Favorite vocal recitals on CD or DVD

Started by bhodges, April 24, 2007, 11:04:11 AM

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Tsaraslondon

#620
Quote from: Mirror Image on July 20, 2021, 11:36:12 AM
Of all the performances I've heard of Les nuits d'été, I have to say my favorite is the Gens on Erato:



Some may not like Gens' lighter voice or feel that perhaps her performance lacks the kind of heft this work needs or whatever kind of criticism you want to give the performance, but I for one believe this to be one of the strengths of her performance. Her delivery is, most of all, heartfelt. She soars with ease over the Orchestre de l'Opéra national de Lyon, but it's important to note that the accompaniment from Louis Langrée is not without mentioning. He soars with Gens in all the right places and lays back when he knows it's appropriate. He doesn't overpower Gens and this is something that I think is important to understand, especially in an orchestral song cycle or concerto.

Some other favorite Les nuits d'été performances and a few brief notes:



I rate Hunt Lieberson (or is it just Lieberson?) quite highly. The only negative is the audio quality, but it's a live recordings and there are some moments of instability in the fidelity and sometimes an audience member coughs rather loudly to where it's a bit of a distraction, but Lieberson carries the day with her gorgeous voice. Her range was phenomenal and, like Gens, I felt every note she sung.



I won't say a whole lot here as this is a well-regarded classic for a reason. Baker could sing Foster's Swanee River and I'd be there in the front row. The woman had a set of glorious pipes on her. Everything sounds well-articulated and her partnership with Barbirolli was always special. A bonafide classic without a doubt.

I don't share your enthusiasm for the Gens version, I'm afraid, which seems to me lightweight and lacking in any depth. If anything, I'm with Ralph Moore, who says in his survey for Music Web International, http://musicweb-international.com/classrev/2019/Aug/Berlioz_nuits_survey.pdf

QuoteThe advantage of Gens being a native French-speaking lyric soprano is most obvious in the two light
songs  which  frame  the  collection  but  her  voice  is  simply  too  light,  thin  and  frail  to  fill  out  the  four
slower,  more  soulful  songs  satisfactorily  and  I  derive  little  pleasure  from  hearing  a  twittery  rose
announce its arrival from paradise; Gens is all too typical of the modern idea that a lyric soprano devoid
of a proper lower register can do these songs justice. She croons and whispers her way through these
lovely songs in superficial manner. No thank you

Most of the speeds are far too fast and the work emerges as just a group of pleasant songs. She is at the opposite pole from singers like Janet Baker and Lorraine Hunt Lieberson. Gens gets such a good press for just about everything she does that I felt sure I was going to enjoy her performance. In the event I was sorely disappointed and would place her a distant eleventh in my recent survey of ten different versions.

\"A beautiful voice is not enough.\" Maria Callas

Mirror Image

Quote from: Tsaraslondon on July 21, 2021, 12:08:42 AM
I don't share your enthusiasm for the Gens version, I'm afraid, which seems to me lightweight and lacking in any depth. If anything, I'm with Ralph Moore, who says in his survey for Music Web International, http://musicweb-international.com/classrev/2019/Aug/Berlioz_nuits_survey.pdf

Most of the speeds are far too fast and the work emerges as a just a group of pleasant songs. She is at the opposite pole from singers like Janet Baker and Lorraine Hunt Lieberson. Gens gets such a good press for just about everything she does that I felt sure I was going to enjoy her performance. In the event I was sorely disappointed and would place her a distant eleventh in my recent survey of ten different versions.

You see you bring up points that actually make me give Gens even higher praise, especially in terms of the overall tempi chosen and the lightness of Gens' voice. She provides this listener with a pleasing alternative to Lieberson, Baker or Balleys. There's a good review on MusicWeb that makes some good points:

http://www.musicweb-international.com/classrev/2002/Jan02/Berlioz_Gens.htm

Of course, it's our own ears that are the judges at the end of the day and I felt that Gens' performance touched my heart and I've always loved her voice. It's kind of like you and Maria Callas. I'm no fan of Callas after hearing her in many different performances, but it seems people are quick to defend her whenever someone doesn't enjoy what she does or her voice. In my case, I accept that Gens' interpretation isn't for every one and I can certainly understand the criticisms from you and people like Ralph Moore, but what struck this listener was the sincerity of the performance and the emotion in her delivery.

Tsaraslondon

#622
Quote from: Mirror Image on July 21, 2021, 06:44:09 AM
You see you bring up points that actually make me give Gens even higher praise, especially in terms of the overall tempi chosen and the lightness of Gens' voice. She provides this listener with a pleasing alternative to Lieberson, Baker or Balleys. There's a good review on MusicWeb that makes some good points:

http://www.musicweb-international.com/classrev/2002/Jan02/Berlioz_Gens.htm

Of course, it's our own ears that are the judges at the end of the day and I felt that Gens' performance touched my heart and I've always loved her voice. It's kind of like you and Maria Callas. I'm no fan of Callas after hearing her in many different performances, but it seems people are quick to defend her whenever someone doesn't enjoy what she does or her voice. In my case, I accept that Gens' interpretation isn't for every one and I can certainly understand the criticisms from you and people like Ralph Moore, but what struck this listener was the sincerity of the performance and the emotion in her delivery.

I'm sorry. I do hope I didn't upset you. I'd heard quite a few good things about Gens' performance and had assumed I would enjoy it; and I did enjoy her singing of Villanelle, but the very fast tempo adopted for Le spectre de la rose already alienated me and the song didn't make anywhere near the emotional impact I want it to. I don't think the songs really suit a soprano, and of the soprano versions I do own, Steber and De Los Angeles have particularly rich lower registers, though, like Gens, De Los Angeles is more successful in the outer songs than the middle ones.

\"A beautiful voice is not enough.\" Maria Callas

Mirror Image

#623
Quote from: Tsaraslondon on July 22, 2021, 03:50:51 AM
I'm sorry. I do hope I didn't upset you. I'd heard quite a few good things about Gens' performance and had assumed I would enjoy it; and I did enjoy her singing of Villanelle, but the very fast tempo adopted for Le spectre de la rose already alienated me and the song didn't make anywhere near the emotional impact I want it to. I don't think the songs really suit a soprano, and of the soprano versions I do own, Steber and De Los Angeles have particularly rich lower registers, though, like Gens, De Los Angeles is more successful in the outer songs than the middle ones.

There's no need to be sorry as you didn't upset me. :) As I wrote, I completely understand all the criticisms I've read about Gens' performance, but, you see, I love her voice and whether her voice was 'right' for this song cycle didn't matter to me. What mattered was how the performance affected me. Everything we write about music is subjective. What is successful for one listener isn't for another, but one thing we can agree on is that this song cycle is exquisite and one of Berlioz's most gorgeous musical creations.

I'll add that I also listened to the famed Crespin/Ansermet performance, but it did absolutely nothing for me and I wasn't impressed with her voice all that much. A classic case of being overhyped, IMHO and this is something that further illustrates my point about how we all hear music differently.

Tsaraslondon

Quote from: Mirror Image on July 22, 2021, 06:36:27 AM

I'll add that I also listened to the famed Crespin/Ansermet performance, but it did absolutely nothing for me and I wasn't impressed with her voice all that much. A classic case of being overhyped, IMHO and this is something that further illustrates my point about how we all hear music differently.

On that I agree with you completely, and, oddly enough so too do Ralph Moore and the Berlioz scholar, David Cairns. The Ravel Shéhérazade that it is coupled with is superb, but the Berlioz has always struck me as being rather dull, lugubrious and uninteresting.
\"A beautiful voice is not enough.\" Maria Callas

Mirror Image

Quote from: Tsaraslondon on July 22, 2021, 07:24:42 AM
On that I agree with you completely, and, oddly enough so too do Ralph Moore and the Berlioz scholar, David Cairns. The Ravel Shéhérazade that it is coupled with is superb, but the Berlioz has always struck me as being rather dull, lugubrious and uninteresting.

Yes, indeed. The Ravel fares much better.

André

Gens takes almost a minute longer in Le spectre de la rose in her second recording of Nuits d'été. In fact, she is slower in all but one song (Au cimetière). All told, 28 mins vs under 26. The voice has become richer in the medium, which suits some of the songs, but not the high-lying ones where she is not as free on top as before.

Berlioz didn't intend them to be sung as a cycle - at least not at first - and the mix of genres, from high-lying chirpy spring song to full blown tragic aria for low voice is hard to encompass both vocally and dramatically. I've heard it in concert twice: the vocal and facial changes involved are a challenge for the singer and somewhat disconcerting for the listener. The truth is that it's extremely difficult for any single-voice version to do justice to the cycle.

I've sampled extensively about a dozen I didn't know and the picture hasn't really changed. From what I've heard Hunt Lieberson, von Stade and Brigitte Balleys (with Herreweghe) seem the most promising. I've read Musicweb's Ralph Moore's extensive recension of some 42 recordings and I find his reviews to be on the money for some, all wet for others. There is simply no consensus possible when it comes to that work.

Cato

"Meet Miss Ruth Sherwood, from Columbus, Ohio, the Middle of the Universe!"

- Brian Aherne introducing Rosalind Russell in  My Sister Eileen (1942)

Mirror Image

Quote from: André on July 22, 2021, 10:15:58 AM
Gens takes almost a minute longer in Le spectre de la rose in her second recording of Nuits d'été. In fact, she is slower in all but one song (Au cimetière). All told, 28 mins vs under 26. The voice has become richer in the medium, which suits some of the songs, but not the high-lying ones where she is not as free on top as before.

Berlioz didn't intend them to be sung as a cycle - at least not at first - and the mix of genres, from high-lying chirpy spring song to full blown tragic aria for low voice is hard to encompass both vocally and dramatically. I've heard it in concert twice: the vocal and facial changes involved are a challenge for the singer and somewhat disconcerting for the listener. The truth is that it's extremely difficult for any single-voice version to do justice to the cycle.

I've sampled extensively about a dozen I didn't know and the picture hasn't really changed. From what I've heard Hunt Lieberson, von Stade and Brigitte Balleys (with Herreweghe) seem the most promising. I've read Musicweb's Ralph Moore's extensive recension of some 42 recordings and I find his reviews to be on the money for some, all wet for others. There is simply no consensus possible when it comes to that work.

Interesting. Thanks for the feedback, Andre. Didn't Berlioz also specify that these songs not be sung by a particular voice type? That, in fact, he preferred different vocal ranges for different songs? Oh and, yes, Brigitte Balleys is fantastic in this work or, at least, I think she does a great job.

Tsaraslondon

Quote from: André on July 22, 2021, 10:15:58 AM
Gens takes almost a minute longer in Le spectre de la rose in her second recording of Nuits d'été. In fact, she is slower in all but one song (Au cimetière). All told, 28 mins vs under 26. The voice has become richer in the medium, which suits some of the songs, but not the high-lying ones where she is not as free on top as before.

Berlioz didn't intend them to be sung as a cycle - at least not at first - and the mix of genres, from high-lying chirpy spring song to full blown tragic aria for low voice is hard to encompass both vocally and dramatically. I've heard it in concert twice: the vocal and facial changes involved are a challenge for the singer and somewhat disconcerting for the listener. The truth is that it's extremely difficult for any single-voice version to do justice to the cycle.

I've sampled extensively about a dozen I didn't know and the picture hasn't really changed. From what I've heard Hunt Lieberson, von Stade and Brigitte Balleys (with Herreweghe) seem the most promising. I've read Musicweb's Ralph Moore's extensive recension of some 42 recordings and I find his reviews to be on the money for some, all wet for others. There is simply no consensus possible when it comes to that work.

I find I agree with Ralph Moore more often than I don't, so he's become a fairly reliable guide for me. I really don't understand the praise that has been heaped on the Balleys version. I can't quite get past the sound of the voice itself and I don't like it at all, I'm afraid. It's interetsing that Moore's thoughts on recorded versions of the cycle also tend to tally with those of the Berlioz scholar, David Cairns in Song on Record II.

I know that the songs weren't originally planned as a cycle, but Berlioz did eventually group them all together and I think they make a very satisfying progression with two lighter songs framing four profoundly moving ones. The given order also works best, as demonstrated by Régine Crespin who unaccountably places Absence before Sur les lagunes. I have the multi singer Davis version, which is interesting, but I actually prefer the unity a single voice brings to the work. I also prefer those singers who can bring the necessary weight and depth to the middle songs, which means I tend to prefer a mezzo in the music, and, after all, it is mezzos who have generally been more successful in the work, always excepting soprano Eleanor Steber, who, in any case, had a very rich and firm lower register.

I have only just acquired the Von Stade version as Moore makes it his prime recommendation, but I haven't managed to listen to it yet. For the moment, my top three are Baker with Barbirolli, Hunt Lieberson with McGegan and Steber with Mitropoulos.
\"A beautiful voice is not enough.\" Maria Callas

Tsaraslondon



I've recently acquired this eight disc set. There's a lot to get through, but so far I've listened to the first four discs and I have discovered some new names.

The greats, like Ponselle, Caruso and Pinza still shine through, but almost every one of these singers has something to offer, not least the clean focus of their voices as compared to many of today's singers.

A big surprise for me was hearing Schwarzkopf and Panerai sing the Act II duet for Violetta and Germont from La Traviata. Famously Schwarzkopf dropped the role of Violetta after seeing Callas, saying she saw no point in continuing to sing a role another contemporary artist performed to perfection. However this duet suggests that Schwarzkopf was an appreciable Violetta, urgently dramatic and emotionally engaged, with no trace of artifice or mannerism. Definitely worth hearig.

\"A beautiful voice is not enough.\" Maria Callas

Pohjolas Daughter

Quote from: Tsaraslondon on August 09, 2021, 02:35:02 AM


I've recently acquired this eight disc set. There's a lot to get through, but so far I've listened to the first four discs and I have discovered some new names.

The greats, like Ponselle, Caruso and Pinza still shine through, but almost every one of these singers has something to offer, not least the clean focus of their voices as compared to many of today's singers.

A big surprise for me was hearing Schwarzkopf and Panerai sing the Act II duet for Violetta and Germont from La Traviata. Famously Schwarzkopf dropped the role of Violetta after seeing Callas, saying she saw no point in continuing to sing a role another contemporary artist performed to perfection. However this duet suggests that Schwarzkopf was an appreciable Violetta, urgently dramatic and emotionally engaged, with no trace of artifice or mannerism. Definitely worth hearig.
Quite interesting to find out that Schwarzkopf had sung Violetta!  Did she ever record the complete opera?

As an aside, I've seen other box sets in that series that I've been tempted to buy (They went out of print so quickly though--or at least by the time that I found out about them).

PD
Pohjolas Daughter

Tsaraslondon

Quote from: Pohjolas Daughter on August 10, 2021, 05:11:20 AM
Quite interesting to find out that Schwarzkopf had sung Violetta!  Did she ever record the complete opera?

As an aside, I've seen other box sets in that series that I've been tempted to buy (They went out of print so quickly though--or at least by the time that I found out about them).

PD

Schwarzkopf sang quite a few roles in her early career that she later dropped to concentrate on and specialise in just a few select roles. Those were the Marschallin, Donna Elvira, Fiordiligi, Countess Madeleine in Capriccio and the Countess in Le Nozze di Figaro. She also added Alice Ford, which she sings brilliantly on the Karajan recording of Falstaff. There is no recording of her singing Violetta, either live or in the studio.

I have the Wagner Introuvables box, which is also excellent, and has slightly better presentation, with biographies of all the singers. The Verdi box just has some photos and an essay by Keith Hardwicke on the transfers. I also used to have both the Schwarzkopf and De Los Angeles boxes on LP, which had beautiful and informative booklets. I never got them on CD, as I have all the material in other compilations.
\"A beautiful voice is not enough.\" Maria Callas

Pohjolas Daughter

Quote from: Tsaraslondon on August 10, 2021, 05:46:12 AM
Schwarzkopf sang quite a few roles in her early career that she later dropped to concentrate on and specialise in just a few select roles. Those were the Marschallin, Donna Elvira, Fiordiligi, Countess Madeleine in Capriccio and the Countess in Le Nozze di Figaro. She also added Alice Ford, which she sings brilliantly on the Karajan recording of Falstaff. There is no recording of her singing Violetta, either live or in the studio.

I have the Wagner Introuvables box, which is also excellent, and has slightly better presentation, with biographies of all the singers. The Verdi box just has some photos and an essay by Keith Hardwicke on the transfers. I also used to have both the Schwarzkopf and De Los Angeles boxes on LP, which had beautiful and informative booklets. I never got them on CD, as I have all the material in other compilations.
Thanks for the further information.  I have her in several complete operatic recordings including Le Nozze (which I realized some time ago that I had accidentally bought two copies of on CD--darn those people who keep on changing the album artwork! lol)...and love her in Der Rosen!  And probably a few others [I really need to move two cases that I have in my living room which contain some of my operas.  They are in an awkward to reach kind of place.].  Forgot that I have this CD on Testament (Believe that I found it used?) which has E strano.... which I'll put on soon.  :)



PD
Pohjolas Daughter

Tsaraslondon

Quote from: Pohjolas Daughter on August 10, 2021, 08:44:05 AM
Thanks for the further information.  I have her in several complete operatic recordings including Le Nozze (which I realized some time ago that I had accidentally bought two copies of on CD--darn those people who keep on changing the album artwork! lol)...and love her in Der Rosen!  And probably a few others [I really need to move two cases that I have in my living room which contain some of my operas.  They are in an awkward to reach kind of place.].  Forgot that I have this CD on Testament (Believe that I found it used?) which has E strano.... which I'll put on soon.  :)



PD

That's one of the few Schwarzkopf discs I don't have. I have most of the studio operas, though. I'm missing Cornelius's Der Barbier von Bagdad and Orff's Die Kluge. Neither do I have the Karajan recordings of Le Nozze di Figaro and Cosí fan tutte, though I do have Giulini and Böhm.

This box set is invaluable as it presents all the recital discs, exactly as they were originally intended.



I review it on my blog too http://tsaraslondon.com/2019/05/30/elisabeth-schwarzkopf-the-complete-recitals-1952-1974/.
\"A beautiful voice is not enough.\" Maria Callas

Pohjolas Daughter

Quote from: Tsaraslondon on August 10, 2021, 11:59:30 PM
That's one of the few Schwarzkopf discs I don't have. I have most of the studio operas, though. I'm missing Cornelius's Der Barbier von Bagdad and Orff's Die Kluge. Neither do I have the Karajan recordings of Le Nozze di Figaro and Cosí fan tutte, though I do have Giulini and Böhm.

This box set is invaluable as it presents all the recital discs, exactly as they were originally intended.



I review it on my blog too http://tsaraslondon.com/2019/05/30/elisabeth-schwarzkopf-the-complete-recitals-1952-1974/.
I'm not familiar with the Cornelius and Orff works.  Have you heard those operas before TL?  If so, how did you like them?  I did do some double-checking and I have Cosi with Bohm and highlights of Le Nozze with Karajan and also with Giuliani.  Glad that I double-checked some things as (unless I misshelved it), I don't have two copies of Le Nozze (complete) with Karajan--just the highlights and the one copy that I had put into a pile to either sell/give to a friend/donate.   ::)

Wow, that's quite the collection that you have!  :)

That boxed set looks very nice!  I have the EMI Icon set plus that Testament one that I had just mentioned...another single CD on EMI called Opera Arias plus some Strauss and Wolf on CD (the Four Last also on LPs) plus a few other complete opera sets like Der Rosenkavalier and Don Giovanni on CD.  Pretty certain that I don't have much on LP with her.

PD
Pohjolas Daughter

Tsaraslondon

Quote from: Pohjolas Daughter on August 11, 2021, 05:27:59 AM

Wow, that's quite the collection that you have!  :)

That boxed set looks very nice!  I have the EMI Icon set plus that Testament one that I had just mentioned...another single CD on EMI called Opera Arias plus some Strauss and Wolf on CD (the Four Last also on LPs) plus a few other complete opera sets like Der Rosenkavalier and Don Giovanni on CD.  Pretty certain that I don't have much on LP with her.

PD

The box set is excellent, but for one thing; we don't get any texts or translations. Some of the material is quite obscure, and with a singer like Schwarzkopf, who was so specific in her response to the text, that is a serious ommission. Sometimes I think these classical companies haven't the first idea about what they are selling.

Out of interest, I thought I'd list what Schwarzkopf complete sets I have. They are:-

Humperdinck: Hänsel und Gretel - Karajan
Lehar: Die lustige Witwe - Ackermann
Lehar: Die lustige Witwe - Von Matacic
Lehar: Das Land des Lächelns - Ackermann
Mozart: Cosi fan tutte - Böhm
Mozart: Don Giovanni - Furtwäangler (live)
Mozart: Don Giovanni - Giulini
Mozart: Le Nozze di Figaro - Giuini
Puccini: Turandot - Serafin
J. Strauss: Die Fledermaus - Karajan
J.Strauss: Der Zigeunerbaron - Ackermann
J. Strauss: Eine Nacht in Venedig - Ackermann
J. Strauss: Wiener Blut
R.Strauss: Ariadne auf Naxos - Karajan
R.Strauss: Capriccio - Sawallisch
R.Strauss: Der Rosenkavalier - Karajan
Verdi: Falstaff - Karajan
Verdi: Requiem - Giulini
Wagner: Die Meistersinger - Karajan (Bayreuth 1951)

I did have Der Barbier von Bagdad on LP, pleasant enough, lighthearted comic opera, but I never felt the need to acquire it on CD. I've heard Die Kluge once I think, but it too didn't make much of an impression. I can't imagine ever wanting to be without any of the CD sets I've listed above.

\"A beautiful voice is not enough.\" Maria Callas

Pohjolas Daughter

#637
Quote from: Tsaraslondon on August 11, 2021, 08:31:16 AM
The box set is excellent, but for one thing; we don't get any texts or translations. Some of the material is quite obscure, and with a singer like Schwarzkopf, who was so specific in her response to the text, that is a serious ommission. Sometimes I think these classical companies haven't the first idea about what they are selling.

Out of interest, I thought I'd list what Schwarzkopf complete sets I have. They are:-

Humperdinck: Hänsel und Gretel - Karajan✔️
Lehar: Die lustige Witwe - Ackermann
Lehar: Die lustige Witwe - Von Matacic✔️ (on LP)
Lehar: Das Land des Lächelns - Ackermann
Mozart: Cosi fan tutte - Böhm✔️
Mozart: Don Giovanni - Furtwäangler (live)
Mozart: Don Giovanni - Giulini✔️
Mozart: Le Nozze di Figaro - Giuini✔️ (Highlights) & complete with Karajan
Puccini: Turandot - Serafin✔️ (Found that I have a copy on LP!)
J. Strauss: Die Fledermaus - Karajan✔️
J.Strauss: Der Zigeunerbaron - Ackermann
J. Strauss: Eine Nacht in Venedig - Ackermann
J. Strauss: Wiener Blut
R.Strauss: Ariadne auf Naxos - Karajan
R.Strauss: Capriccio - Sawallisch
R.Strauss: Der Rosenkavalier - Karajan✔️
Verdi: Falstaff - Karajan✔️
Verdi: Requiem - Giulini✔️ (Note:  not with Giulini but with De Sabata)
Wagner: Die Meistersinger - Karajan (Bayreuth 1951)

I did have Der Barbier von Bagdad on LP, pleasant enough, lighthearted comic opera, but I never felt the need to acquire it on CD. I've heard Die Kluge once I think, but it too didn't make much of an impression. I can't imagine ever wanting to be without any of the CD sets I've listed above.
In bold:  Yep!  :(

Well, I did a cross-check against your list (Note:  I didn't look well through all of my LPs as a bit difficult to get (easily) to some of them.  I've put a checkmark or note next to the ones that I have.
Pohjolas Daughter

Tsaraslondon



How music stirs the memory. Victoria De Los Angeles was my introduction to Canteloube's glorious arrangements of Auvergne Folk Song, and her first LP, which coupled one side of Auvergne songs with Chausson's Poème de l'amour et de la mer was scarecly ever off my turntable during my days at the Guildhall School of Music and Drama and particularly reminiscent of a summer in 1976. Since then the songs have become enormously popular and there have been any amount of recordings by many well known singers, but these De Los Angeles versions have a special resonance for me.

A mini review on my website if anyone's interested http://tsaraslondon.com/2020/01/12/victoria-de-los-angeles-sings-chants-dauvergne/
\"A beautiful voice is not enough.\" Maria Callas

Tsaraslondon



This disc of Canteloube's gorgeous Auvergne settings is as good as any of the top recommendations in a crowded field. However, for me, it doesn't quite match the magic of the De Los Angeles versions I was listening to yesterday. That said, Jill Gomez has a lovely voice, captures the right balance between folk song simplicity and classical vocal production and Handley and the RLPO provide lush, sensual accompaniments.
\"A beautiful voice is not enough.\" Maria Callas