Regarding the sheer size of Callas'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 Callas 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... Callas 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 Callas's pre-1954 voice was a "dramatic soprano with an exceptional top", after the weight loss, it became, as one Chicago critic described the voice in "Lucia", a "huge soprano leggiero".