I think I would try to plump for the entire final scene, starting with
Piange voi and going through the Ah dolce guidami and the "Home Sweet
Home": aria (they will like recogniizing that - Bishop's work (was it
Bishop?) was usesd ad nauseum) to the incredivble Coppia Inniqua.
There'a an embarassment of riches in the entire series of
performances, and the only thing one might regret (besided the c uts)
are that we have it with Rossi-Lemini as Henry and not, the following
year, with Siepi. G-d is not always just.
It's about 15 minutes of music, but it's also a lifetime.
All best
Richard
I agree that Anna B. is a good choice. But if your total time is only
10 minutes, perhaps the opening of Tu che le vanita? Or of Ah non
credea mirarti? In both cases, a single phrase tells the whole story
of her appeal, or lack thereof for nonfans...
http://www.cantabile-subito.de/Sopranos/Callas__Maria/callas__maria.html
dav
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If I only had five minutes to explain what opera and Maria Callas mean
to those who fall under their spell, I would play the scene in
"Philadelphia" in which Tom Hanks puts on the recording of Maria
Callas singing "La Mamma Morta."
Newbies won't really 'get' the technical marvels Callas performed in
one or another brilliant performance. But I don't think anyone
without some knowledge of opera can watch that scene without feeling
that they're missing out on something. Something that can touch those
of us who give it a chance to the very depths of our soul.
Pat
I like dav's idea of the Sonnambula, but I am not so sure the music
really grabs an audience which doesn't know opera - forgive me - so
much.
On Jul 3, 8:28 pm, "richer...@hotnail.com" <richer...@gmail.com>
wrote:
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I would play the Vissi'd'arte from the 1953 EMI Tosca as a conclusion
- pretty much sums her up. Wagner fan
May I suggest the BARBER aria, to show her (for once) having a bit of
fun?
Even though the sound is not great, I would select the duet with
Becchi from the 1948 Nap;es Nabucco. Both are in great voice, Callas
particularly. There are many recordings of this performance that vary
in quality, but after all this is a live 1948 performance.
Frank A.