarity (a


title: Jacques Damala

texts:
 result of his deep addiction). Thankfully, his daughter's life was saved by a friend of both Bernhardt and <mask>, gun dealer and future tycoon Sir Basil Zaharoff, who proposed to take the child so that he could find a surrogate family for her. Eventually, the girl was baptised Teresa (1889–1967) and was raised in Adrianople, in Eastern Thrace.The adventures of <mask>'s daughter (who had brief affairs with Ernest Hemingway and Gabriele D'Annunzio and posed as a model for Picasso in the early 1920s) were documented by Fredy Germanos in his historical novel Teresa (Greek: Tερέζα, pronounced Tereza), published in 1997. The book also makes reference to <mask>'s Parisian life and mentions that Bernhardt remained in love with him until the end of her life. In fact, Bernhardt and <mask> also met each other, years later. Death

<mask> was found dead in Paris on 18 August 1889, in a hotel room, from an overdose of morphine and cocaine. The news of his death was concealed from Bernhardt until the time she had finished her performance. When she found out, she is cited as saying–presumably out of mercy for his condition– "Well, so much the better...". Bernhardt wore mourning for a year after <mask>'s death.She had legally adopted his surname (i.e. Sarah Bernhardt-<mask>) but never renounced it, even after her husband's death, though this was not widely known. She kept "Damala" as her legal name until she died, though her decision caused her some troubles during World War I, when an officer in a consular office at Bordeaux refused to grant her a visa to her passport, due to the fact the latter was Greek (King Constantine of Greece was thought to support the German side during the war and the French state refused to grant visas to Greek passports). It took the intervention of the Minister of Interior for Bernhardt to have her visa granted. Legacy
He has been portrayed by three actors in film and television biopics of Sarah Bernhardt. He was portrayed by John Castle

masks:
Damala
Damala
Damala
Teresa Damala
Damala
Damala
Damala


title: Jacques Damala

texts:
 in the film The Incredible Sarah (opposite Glenda Jackson) on 1976, by Canadian actor Jean LeClerc in the TV movie Sarah (also 1976) and by Gonzalo Vega in the Mexican TV series La Divina Sarah (1980). His younger sister, Eirene (ca 1857–?)had a brief affair with notorious Irish-born American author and journalist Frank Harris, as recounted by the latter in his scandalous autobiography My Life and Loves. Harris had met the <mask> family in the summer of 1880, when they were all residents at the Hotel d'Athènes, in Athens. Harris and Eirene <mask> (referred to in the book as "Mme M.") had a brief romantic/sexual affair, which Harris describes very graphically in his book. Eirene was estranged from her Scottish husband, who had left her and returned to England. Harris also befriended Aristides <mask> and the two became even closer friends when they met again in Paris, some time later. Harris also recounts an incident, in Trieste, when Bernhardt publicly lashed out against her husband for his infidelities, to which <mask> responded "Madame, you will never again have the opportunity of calling me names". He then returned to Paris.A disconsolate Bernhardt broke off the tour and also returned to the French capital and begged Harris to intervene so as for the reconciliation to come. <mask> is cited as telling Harris of Bernhardt: "A great talent, but a small nature and a foul tongue". Memorable stage credits

 1882 Alexandre Dumas La Dame aux Camélias (as Armand)
 1883 Georges Ohnet's Maître de Forges (as Philippe Berlay). The performance in Paris was a "great and unexpected success", "much to the surprise of M. Dalama". 1885 Alphonse Daudet's Sapho (as Jean Gaussin)
 1887 Ohnet's La Comtesse Sarah
 1889 Dumas' La Dame aux Camélias'' (as Armand)

References

1855 births
1889 deaths
Military personnel from Piraeus
Greek emigrants to France
Greek male stage actors
Hellenic Army officers
19th-century Greek male actors
Drug-related deaths in France
Cocaine-related


title: Richard O. Culver Jr.

texts:
<mask>. "Dick<mask>. (April 9, 1936 – February 24, 2014) was a decorated United States Marine Corps officer who was one of the founders of the Marine Corps Scout Sniper School in Quantico, Virginia. <mask> served in combat in Vietnam and was awarded the Silver Star for his heroic actions during a firefight in 1967. Early years
<mask>. was born on Alcatraz Island on April 9, 1936. His father, <mask><mask>, was a guard at the Federal Penitentiary there and the family lived on the island. <mask>. was the first child born on the island while it was a Federal Penitentiary. His father was a retired Marine Corps lieutenant colonel who had served in the Banana Wars and in China.<mask>'s family moved to Hopewell, Virginia, where he attended elementary school and completed his high school education. <mask> enlisted in the Marine Corps at age 17. He graduated from high school in 1954 and then attended Virginia Military Institute (VMI), where he was a member of the Marine Corps Reserves. While at VMI, he competed as captain of the VMI Pistol team, and on the Marine Corps Reserve Rifle and Pistol team at the National Matches. He earned his bachelor's degree in physics in 1958. He later earned a master's degree in physics. Marine Corps service

<mask> enlisted into active service in the US Marine Corps on November 11, 1958.He subsequently attended Officer Candidate School (OCS) and was commissioned as a Marine Corps second lieutenant. Vietnam War
<mask> served two combat tours in Vietnam. In his first tour, from 1967 to 1968, he was wounded on his first day in combat and awarded the Purple Heart. After recovering, he led reconnaissance patrols. He then saw combat experience with the infantry, where he served as a company commander.

masks:
Richard O
" Culver Jr
Culver
Richard Otis Culver Jr
Richard O
. Culver
Richard Jr
Culver
Culver
Culver
Culver


title: Richard O. Culver Jr.

texts:
 While serving as the commanding officer of H Company, 2nd Battalion, 3rd Marines, in Vietnam, <mask> was awarded the Silver Star for his actions on July 21, 1967, during a firefight with a North Vietnamese Army company. As described in his obituary, he "exposed himself to fire several times, rallied his Marines, coordinated fire and medevacs, called in artillery and air support, and forced the enemy to break contact after suffering numerous casualties".<mask> had a second tour to Vietnam from 1971 to 1972. Sniper school
After the Vietnam War, the Marine Corps moved forward with forming a permanent Scout Sniper program. Together with Major Edward James Land (who was Culver's commanding officer in Vietnam), <mask> helped form, and was the first commander of, the first Marine Corps Scout Sniper School at Quantico, Virginia. Culver's senior NCO was GySgt Carlos Hathcock. <mask> was a member and later commanding officer of the Marine Corps Rifle and Pistol team, earning several medals in competition. Silver Star citation
For heroism in combat on July 21, 1967, when a captain in the United States Marine Corps, in Company H, 2nd Battalion, 3rd Marines, 9th Marine Amphibious Brigade:

The President of the United States of America takes pleasure in presenting the Silver Star to Captain <mask><mask>, Jr. (MCSN: 0-75696), United States Marine Corps, for conspicuous gallantry and intrepidity in action while serving as the Commanding Officer of Company H, Second Battalion, Third Marines, Ninth Marine Amphibious Brigade, in the Republic of Vietnam on 21 July 1967. While engaged in a company-size search and destroy mission near the village of Ap Sieu Quan during Operation BEAR CHAIN, Captain <mask> had established a defensive

masks:
Culver
Culver
Culver
Culver
Richard O
. Culver
Culver


title: Richard O. Culver Jr.

texts: perimeter outside the village and had deployed one platoon to search the area when the entire company came under intense small arms and automatic weapons fire form an estimated North Vietnamese Army company firing from entrenched, heavily-fortified positions and sustained several casualties.Reacting immediately, he displayed exceptional courage and leadership as he exposed himself to hostile fire to move forward to a vantage point where he could more advantageously observe the action and direct the fire and movement of his men. He found that the Marines were temporarily pinned down by fire being delivered from a tree line 300 meters distant from his defensive perimeter and from positions within the village. Exhibiting an extensive knowledge of tactics, Captain <mask> quickly consolidated his position, established a base of fire to cover the evacuation of the wounded and maneuvered the search platoon back to the perimeter. He then called for gunship, fixed wing and artillery support. Completely disregarding his own safety, he repeatedly moved about the perimeter in the face of heavy North Vietnamese fire to encourage his men, ensure the security of each firing position and direct he fire of the company mortars. When the gunships arrived, Captain <mask> accurately directed their fire against hostile positions seventy-five meters from the front elements of his unit. Oblivious to the danger to his own life, he continued to expose himself to North Vietnamese fire to adjust rocket fire on other enemy positions.After the fixed wing aircraft arrived, he skillfully adjusted their runs directly on top of the enemy bunkers and trench lines. When all the aircraft had expended their ordnance and departed, Captain <mask> called in

masks: Culver Culver Culver


title: Richard O. Culver Jr.

texts:
 heavy artillery and accurately adjusted their fire. Establishing a well-integrated night defensive perimeter, he was able to provide security not only for his company but also for 250 refugees who had fled to the Marines for protection. Leading a coordinated two-platoon attack against the enemy the following morning, he found that the North Vietnamese had been successfully routed and had left five dead, one rifle, several grenades, demolitions and numerous pieces of equipment. By his superior leadership, bold initiative and selfless devotion to duty at great personal risk, Captain <mask> upheld the highest traditions of the Marine Corps and of the United States Naval Service. Post-Marine Corps
After retiring from the Marine Corps, <mask> spent four years in Saudi Arabia training their Marine Corps school. He then returned to the U.S., to Kellogg, Idaho, where he spent five years as the high school's JROTC senior instructor.In retirement, <mask> wrote about the Marine Corps and his experiences. On February 24, 2014, <mask> died at age 77 at Hospice House in Hayden, Idaho. He was survived by his wife and son. On May 24, 2014, Major <mask> was buried in Arlington National Cemetery with full military honors. See also

Carlos Hathcock - famed Marine Corps sniper. Edward James Land - worked with <mask> in establishing the first Scout Sniper School. United States Marine Corps Scout Sniper

References

External links
</ref>

</ref>

1936 births
2014 deaths
People from San Francisco
People from Hopewell, Virginia
Military personnel from California
Virginia Military Institute alumni
Recipients of the Silver Star
United States Marine Corps personnel of the Vietnam War
United States Marine Corps officers
Burials at Arlington

masks: Culver Culver Culver Culver Culver Culver


title: George Duvivier

texts:
<mask> (August 17, 1920 – July 11, 1985) was an American jazz double-bassist. Biography
Duvivier was born in New York City, the son of Leon V. Duvivier and Ismay Blakely Duvivier. He attended the Conservatory of Music and Art, where he studied violin. At age sixteen, he worked as assistant concertmaster for the Central Manhattan Symphony Orchestra. He began playing double bass and concentrated on composition at New York University. In the early 1940s, he accompanied Coleman Hawkins, Lucky Millinder, and Eddie Barefield. After serving in the U.S. Army, he worked as an arranger for Jimmie Lunceford, then as arranger and bassist for Sy Oliver.In the 1950s, he accompanied Lena Horne on her tour in Europe. He recorded for commercials, television shows, and movie soundtracks. Although he spent most of his career as a sideman, he recorded as a leader in 1956 with Martial Solal for Coronet. For four years beginning in 1953, he worked steadily with Bud Powell. He also worked with Count Basie, Benny Carter, Benny Goodman, Chico Hamilton, Hank Jones, Shelly Manne, Oliver Nelson, Frank Sinatra, Clark Terry, Ben Webster, and Bob Wilber. He died of cancer in New York, aged 64. His mother Ismay <mask>, once a dancer, donated a large collection of papers, including letters and scrapbooks of her career and his, to the Institute of Jazz Studies at Rutgers University.Discography
With Pepper Adams
 The Cool Sound of Pepper Adams (Regent, 1957)

With Manny Albam
 Jazz Goes to the Movies (Impulse!, 1962)

With Joe Albany
 Portrait of an Artist (Elektra/Musicia, 1982)

With Gene Ammons
 Up Tight! (Prestige,

masks:
George Duvier
Duvivier


title: George Duvivier

texts:
 1961)
 Boss Soul! (Prestige, 1961)
 Soul Summit Vol. 2 (Prestige, 1962)
 The Soulful Moods of Gene Ammons (Moodsville, 1962)
 Late Hour Special (Prestige, 1962 [1964])
 Sock! (Prestige, 1962 [1965])
 Night Lights (Prestige, 1970 [1985])

With Mildred Anderson
 Person to Person (Bluesville, 1960)

With Louis Armstrong
Louis Armstrong and His Friends (Flying Dutchman/Amsterdam, 1970)

With Count Basie
 Memories Ad-Lib (Roulette, 1958)
 String Along with Basie (Roulette, 1960)
 Basie Swingin' Voices Singin' (ABC-Paramount, 1966)
 High Voltage (MPS, 1970)

With Louis Bellson
 Louis Bellson Quintet (Norgran, 1954)
 Drummer's Holiday (Verve, 1958)

With <mask>, Al Harewood and Mickey Tucker
 Jazz on a Sunday Afternoon, Volume 1 (Accord, 1973)
 Jazz on a Sunday Afternoon, Volume 2 (Accord, 1973)
 Jazz on a Sunday Afternoon, Volume 3 (Accord, 1973)

With Bob Brookmeyer
 Portrait of the Artist (Atlantic, 1960)
 Gloomy Sunday and Other Bright Moments (Verve, 1961)

With Ruth Brown
 Ruth Brown (Atlantic, 1957)

With Ray Bryant
 Here's Ray Bryant (Pablo, 1976)

With Kenny Burrell
 Bluesin' Around (Columbia, 1962 [1983])
 Blue Bash! (Verve, 1963)

With Benny Carter
 Benny Carter Plays Pretty (Norgran, 1954)
 New Jazz Sounds (Norgran, 1954)
 'Live and Well in Japan! (Pablo Live, 1978)

With Ron Carter
 Where?(New Jazz, 1961)

With Sonny Clark and Max Roach
 Sonny Clark Trio (Time, 1960)

With Arnett Cobb
 Blow Arnett, Blow (Prestige, 1959) – with Eddie "Lockjaw" Davis
 Smooth Sailing (Prestige, 1959)
 Live at Sandy's! (Muse, 1978)
 Keep On Pushin' (Bee Hive, 1984)

With Al Cohn
 Son of Drum


title: George Duvivier

texts:
 (Fantasy, 1973)

With Stanley Turrentine
 Stan "The Man" Turrentine (Time, 1960 [1963])

With Sarah Vaughan
 Dreamy (Roulette, 1960)
 After Hours (Roulette, 1961)
 ¡Viva! Vaughan (Mercury Records, 1965)

With Warren Vaché Jr.
 Iridescence (Concord Jazz, 1981 [1999])

With Eddie "Cleanhead" Vinson
 Live at Sandy's (Muse, 1978 [1981])
 Hold It Right There! (Muse, 1978 [1984])

With Mal Waldron
 Sweet Love, Bitter (Impulse!, 1967)

With Walter Wanderley
 Moondreams (A&M/CTI, 1969)

With Julius Watkins
 French Horns for My Lady (Philips, 1962)

With Chuck Wayne
 The Jazz Guitarist (Savoy, 1953 [1956])

With Ben Webster
 Music for Loving (Norgran, 1954)
 Wanted to Do One Together (Columbia, 1962) with "Sweets" Edison

With Frank Wess
 Southern Comfort (Prestige, 1962)

With Randy Weston
 Uhuru Afrika (Roulette, 1960)

With Bob Wilber & Kenny Davern
 Soprano Summit (Chiaroscuro, 1977)

With Joe Wilder
 The Pretty Sound (Columbia, 1959)

With Lem Winchester
 Lem Winchester with Feeling (Moodsville, 1961)

With Lester Young
 Laughin' to Keep from Cryin' (Verve, 1958)

References

External links
 George Duvivier recordings at the Discography of American Historical Recordings.<mask> at Verve Records
Tom Waits - Letterman 12-21-83

1920 births
1985 deaths
Musicians from New York City
American jazz double-bassists
Male double-bassists
Swing double-bassists
Bebop double-bassists
20th-century American musicians
20th-century double-bassists
Deaths from cancer in New York (state)
Jazz musicians from New York (state)
20th-century American male musicians
American male jazz musicians
New York


title: Yuriy Gorlis-Gorsky

texts:
<mask> (real name <mask>; alias Gorlis-Gorsky, in the underground Zaliznyak, Gorsky, Horlitsa; January 14, 1898, Demidovka — September 27, 1946, Augsburg) was a Ukrainian writer, public figure and Ukrainian People's Army officer. Biography
He was born in Demidovka in Poltava region. Father — Yuri Lisovsky, officer of the Russian Imperial Army (RIA), mother — Ludwika Sokolowska came from a Polish noble family. According to another version, the year of birth - 1902, the place - Tarnoruda in Podillya, now Volochysk district. He participated in the First World War. In the years of the National Revolution, he was a colonel of the Bogdanovsky Regiment of the Zaporozhye Division, which he joined at the age of 20. The interwar period
At the beginning of February 1920, during the Winter Campaign, when the Zaporizhzhia Division was in the vicinity of the Cold Yar, Yuri became ill and remained in treatment at the Motronin Monastery, where the headquarters of the Cold Yar Haydamak regiment was stationed.He had to catch up with his military unit after treatment, but the Kholodny Yar Republic partisans, who lacked soldiers with military experience, convinced him to stay with them. He chose the nickname Zaliznyak, and accepted the assignment of 1st Lieutenant of the hundred of the Hajdamak regiment, becoming one of the closest assistants of the Ataman Petrenko and Chief Ataman Vasyl Chuchupak. After becoming a liaison to the Ukrainian People's Republic government, in the spring of 1922 he returned to Bolshevik-occupied Ukraine. He carried out underground work - under the pseudonym "Gorsky" — first in Kyiv and then in Podillya. But soon Yuri was arrested. He had to spend 8 months in the

masks:
Yuriy Gorlis Gorsky
Yuriy Horodyanin Lisovsky


title: Yuriy Gorlis-Gorsky

texts:
 war. In June 1942, Gorlis-Gorsky realized his dream — he returned to the Kholodny Yar. The writer settles in Oleksandrivka and collects testimonies of participants in the struggle in the Kholodny Yar. In Melniki, Gorlis-Gorsky visited the parents of Peter and Vasyl Chuchupaky and presented them with his book about the Kholodny Yar. With the arrival of the Red Army in Ukraine, he began moving to the West. In Lviv, on November 26, 1943, in the Orthodox Church of St. George, he married Halyna Talashchuk.Through Austria, Yuri Gorlis-Gorsky and his wife moved to Germany and settled in a camp for displaced persons ("DP") in New Ulm, where on September 25, 1946 his daughter Lesya was born. In New Ulm, Yuri began active political activity. Along with Ivan Bahrianyi, Borys Levitsky, Roman Paladiychuk and others, he founded the Ukrainian Revolutionary Democratic Party (URDP). <mask> Gorlis-Gorsky mysteriously disappeared on September 27, 1946. Literary works
Author of prose works "Otaman Hmara" (1934), "Red Thistle" (1935), "Cold Yar" (1937), "Ave Dictator" (1941), memoirs "Among the living corpses", which are considered lost. References

External links

 Biography of Yuri Gorodyanin-Lisovsky.. Biography of Yuri Gorodyanin-Lisovsky.Лунін Сергій. «Холодний Яр» Юрія Горліс-Горського: Археографічний аналіз. The book "Kholodny Yar"..
 Report on visits to Kholodny Yar and celebration of the anniversary of the Kholodny Yar Republic..
 <mask> Horlis-Gorsky and Ukrainian volunteers in the Winter War

People from Terebovlia Raion
People from Neu-Ulm
People from Zolochiv Raion
People of Winter War
Ukrainian resistance members
Russian military personnel of World War I
1946 deaths
Ukrainian

masks: Yuriy Yuriy


title: Bill Stewart (ice hockey)

texts:
<mask> (born October 6, 1957) is a Canadian-Italian former professional ice hockey defenceman and former head coach of the New York Islanders. Playing career
As a youth, <mask> played in the 1969 Quebec International Pee-Wee Hockey Tournament with a minor ice hockey team from York Mills. A native of Toronto, Ontario, he was drafted in the fourth round (68th overall) in the 1977 NHL Entry Draft by the Buffalo Sabres and started his National Hockey League career in 1977-78. He also went on to play for the St. Louis Blues, Toronto Maple Leafs, and Minnesota North Stars. He left the NHL at the end of the 1985–86 season choosing to play hockey in Italy until his retirement in 1995. Coaching career
<mask> began his professional coaching career with the Muskegon Fury of the Colonial Hockey League in 1995. After one season with Muskegon, <mask> took the head coaching position with the Oshawa Generals of the OHL in 1996.<mask> got back into coaching professional hockey the following season with a stint in the American Hockey League and coaching the Saint John Flames to the Calder Cup Finals in 1998, losing to the Philadelphia Phantoms in six games. <mask> was named head coach of the New York Islanders on January 21, 1999 after Mike Milbury himself stepped down to concentrate solely on his GM duties. After finishing the season with the Islanders, <mask> was relieved of his coaching duties and was replaced by Butch Goring on April 30, 1999. In 1999, <mask> returned to the OHL to become the head coach of the Barrie Colts. The roster that year included the four "Brampton Boys", one of whom, Ryan Barnes, faced charges of assault with a weapon after a stick-swinging incident during a game in October. Later in the season, three of the team's other players were charged with sexual assault. Finally, <mask> himself made headlines and was banned from entering the United States for twice smuggling a Ukrainian-born player over the Canada-U.S. border in the baggage compartment of the team bus.<mask> infamously walked out of the

masks:
William Donald Stewart
Stewart
Stewart
Stewart
Stewart
Stewart
Stewart
Stewart
Stewart
Stewart


title: Bill Stewart (ice hockey)

texts: Halifax Metro Centre without conducting any interviews to the media, following Barrie's 6-2 loss to the Rimouski Océanic in the 2000 Memorial Cup championship game. Following the controversial season in Barrie, <mask> continued his coaching career in Germany with and made headlines during the DEL quarterfinals in 2001 when he was involved in a mass brawl in game three against the Berlin Capitals, during which he hit Capitals' head coach Pavel Gross in the head and himself was injured as well. <mask> was handed a two-game suspension and a DM 15,000 fine. In the finals against the München Barons, he feigned fainting behind the Adler Mannheim bench to buy his star player Jan Alston time to get his skates sharpened. His team ended up winning the championship that year and got to the finals the following season. <mask> left Mannheim in January 2003 after being informed that his contract would not be extended at the end of the season. After a short stint in Krefeld, <mask> moved to Austria, where he coached the Graz 99ers and EHC Linz.He left Linz in December 2006 to return to Germany with the Hamburg Freezers. Linz challenged this transfer by seeking a restraining order, but lost the case. <mask> Eislöwen of the DEL2. <mask> was appointed head coach of the DEL's Straubing Tigers in April 2017. Concerning his past, he stated at that time: "I have experienced a lot in Europe, have had great success, but have to admit that I have gone too far at times. These moments happened some years ago and, in the meantime, I have learned and become more quiet." He was sacked as Straubing head coach on October 18, 2017 after his team won only eight of the first 13 games of the season and dropped to the very bottom of the DEL standings. On December 4, 2017, <mask> was named head of Adler Mannheim, returning for a second stint in charge at the club. His contract expired at the end of the 2017-18 season in which he guided the Adler team to an appearance in the playoff semifinals.He subsequently worked as a scout for the Adler

masks: Stewart Stewart Stewart Stewart Stewarter Stewart Stewart


title: Maria Callas

texts: <mask>  (born Sophie Cecilia Kalos; December 2, 1923 – September 16, 1977) was an American-born Greek soprano who was one of the most renowned and influential opera singers of the 20th century. Many critics praised her bel canto technique, wide-ranging voice and dramatic interpretations. Her repertoire ranged from classical opera seria to the bel canto operas of Donizetti, Bellini and Rossini and, further, to the works of Verdi and Puccini; and, in her early career, to the music dramas of Wagner. Her musical and dramatic talents led to her being hailed as La Divina ("the Divine one"). Born in Manhattan, New York City, to Greek immigrant parents, she was raised by an overbearing mother who had wanted a son. <mask> received her musical education in Greece at age 13 and later established her career in Italy. Forced to deal with the exigencies of 1940s wartime poverty and with near-sightedness that left her nearly blind onstage, she endured struggles and scandal over the course of her career.She notably underwent a mid-career weight loss, which might have contributed to her vocal decline and the premature end of her career. The press exulted in publicizing <mask>'s temperamental behavior, her supposed rivalry with Renata Tebaldi and her love affair with Greek shipping tycoon Aristotle Onassis. Although her dramatic life and personal tragedy have often overshadowed <mask> the artist in the popular press, her artistic achievements were such that Leonard Bernstein called her "the Bible of opera" and her influence so enduring that, in 2006, Opera News wrote of her: "Nearly thirty years after her death, she's still the definition of the diva as artist—and

masks:
Maria Callas
Maria
Callas
Callas


title: Maria Callas

texts:
 still one of classical music's best-selling vocalists." Early life

Family life, childhood and move to Greece

The name on <mask>'s New York birth certificate is Sophie Cecilia Kalos, although she was christened <mask> Cecilia Sofia Kalogeropoulos (). She was born at Flower Hospital (now the Terence Cardinal Cooke Health Care Center), 1249 5th Avenue, Manhattan, on December 2, 1923, to Greek parents, George Kalogeropoulos (c. 1881–1972) and Elmina Evangelia "Litsa" née Demes, originally Dimitriadou (c. 1894–1982). <mask>'s father had shortened the surname Kalogeropoulos first to "Kalos" and subsequently to "Callas" to make it more manageable. George and Litsa <mask> were an ill-matched couple from the beginning.George was easy-going and unambitious, with no interest in the arts, while Litsa was vivacious and socially ambitious and had dreamed of a life in the arts, which her middle-class parents had stifled in her childhood and youth. Litsa's father, Petros Dimitriadis (1852–1916), was in failing health when Litsa introduced George to her family. Petros, distrustful of George, had warned his daughter, "You will never be happy with him. If you marry that man, I will never be able to help you". Litsa had ignored his warning, but soon realized that her father was right. The situation was aggravated by George's philandering and was improved neither by the birth of a daughter, named Yakinthi (later called "Jackie") in 1917, nor the birth of a son, named Vassilis, in 1920. Vassilis's death from meningitis in the summer of 1922 dealt another blow to the marriage.In 1923, after realizing that Litsa was pregnant again, George made the decision to move his

masks:
Callas
Maria Anna
Callas
Callas


title: Maria Callas

texts:
 family to the United States, a decision which Yakinthi recalled was greeted with Litsa "shouting hysterically" followed by George "slamming doors". The family left for New York in July 1923, moving first into an apartment in the heavily ethnic Greek neighborhood of Astoria, Queens. Litsa was convinced that her third child would be a boy; her disappointment at the birth of another daughter was so great that she refused to even look at her new baby for four days. <mask> was christened three years later at the Archdiocesan Cathedral of the Holy Trinity in 1926. When <mask> was 4, <mask> opened his own pharmacy, settling the family in Manhattan on 192nd Street in Washington Heights, where <mask> grew up. Around the age of three, <mask>'s musical talent began to manifest itself, and after Litsa discovered that her youngest daughter also had a voice, she began pressing "Mary" to sing. <mask> later recalled, "I was made to sing when I was only five, and I hated it."George was unhappy with his wife favoring their elder daughter, as well as the pressure put upon young Mary to sing and perform, while Litsa was increasingly embittered with George and his absences and infidelity, and often violently reviled him in front of their children. The marriage continued to deteriorate and, in 1937, Litsa decided to return to Athens with her two daughters. Relationship with mother
<mask>'s relationship with her mother continued to erode during the years in Greece, and in the prime of her career, it became a matter of great public interest, especially after a 1956 cover story in Time magazine which focused on this relationship and later, by Litsa's book My Daughter

masks:
Maria
Maria
George Callas
Callas
Maria
Callas
Callas


title: Maria Callas

texts:
 Maria Callas (1960). In public, <mask> recalls the strained relationship with Litsa on her unhappy childhood spent singing and working at her mother's insistence, saying,
My sister was slim and beautiful and friendly, and my mother always preferred her. I was the ugly duckling, fat and clumsy and unpopular. It is a cruel thing to make a child feel ugly and unwanted... I'll never forgive her for taking my childhood away.During all the years I should have been playing and growing up, I was singing or making money. Everything I did for them was mostly good and everything they did to me was mostly bad. In 1957, she told Chicago radio host Norman Ross Jr., "There must be a law against forcing children to perform at an early age. Children should have a wonderful childhood. They should not be given too much responsibility." Biographer  says that Litsa's hateful treatment of George in front of their young children led to resentment and dislike on <mask>'s part. According to both <mask>'s husband and her close friend Giulietta Simionato, <mask> related to them that her mother, who did not work, pressed her to "go out with various men", mainly Italian and German soldiers, to bring home money and food during the Axis occupation of Greece during World War II.Simionato was convinced that <mask> "managed to remain untouched", but <mask> never forgave her mother for what she perceived as a kind of prostitution forced on her. Litsa herself, beginning in New York and continuing in Athens, had adopted a questionable lifestyle that included not only pushing her daughters into degrading situations to support her financially, but also entertaining Italian and German

masks: Callas Callas Callas Callas Callas Callas


title: Maria Callas

texts:
 soldiers herself during the Axis occupation. In an attempt to patch things up with her mother, <mask> took Litsa along on her first visit to Mexico in 1950, but this only reawakened the old frictions and resentments, and after leaving Mexico they never met again. After a series of angry and accusatory letters from Litsa lambasting <mask>'s father and husband, <mask> ceased communication with her mother altogether. Education
<mask> received her musical education in Athens. Initially, her mother tried to enroll her at the prestigious Athens Conservatoire, without success. At the audition, her voice, still untrained, failed to impress, while the conservatoire's director  refused to accept her without her satisfying the theoretic prerequisites (solfege).In the summer of 1937, her mother visited <mask> at the younger Greek National Conservatoire, asking her to take Mary, as she was then called, as a student for a modest fee. In 1957, Trivella recalled her impression of "Mary, a very plump young girl, wearing big glasses for her myopia":
The tone of the voice was warm, lyrical, intense; it swirled and flared like a flame and filled the air with melodious reverberations like a carillon. It was by any standards an amazing phenomenon, or rather it was a great talent that needed control, technical training and strict discipline in order to shine with all its brilliance. Trivella agreed to tutor Callas, completely waiving her tuition fees, but no sooner had Callas started her formal lessons and vocal exercises than Trivella began to feel that Callas was not a contralto, as she had been told, but a dramatic soprano. Subsequently, they began working on

masks:
Callas
Callas
Callas
Callas
Maria Trivella


title: Maria Callas

texts:
 raising the tessitura of her voice and to lighten its timbre. Trivella recalled Callas as:
A model student. Fanatical, uncompromising, dedicated to her studies heart and soul.Her progress was phenomenal. She studied five or six hours a day. ...Within six months, she was singing the most difficult arias in the international opera repertoire with the utmost musicality. On April 11, 1938, in her public debut, <mask> ended the recital of Trivella's class at the Parnassos music hall with a duet from Tosca. <mask> recalled that Trivella:
had a French method, which was placing the voice in the nose, rather nasal... and I had the problem of not having low chest tones, which is essential in bel canto... And that's where I learned my chest tones. However, when interviewed by  on the French program L'invitée du dimanche, <mask> attributed the development of her chest voice not to Trivella, but to her next teacher, the Spanish coloratura soprano Elvira de Hidalgo. <mask> studied with Trivella for two years before her mother secured another audition at the Athens Conservatoire with de Hidalgo.<mask> auditioned with "Ocean, Thou Mighty Monster" from Weber's Oberon. De Hidalgo recalled hearing "tempestuous, extravagant cascades of sounds, as yet uncontrolled but full of drama and emotion". She agreed to take her as a pupil immediately, but <mask>'s mother asked de Hidalgo to wait for a year, as <mask> would be graduating from the National Conservatoire and could begin working. On April 2, 1939, <mask> undertook the part of Santuzza in a student production of Mascagni's Cavalleria rusticana at the Greek National Opera at the Olympia Theatre, and in the fall of

masks: Callas Callas Callas Callas Callas Callas Callas Callas


title: Maria Callas

texts:
 the same year she enrolled at the Athens Conservatoire in Elvira de Hidalgo's class. In 1968, <mask> told Lord Harewood,
De Hildalgo had the real great training, maybe even the last real training of the real bel canto. As a young girl—thirteen years old—I was immediately thrown into her arms, meaning that I learned the secrets, the ways of this bel canto, which of course as you well know, is not just beautiful singing. It is a very hard training; it is a sort of a strait-jacket that you're supposed to put on, whether you like it or not.You have to learn to read, to write, to form your sentences, how far you can go, fall, hurt yourself, put yourself back on your feet continuously. De Hidalgo had one method, which was the real bel canto way, where no matter how heavy a voice, it should always be kept light, it should always be worked on in a flexible way, never to weigh it down. It is a method of keeping the voice light and flexible and pushing the instrument into a certain zone where it might not be too large in sound, but penetrating. And teaching the scales, trills, all the bel canto embellishments, which is a whole vast language of its own. De Hidalgo later recalled <mask> as "a phenomenon... She would listen to all my students, sopranos, mezzos, tenors... She could do it all." <mask> herself said that she would go to "the conservatoire at 10 in the morning and leave with the last pupil ... devouring music" for 10 hours a day. When asked by her teacher why she did this, her answer was that even "with the least talented pupil, he can teach you something that you, the most talented, might not be able to do."Early operatic career in Greece
After

masks: Callas Callas Callas


title: Maria Callas

texts:
 several appearances as a student, <mask> began appearing in secondary roles at the Greek National Opera. De Hidalgo was instrumental in securing roles for her, allowing <mask> to earn a small salary, which helped her and her family get through the difficult war years. <mask> made her professional debut in February 1941, in the small role of Beatrice in Franz von Suppé's Boccaccio. Soprano Galatea Amaxopoulou, who sang in the chorus, later recalled, "Even in rehearsal, <mask>'s fantastic performing ability had been obvious, and from then on, the others started trying ways of preventing her from appearing." Fellow singer <mask> similarly recalled that the established sopranos Nafsika Galanou and Anna (Zozó) Remmoundou "used to stand in the wings while [<mask>] was singing and make remarks about her, muttering, laughing, and point their fingers at her". Despite these hostilities, <mask>, going on to sing the role of Marta in Eugen d'Albert's Tiefland at the Olympia Theatre. <mask>'s performance as Marta received glowing reviews.Critic Spanoudi declared <mask> "an extremely dynamic artist possessing the rarest dramatic and musical gifts", and Vangelis Mangliveras evaluated <mask>'s performance for the weekly To Radiophonon:
The singer who took the part of Marta, that new star in the Greek firmament, with a matchless depth of feeling, gave a theatrical interpretation well up to the standard of a tragic actress. About her exceptional voice with its astonishing natural fluency, I do not wish to add anything to the words of Alexandra Lalaouni: 'Kalogeropoulou is one of those God-given talents that one can only marvel at.' Following these performances,

masks:
Callas
Callas
Callas
Maria
Maria Alkeou
Callas
Callassca
Callas
Callas
Callas


title: Maria Callas

texts:
 even <mask>'s detractors began to refer to her as "The God-Given". Some time later, watching <mask> rehearse Beethoven's Fidelio, erstwhile rival soprano Anna Remoundou asked a colleague, "Could it be that there is something divine and we haven't realized it?" Following Tiefland, <mask> sang the role of Santuzza in Cavalleria rusticana again and followed it with  (Manolis Kalomiris) at the ancient Odeon of Herodes Atticus theatre at the foot of the Acropolis. During August and September 1944, <mask> performed the role of Leonore in a Greek language production of Fidelio, again at the Odeon of Herodes Atticus. German critic Friedrich Herzog, who witnessed the performances, declared Leonore <mask>'s "greatest triumph":
When <mask>u's Leonore let her soprano soar out radiantly in the untrammelled jubilation of the duet, she rose to the most sublime heights.... Here she gave bud, blossom and fruit to that harmony of sound that also ennobled the art of the prima donna. After the liberation of Greece, de Hidalgo advised <mask> to establish herself in Italy. <mask> proceeded to give a series of concerts around Greece, and then, against her teacher's advice, she returned to America to see her father and to further pursue her career. When she left Greece on September 14, 1945, two months short of her 22nd birthday, <mask> had given 56 performances in seven operas and had appeared in around 20 recitals. <mask> considered her Greek career as the foundation of her musical and dramatic upbringing, saying, "When I got to the big career, there were no surprises for me." Main operatic career
After returning to the United States and reuniting with her father in

masks:
Callas
Callas
Callas
Callas
Callas
Maria Kaloyeropoulo
Callas
Callas
Callas
Callas


title: Maria Callas

texts:
 September 1945, <mask> made the round of auditions.In December of that year, she auditioned for Edward Johnson, general manager of the Metropolitan Opera, and was favorably received: "Exceptional voice—ought to be heard very soon on stage". <mask> maintained that the Metropolitan Opera offered her Madama Butterfly and Fidelio, to be performed in Philadelphia and sung in English, both of which she declined, feeling she was too fat for Butterfly and did not like the idea of opera in English. Although no written evidence of this offer exists in the Met's records, in a 1958 interview with the New York Post, Johnson confirmed that a contract was offered: "... but she didn't like it—because of the contract, not because of the roles. She was right in turning it down—it was frankly a beginner's contract." Italy, Meneghini, and Serafin

In 1946, <mask> was engaged to re-open the opera house in Chicago as Turandot, but the company folded before opening. Basso Nicola Rossi-Lemeni, who also was to star in this opera, was aware that Tullio Serafin was looking for a dramatic soprano to cast as La Gioconda at the Arena di Verona. He later recalled the young <mask> as being "amazing—so strong physically and spiritually; so certain of her future.I knew in a big outdoor theatre like Verona's, this girl, with her courage and huge voice, would make a tremendous impact." Subsequently he recommended <mask> to retired tenor and impresario Giovanni Zenatello. During her audition, Zenatello became so excited that he jumped up and joined <mask> in the act 4 duet. It was in this role that <mask> made her Italian debut. Upon her arrival in Verona, <mask> met , an older,


title: Maria Callas

texts:
 wealthy industrialist, who began courting her. They married in 1949, and he assumed control of her career until 1959, when the marriage dissolved. It was Meneghini's love and support that gave <mask> the time needed to establish herself in Italy, and throughout the prime of her career, she went by the name of <mask> <mask>.After La Gioconda, <mask> had no further offers, and when Serafin, looking for someone to sing Isolde, called on her, she told him that she already knew the score, even though she had looked at only the first act out of curiosity while at the conservatory. She sight-read the opera's second act for Serafin, who praised her for knowing the role so well, whereupon she admitted to having bluffed and having sight-read the music. Even more impressed, Serafin immediately cast her in the role. Serafin thereafter served as <mask>'s mentor and supporter. According to Lord Harewood, "Very few Italian conductors have had a more distinguished career than Tullio Serafin, and perhaps none, apart from Toscanini, more influence". In 1968, <mask> recalled that working with Serafin was the "really lucky" opportunity of her career, because "he taught me that there must be an expression; that there must be a justification. He taught me the depth of music, the justification of music.That's where I really really drank all I could from this man". I puritani and path to bel canto
The great turning point in <mask>'s career occurred in Venice in 1949. She was engaged to sing the role of Brünnhilde in Die Walküre at the Teatro la Fenice, when Margherita Carosio, who was engaged to sing Elvira in I puritani in the same theatre, fell ill. Unable to find a

masks:
Callas
Maria Meneghini
Callas
Callas
Callas
Callas
Callas


title: Maria Callas

texts: replacement for Carosio, Serafin told Callas that she would be singing Elvira in six days; when <mask> protested that she not only did not know the role, but also had three more Brünnhildes to sing, he told her "I guarantee that you can". Michael Scott's words, "the notion of any one singer embracing music as divergent in its vocal demands as Wagner's Brünnhilde and Bellini's Elvira in the same career would have been cause enough for surprise; but to attempt to essay them both in the same season seemed like folie de grandeur". Before the performance actually took place, one incredulous critic snorted, "We hear that Serafin has agreed to conduct I puritani with a dramatic soprano ... When can we expect a new edition of La traviata with [male baritone] Gino Bechi's Violetta?"After the performance, one critic wrote, "Even the most sceptical had to acknowledge the miracle that <mask> accomplished... the flexibility of her limpid, beautifully poised voice, and her splendid high notes. Her interpretation also has a humanity, warmth and expressiveness that one would search for in vain in the fragile, pellucid coldness of other Elviras." Franco Zeffirelli recalled, "What she did in Venice was really incredible. You need to be familiar with opera to realize the size of her achievement. It was as if someone asked Birgit Nilsson, who is famous for her great Wagnerian voice, to substitute overnight for Beverly Sills, who is one of the great coloratura sopranos of our time." Scott asserts that "Of all the many roles Callas undertook, it is doubtful if any had a more far-reaching effect." This initial foray into the bel canto repertoire changed the course of

masks:
Callas
Maria Callas


title: Maria Callas

texts:
 <mask>'s career and set her on a path leading to Lucia di Lammermoor, La traviata, Armida, La sonnambula, Il pirata, Il turco in Italia, Medea, and Anna Bolena, and reawakened interest in the long-neglected operas of Cherubini, Bellini, Donizetti and Rossini.In the words of soprano Montserrat Caballé:
She opened a new door for us, for all the singers in the world, a door that had been closed. Behind it was sleeping not only great music but great idea of interpretation. She has given us the chance, those who follow her, to do things that were hardly possible before her. That I am compared with <mask> is something I never dared to dream. It is not right. I am much smaller than Callas. As with I puritani, <mask> learned and performed Cherubini's Medea, Giordano's Andrea Chénier and Rossini's Armida  on a few days' notice.Throughout her career, <mask> displayed her vocal versatility in recitals that juxtaposed dramatic soprano arias alongside coloratura pieces, including in a 1952 RAI recital in which she opened with "Lady Macbeth's letter scene", followed by the "Mad Scene" from Lucia di Lammermoor, then Abigaille's treacherous recitative and aria from Nabucco, finishing with the "Bell Song" from Lakmé capped by a ringing high E in alt (E6). Important debuts
Although by 1951, <mask> had sung at all the major theatres in Italy, she had not yet made her official debut at Italy's most prestigious opera house, Teatro alla Scala in Milan. According to composer Gian Carlo Menotti, <mask> had substituted for Renata Tebaldi in the role of Aida in 1950, and La Scala's general manager, Antonio Ghiringhelli, had taken an immediate dislike to <mask>. Menotti

masks: Callas Callas Callas Callas Callas Callas Callas


title: Maria Callas

texts: recalls that Ghiringhelli had promised him any singer he wanted for the premiere of The Consul, but when he suggested <mask>, Ghiringhelli said that he would never have <mask> at La Scala except as a guest artist. However, as <mask>'s fame grew, and especially after her great success in I vespri siciliani in Florence, Ghiringhelli had to relent: <mask> made her official debut at La Scala in Verdi's I vespri siciliani on opening night in December 1951, and this theatre became her artistic home throughout the 1950s. La Scala mounted many new productions specially for <mask> by directors such as Herbert von Karajan, Margherita Wallmann, Franco Zeffirelli and, most importantly, Luchino Visconti. Visconti stated later that he began directing opera only because of Callas, and he directed her in lavish new productions of La vestale, La traviata, La sonnambula, Anna Bolena and Iphigénie en Tauride.<mask> was notably instrumental in arranging Franco Corelli's debut at La Scala in 1954, where he sang Licinio in Spontini's  La vestale opposite <mask>'s Julia. The two had sung together for the first time the year previously in Rome in a production of Norma. Anthony Tommasini wrote that Corelli had "earned great respect from the fearsomely demanding <mask>, who, in Mr Corelli, finally had someone with whom she could act." The two collaborated several more times at La Scala, singing opposite each other in productions of Fedora (1956), Il pirata (1958) and Poliuto (1960). Their partnership continued throughout the rest of <mask>'s career. The night of the day she married Meneghini in Verona, she sailed for Argentina to sing at the Teatro Colón in Buenos Aires.

masks: Callas Callas Callas Callas Callas Callas Callas Callas Callas


title: Maria Callas

texts: <mask> made her South American debut in Buenos Aires on May 20, 1949, during the European summer opera recess.Aida, Turandot and Norma roles were directed by Serafin, supported by Mario Del Monaco, Fedora Barbieri and Nicola Rossi-Lemeni. These were her only appearances on this world-renowned stage. Her debut in the United States was five years later in Chicago in 1954, and "with the Callas Norma, Lyric Opera of Chicago was born." Her Metropolitan Opera debut, opening the Met's seventy-second season on October 29, 1956, was again with Norma, but was preceded by an unflattering cover story in Time magazine, which rehashed all of the Callas clichés, including her temper, her supposed rivalry with Renata Tebaldi, and especially her difficult relationship with her mother. As she had done with Lyric Opera of Chicago, on November 21, 1957, <mask> gave a concert to inaugurate what then was billed as the Dallas Civic Opera, and helped establish that company with her friends from Chicago, Lawrence Kelly and Nicola Rescigno. She further consolidated this company's standing when, in 1958, she gave "a towering performance as Violetta in La traviata, and that same year, in her only American performances of Medea, gave an interpretation of the title role worthy of Euripides." In 1958, a feud with Rudolf Bing led to Callas's Metropolitan Opera contract being cancelled.Impresario Allen Oxenburg realised that this situation provided him with an opportunity for his own company, the American Opera Society, and he accordingly approached her with a contract to perform Imogene in Il pirata. She accepted and sang the role in a January 1959 performance that according to

masks: Callas Callas


title: Maria Callas

texts:
 opera critic Allan Kozinn "quickly became legendary in operatic circles". Bing and <mask> opposite Franco Corelli as Cavaradossi for one performance (March 19, 1965) and Richard Tucker (March 25, 1965) with Tito Gobbi as Scarpia for her final performances at the Met. In 1952, she made her London debut at the Royal Opera House in Norma with veteran mezzo-soprano Ebe Stignani as Adalgisa, a performance which survives on record and also features the young Joan Sutherland in the small role of Clotilde. <mask> and the London public had what she herself called "a love affair", and she returned to the Royal Opera House in 1953, 1957, 1958, 1959, and 1964 to 1965. It was at the Royal Opera House where, on July 5, 1965, <mask> ended her stage career in the role of Tosca, in a production designed and mounted for her by Franco Zeffirelli and featuring her friend and colleague Tito Gobbi. Weight loss
In the early years of her career, <mask> was a heavy woman; in her own words, "Heavy—one can say—yes I was; but I'm also a tall woman, 5' " (), and I used to weigh no more than ."Tito Gobbi relates that during a lunch break while recording Lucia in Florence, Serafin commented to <mask> that she was eating too much and allowing her weight to become a problem. When she protested that she wasn't so heavy, Gobbi suggested she should "put the matter to test" by stepping on the weighing machine outside the restaurant. The result was "somewhat dismaying, and she became rather silent." In 1968, <mask> told Edward Downes that during her initial performances in Cherubini's Medea in May 1953, she realized that she needed a leaner face and figure to do dramatic justice to

masks: Callassca Callas Callas Callas Callas Callas


title: Maria Callas

texts:
 this as well as the other roles she was undertaking. She adds,

I was getting so heavy that even my vocalizing was getting heavy. I was tiring myself, I was perspiring too much, and I was really working too hard. And I wasn't really well, as in health; I couldn't move freely.And then I was tired of playing a game, for instance playing this beautiful young woman, and I was heavy and uncomfortable to move around. In any case, it was uncomfortable and I didn't like it. So I felt now if I'm going to do things right—I've studied all my life to put things right musically, so why don't I diet and put myself into a certain condition where I'm presentable. During 1953 and early 1954, she lost almost , turning herself into what Rescigno called "possibly the most beautiful lady on the stage". Sir Rudolf Bing, who remembered <mask> as being "monstrously fat" in 1951, stated that after the weight loss, <mask> was an "astonishing, svelte, striking woman" who "showed none of the signs one usually finds in a fat woman who has lost weight: she looked as though she had been born to that slender and graceful figure, and had always moved with that elegance." Various rumors spread regarding her weight loss method; one had her swallowing a tapeworm, while Rome's Panatella Mills pasta company claimed she lost weight by eating their "physiologic pasta", prompting Callas to file a lawsuit. <mask> stated that she lost the weight by eating a sensible low-calorie diet of mainly salads and chicken.Some believe that the loss of body mass made it more difficult for her to support her voice, triggering the vocal strain that became apparent later in the decade, while others


title: Maria Callas

texts:
 believed the weight loss effected a newfound softness and femininity in her voice, as well as a greater confidence as a person and performer. Tito Gobbi said,

Now she was not only supremely gifted both musically and dramatically—she was a beauty too. And her awareness of this invested with fresh magic every role she undertook. What it eventually did to her vocal and nervous stamina I am not prepared to say. I only assert that she blossomed into an artist unique in her generation and outstanding in the whole range of vocal history. Voice

The Callas sound
Callas's voice was and remains controversial; it bothered and disturbed as many as it thrilled and inspired. Walter Legge stated that Callas possessed that most essential ingredient for a great singer: an instantly recognizable voice.During "The Callas Debate", Italian critic Rodolfo Celletti stated, "The timbre of <mask>'s voice, considered purely as sound, was essentially ugly: it was a thick sound, which gave the impression of dryness, of aridity. It lacked those elements which, in a singer's jargon, are described as velvet and varnish... yet I really believe that part of her appeal was precisely due to this fact. Why? Because for all its natural lack of varnish, velvet and richness, this voice could acquire such distinctive colours and timbres as to be unforgettable." However, in his review of <mask>'s 1951 live recording of I vespri siciliani, Ira Siff writes, "Accepted wisdom tells us that Callas possessed, even early on, a flawed voice, unattractive by conventional standards—an instrument that signaled from the beginning vocal problems to come. Yet listen to her entrance in this


title: Maria Callas

texts:
 performance and one encounters a rich, spinning sound, ravishing by any standard, capable of delicate dynamic nuance. High notes are free of wobble, chest tones unforced, and the middle register displays none of the "bottled" quality that became more and more pronounced as Callas matured."Nicola Rossi-Lemeni relates that <mask>'s mentor Serafin used to refer to her as Una grande vociaccia; he continues, "Vociaccia is a little bit pejorative—it means an ugly voice—but grande means a big voice, a great voice. A great ugly voice, in a way." <mask> herself did not like the sound of her own voice; in one of her last interviews, answering whether or not she was able to listen to her own voice, she replies,
Yes, but I don't like it. I have to do it, but I don't like it at all because I don't like the kind of voice I have. I really hate listening to myself! The first time I listened to a recording of my singing was when we were recording San Giovanni Battista by Stradella in a church in Perugia in 1949. They made me listen to the tape and I cried my eyes out.I wanted to stop everything, to give up singing... Also now even though I don't like my voice, I've become able to accept it and to be detached and objective about it so I can say, "Oh, that was really well sung," or "It was nearly perfect." <mask> Giulini has described the appeal of <mask>'s voice:
It is very difficult to speak of the voice of Callas. Her voice was a very special instrument. Something happens sometimes with string instruments—violin, viola, cello—where the first moment you listen to the sound of this instrument, the first feeling is a bit strange sometimes. But after just a few

masks:
Callas
Callas
Carlo Maria
Callas


title: Maria Callas

texts:
 minutes, when you get used to, when you become friends with this kind of sound, then the sound becomes a magical quality. This was Callas. Vocal category
<mask>'s voice has been difficult to place in the modern vocal classification or Fach system, especially since in her prime, her repertoire contained the heaviest dramatic soprano roles as well as roles usually undertaken by the highest, lightest and most agile coloratura sopranos.Regarding this versatility, Serafin said, "This woman can sing anything written for the female voice". Michael Scott argues that <mask>'s voice was a natural high soprano, and going by evidence of <mask>'s early recordings, Rosa Ponselle likewise felt that "At that stage of its development, her voice was a pure but sizable dramatic coloratura—that is to say, a sizable coloratura voice with dramatic capabilities, not the other way around." On the other hand, music critic John Ardoin has argued that <mask> was the reincarnation of the 19th-century soprano sfogato or "unlimited soprano", a throwback to <mask> and Giuditta Pasta, for whom many of the famous bel canto operas were written. He avers that like Pasta and Malibran, <mask> was a natural mezzo-soprano whose range was extended through training and willpower, resulting in a voice which "lacked the homogeneous color and evenness of scale once so prized in singing. There were unruly sections of their voices never fully under control. Many who heard Pasta, for example, remarked that her uppermost notes seemed produced by ventriloquism, a charge which would later be made against <mask>". Ardoin points to the writings of Henry Chorley about Pasta which bear an uncanny

masks:
Callas
Callas
Callas
Callas
Maria Malibran
Callas
Callas


title: Maria Callas

texts:
 resemblance to descriptions of <mask>:
There was a portion of the scale which differed from the rest in quality and remained to the last 'under a veil.'...out of these uncouth materials she had to compose her instrument and then to give it flexibility. Her studies to acquire execution must have been tremendous; but the volubility and brilliancy, when acquired, gained a character of their own... There were a breadth, an expressiveness in her roulades, an evenness and solidity in her shake, which imparted to every passage a significance totally beyond the reach of lighter and more spontaneous singers... The best of her audience were held in thrall, without being able to analyze what made up the spell, what produced the effect—as soon as she opened her lips. Callas herself appears to have been in agreement not only with Ardoin's assertions that she started as a natural mezzo-soprano, but also saw the similarities between herself and Pasta and Malibran. In 1957, she described her early voice as: "The timbre was dark, almost black—when I think of it, I think of thick molasses", and in 1968 she added, "They say I was not a true soprano, I was rather toward a mezzo". Regarding her ability to sing the heaviest as well as the lightest roles, she told James Fleetwood,
It's study; it's Nature.I'm doing nothing special, you know. Even Lucia, Anna Bolena, Puritani, all these operas were created for one type of soprano, the type that sang Norma, Fidelio, which was Malibran of course. And a funny coincidence last year, I was singing Anna Bolena and Sonnambula, same months and the same distance of time as Giuditta Pasta had sung in the nineteenth century... So


title: Maria Callas

texts:
 I'm really not doing anything extraordinary. You wouldn't ask a pianist  to be able to play everything; he  to. This is Nature and also because I had a wonderful teacher, the old kind of teaching methods... I was a very heavy voice, that is my nature, a dark voice shall we call it, and I was always kept on the light side.She always trained me to keep my voice limber. Vocal size and range

Regarding the sheer size of <mask>'s instrument, Rodolfo Celletti says, "Her voice was penetrating. The volume as such was average: neither small nor powerful. But the penetration, allied to this incisive quality (which bordered on the ugly because it frequently contained an element of harshness) ensured that her voice could be clearly heard anywhere in the auditorium." Celletti wrote that <mask> had "a voluminous, penetrating, and dark voice" (una voce voluminosa, squillante e di timbro scuro). After her first performance of Medea in 1953, the critic for Musical Courier wrote that "she displayed a vocal generosity that was scarcely believable for its amplitude and resilience." In a 1982 Opera News interview with Joan Sutherland and Richard Bonynge, Bonynge stated, "But before she slimmed down, I mean this was such a colossal voice.It just poured out of her, the way Flagstad's did.... <mask> had a huge voice. When she and Stignani sang Norma, at the bottom of the range you could barely tell who was who ... Oh it was colossal. And she took the big sound right up to the top." In his book, Michael Scott makes the distinction that whereas <mask>'s pre-1954 voice was a "dramatic soprano with an exceptional top", after the weight loss, it became, as one Chicago critic

masks: Callas Callas Callas Callas


title: Maria Callas

texts: described the voice in Lucia, a "huge soprano leggiero". In performance, <mask>'s vocal range was just short of three octaves, from F-sharp (F3) below middle C (C4) heard in "Arrigo! Ah parli a un core" from I vespri siciliani to E-natural (E6) above high C (C6), heard in the aria "Mercè, dilette amiche" in the final act of the same opera, as well as in Rossini's Armida and Lakmés Bell Song. Whether or not <mask> ever sang a high F-natural in performance has been open to debate.After her June 11, 1951, concert in Florence, Rock Ferris of Musical Courier said, "Her high E's and F's are taken full voice." Although no definite recording of Callas singing high Fs has surfaced, the presumed E-natural at the end of Rossini's Armida—a poor-quality bootleg recording of uncertain pitch—has been referred to as a high F by Italian musicologists and critics Eugenio Gara and Rodolfo Celletti. Callas expert Dr. Robert Seletsky, however, stated that since the finale of Armida is in the key of E, the final note could not have been an F, as it would have been dissonant. Author Eve Ruggieri has referred to the penultimate note in "Mercè, dilette amiche" from the 1951 Florence performances of I vespri siciliani as a high F; however, this claim is refuted by John Ardoin's review of the live recording of the performance as well as by the review of the recording in Opera News, both of which refer to the note as a high E-natural. In a 1969 French television interview with  on the program L'invitée du dimanche,  speaks of <mask>'s voice going to high F (he also talked about her lower register extending to C3), but within the same program, <mask>'s teacher, Elvira de


title: Maria Callas

texts:
 Hidalgo, speaks of the voice soaring to a high E-natural but does not mention a high F. <mask> remained silent on the subject, neither confirming nor denying either claim. Vocal registers
Callas's voice was noted for its three distinct registers: Her low or chest register was extremely dark and powerful, and she used this part of her voice for dramatic effect, often going into this register much higher on the scale than most sopranos. Her middle register had a peculiar and highly personal sound—"part oboe, part clarinet", as Claudia Cassidy described it—and was noted for its veiled or "bottled" sound, as if she were singing into a jug.Walter Legge, husband of diva Elisabeth Schwarzkopf, attributed this sound to the "extraordinary formation of her upper palate, shaped like a Gothic arch, not the Romanesque arch of the normal mouth". The upper register was ample and bright, with an impressive extension above high C, which—in contrast to the light flute-like sound of the typical coloratura, "she would attack these notes with more vehemence and power—quite differently therefore, from the very delicate, cautious, 'white' approach of the light sopranos." Legge adds, "Even in the most difficult fioriture there were no musical or technical difficulties in this part of the voice which she could not execute with astonishing, unostentatious ease. Her chromatic runs, particularly downwards, were beautifully smooth and staccatos almost unfailingly accurate, even in the trickiest intervals. There is hardly a bar in the whole range of nineteenth-century music for high soprano that seriously tested her powers." And as she demonstrated in the finale of La


title: Maria Callas

texts: sonnambula on the commercial EMI set and the live recording from Cologne, she was able to execute a diminuendo on the stratospheric high E-flat, which Scott describes as "a feat unrivaled in the history of the gramophone." Regarding <mask>'s soft singing, Celletti says, "In these soft passages, <mask> seemed to use another voice altogether, because it acquired a great sweetness.Whether in her florid singing or in her canto spianato, that is, in long held notes without ornamentation, her mezza voce could achieve such moving sweetness that the sound seemed to come from on high ... I don't know, it seemed to come from the skylight of La Scala." This combination of size, weight, range and agility was a source of amazement to <mask>'s own contemporaries. One of the choristers present at her La Scala debut in I vespri siciliani recalled, "My God! She came on stage sounding like our deepest contralto, Cloe Elmo. And before the evening was over, she took a high E-flat. And it was twice as strong as Toti Dal Monte's!"In the same vein, mezzo-soprano Giulietta Simionato said: "The first time we sang together was in Mexico in 1950, where she sang the top E-flat in the second-act finale of Aida. I can still remember the effect of that note in the opera house—it was like a star!" For Italian soprano Renata Tebaldi, "the most fantastic thing was the possibility for her to sing the soprano coloratura with this  voice! This was something really special. absolutely!" <mask>'s vocal registers, however, were not seamlessly joined; Walter Legge writes, "Unfortunately, it was only in quick music, particularly descending scales, that she completely mastered the art of


title: Maria Callas

texts:
 joining the three almost incompatible voices into one unified whole, but until about 1960, she disguised those audible gear changes with cunning skill." Rodolfo Celletti states,
In certain areas of her range her voice also possessed a guttural quality.This would occur in the most delicate and troublesome areas of a soprano's voice—for instance where the lower and middle registers merge, between G and A. I would go so far as to say that here her voice had such resonances as to make one think at times of a ventriloquist ... or else the voice could sound as though it were resonating in a rubber tube. There was another troublesome spot ... between the middle and upper registers. Here, too, around the treble F and G, there was often something in the sound itself which was not quite right, as though the voice were not functioning properly. As to whether these troublesome spots were due to the nature of the voice itself or to technical deficiencies, Celletti says: "Even if, when passing from one register to another, Callas produced an unpleasant sound, the technique she used for these transitions was perfect." Musicologist and critic  adds, "<mask>'s 'faults' were in the voice and not in the singer; they are so to speak, faults of departure but not of arrival. This is precisely Celletti's distinction between the natural quality of the voice and the technique." In 2005, Ewa Podleś said of Callas, "Maybe she had three voices, maybe she had three ranges, I don't know—I am a professional singer.Nothing disturbed me, nothing! I bought everything that she offered me. Why? Because all of her voices, her registers, she used how they should be used—just to tell


title: Maria Callas

texts:
 us something!" Eugenio Gara states, "Much has been said about her voice, and no doubt the discussion will continue. Certainly no one could in honesty deny the harsh or "squashed" sounds, nor the wobble on the very high notes. These and others were precisely the accusations made at the time against Pasta and Malibran, two geniuses of song (as they were then called), sublime, yet imperfect.Both were brought to trial in their day. ... Yet few singers have made history in the annals of opera as these two did." Artistry
<mask>'s own thoughts regarding music and singing can be found at Wikiquote. The musician
Though adored by many opera enthusiasts, <mask> was a controversial artist. While <mask> was the great singer often dismissed simply as an actress she considered herself foremost a musician, that is, the first instrument of the orchestra." Grace Bumbry has stated, "If I followed the musical score when she was singing, I would see every tempo marking, every dynamic marking, everything being adhered to, and at the same time, it was not antiseptic; it was something that was very beautiful and moving."Victor de Sabata confided to Walter Legge , "If the public could understand, as we do, how deeply and utterly musical <mask> is, they would be stunned", and Serafin assessed <mask>'s musicality as "extraordinary, almost frightening." <mask> possessed an innate architectural sense of line-proportion and an uncanny feel for timing and for what one of her colleagues described as "a sense of the rhythm within the rhythm". Regarding <mask>'s technical prowess, Celletti says, "We must not forget that she could tackle the whole gamut of ornamentation: staccato,


title: Maria Callas

texts:
 trills, half-trills, gruppetti, scales, etc." D'Amico adds, "The essential virtue of <mask>'s technique consists of supreme mastery of an extraordinarily rich range of tone colour (that is, the fusion of dynamic range and timbre). And such mastery means total freedom of choice in its use: not being a slave to one's abilities, but rather, being able to use them at will as a means to an end." While reviewing the many recorded versions of "perhaps Verdi's ultimate challenge", the aria "D'amor sull'ali rosee" from Il trovatore, Richard Dyer writes,
<mask> articulates all of the trills, and she binds them into the line more expressively than anyone else; they are not an ornament but a form of intensification. Part of the wonder in this performance is the chiaroscuro through her tone—the other side of not singing full-out all the way through.One of the vocal devices that create that chiaroscuro is a varying rate of vibrato; another is her portamento, the way she connects the voice from note to note, phrase to phrase, lifting and gliding. This is never a sloppy swoop, because its intention is as musically precise as it is in great string playing. In this aria, Callas uses more portamento, and in greater variety, than any other singer ... Callas is not creating "effects", as even her greatest rivals do. She sees the aria as a whole, "as if in an aerial view", as Sviatoslav Richter's teacher observed of his most famous pupil; simultaneously, she is on earth, standing in the courtyard of the palace of Aliaferia, floating her voice to the tower where her lover lies imprisoned. In addition to her musical skills, Callas had a particular gift for language and