It is normal to speak several languages in Europe, at least 3. It has to do with the exposure. In her case, she went to live in the various countries she speaks the language of. She was born in the US, lived in Italy and in Greece, ended up living in France until she died. Totally expected for her to speak these 4 languages. Her music ? fantastic and that is what she could do with her voice. Her life is fascinating as she lived with and loved the man who made her famous and beautiful but he lost her to a greedy and narcissistic man. She fell for that fake human being as he took everything she had, then he dumped her for a flat footed, dull and greedy American woman, who had been the US first lady. Onassis was despicable and by loving him, she lost her glitter as a performer and a woman. At the end, they all died, eventually as we all do. Maria went out, with her respect and dignity , still loving that opportunistic man who brought her much but took it all with him, when he died. That is the power of love.
Words cannot express enough thanks to Maria Callas for the joy that her gift has brought us. Her voice was purely from heaven; no discussion about it !
Considering the tragically few videos of Maria that exist, it would be wonderful if someone could do subtitles for these sort of things- then we could all share what is out there....
Tormentata ,ma onesta come nessun personaggio della sua levatura è mai stato.Gli altri,noi,voi tutti dovremmo riflettere quando rendiamo la vita difficile al prossimo.
This interview is very moving in many ways... this was in 1966, two year before she was dumped by Onassis and just 1 year after her very last performance of a whole opera on a stage (Tosca, London July 1965). Yet, you can feel a terrible sadness in her voice and in her words... It seems that she already knows what is going to happen with Onassis. At that time, she had never announced she would retire but it's interesting to listen to her speaking about a career that has existed, and of which she perfectly knows is already behind her.
Her Casta Diva was the 1st one which sent me directly to the libretto! The talent? Not the voice as much as the interpretation. And how she managed all the Romance languages! Her speaking voice, like that of Tebaldi, by the way, is perfectly placed, forward, non-nasal, her American English so beautiful...like her Italian. So much better than most American speakers.
Oh yes. I also think her speaking voice was beautiful. I like to listen to her interviews where her English was perfect. She and Tebaldi were two classy ladies in opera and in life!
Non sono un gran amatore d'opéra. Ma Come dire? Ho per la Callas un sentimente di quasi amore. La sua voce velata mi fa piangere, e il suo personnagio e affacinante : la sua trasformazione fisica, e questa ricerchia d'un amore impossibile. E morta sola a Parigi. Peccato!
Very interesting perceptive. Being only 27; I have no first hand knowledge relating to Onassis or Callas. I only found out about Maria Callas. While randoming listening to female singers on you tube. It's Her interviews, that have caught my eye.
You should learn Italian so you can enjoy your favorite operas the way they were intended to be heard. There is so much meaning and beauty lost in the translation of an opera from Italian to English. I cringe sometimes when I read the translations, they are so poorly done.
I think Italian sounds so beautiful. I don’t mind that I don’t understand it, I can tell by the music that it’s a tragedy or what else. I just love it anyway, because sounds so beautiful and evokes such emotion,
@@debbiejohnson2789 to be sure my friend the romance languages are derived from Latin. All 5 of them. I'm glad I can speak two of them. Italian and Spanish. Some Portuguese but not fluent. Take care Arnold Bourbon Amaral. 🌏🌎🌍🎹🎶🎵
Yeah and I don’t believe that… Just as Maria was out of style and the rest of the world caught up, so too, will Operas (In the future) be written in the language that EVERYONE understands… And you can hear it in her voice. She’s NOT speaking Greek… Nor were MANY of these operas that you RAVE about written in THIS! Her MOTHER tongue… “Cringe!” Your comment, sir! Especially since you’re neither educated nor well read!
It’s too bad EVERYONE wants to speak English, these days! I believe it is the NEXT language for opera… Why would ANY composer pass it up… Of course, you can’t deny the logic! Why! I can EVEN hear Maria Callas say with SUCH SUPERFLUITY! Why not… She DOES talk in absolutes after all… That’s a musical joke… JUST in case you didn’t get it!
Ps. The Interview, with Mike Wallace was very disrespectful towards Maria. Do you have any insight; on why Mike Wallace. wanted to communicate to Maria, with so many low blows? Mike Wallace, looked like a gossiping school girl. Then a professorial interviewer. (That's just my lay opinion)
I’d say these are the main points: 1. Her relationship with La Scala di Milano was akin to a married couple: petty fights, ups and downs, but in the end a joyful and successful relationship. 2. Her struggle to get to the top, through hard work, 14 hour work days, high emotions, her musical background and education at the end of the day... all of that does not exist any more. Success is too easily attained, glory is within reach too easily. At La Scala you must arrive “ all done “, not “ in the process of making “. 3. She has accepted all her roles gracefully, even if she has certain insecurities and still thinks she might get refused if she asks. Opera at the end of the day is about working together, which she has done at La Scala except for her first year where there was a bit of mistrust. 4. She plans to come back and sing when she sorts out her private life and her husband leaves her alone. She considers Italy to be her motherland, her country, even more musically speaking.
(I have always wanted to learn Greek.) Maria, was very unique; not just a singer but as human being. Onassis was a fool; to past her to the side for Jackie.
Her relationships with various opera houses have always been difficult; it was the same with La Scala. MC: Certainly, La Scala had things it couldn’t accommodate. With so many heads to please, one has their own artistic ideas. So, at a certain point, you get tired. There’s no time to politely ask or wonder if they listened. You have to firmly put your foot down. These are things that happen in all professions, all jobs. They’re episodes that come along with successful work. Q: They compared you to Pasta Malibran. What do I think of myself? MC: There are few great artists, few who truly love art with a million to work devotedly and pessimistically, believing they’re worth nothing. Like what we did, working 12-14 hours a day, arguing, trembling, crying with joy-all to create something special, something integral. I believe that doesn’t exist, not yet. Until new artists emerge, I don’t want to offend anyone. I don’t think it’s pride on my part to say that today, the school we come from, it doesn’t exist anymore. Money is earned too easily, there are too many travels, glories, successes given too easily. I’m not talking only about La Scala; the same goes for other places. People come to La Scala and achieve things that shouldn’t be done. Q: When you said no to some places, what led to your refusal? MC: I can’t say. Every role, for me, has had so much love. Every role I’ve accepted, more or less, brought pleasure. But each one required something because in these seven years, each role served the other. Every role served to show what kind of artist I am, of course, but also as a woman, a soul. It took everything, not a single role was useless. They say my proud manner is due to shyness. But how does someone shy get what they want? I never like to ask for something, maybe it’s shyness because I’m always afraid of rejection and suffering. Perhaps it’s a complex of mine. I don’t like asking. They offer, they say it’s good. I say I like it, I would have liked this or that. I think this role could come before or after the other. So, it’s collaboration. I’ve never asked for a role. I’ve never said, “I want this.” Maybe I’ve said, “I’d like this, I wouldn’t like that,” but I’m not ready yet. I wouldn’t like it this year, maybe next year. But I think with La Scala, we’ve never had difficulties about this. Q: Did your refusal come from? MC: I can’t say. I can say that every role, for me, has had a lot of love. Every role has been accepted, more or less, with pleasure. But everything took something because in these seven years, one role served another. Each role served to show what I’m made of as an artist, certainly as a woman, as a soul. I think every role was necessary. There was nothing useless. My proud manner, they say, comes from shyness. But how does someone shy get what they want? I never like to ask for something. Maybe it’s shyness because I’m always afraid of rejection and suffering. Perhaps it’s my complex. In short, I don’t like asking. They offer, they say it’s good, and I say I like it. I would have liked this or that. I think this role could come before or after the other. So, it’s collaboration. I’ve never asked for a role. I’ve never said, “I want this.” Maybe I’ve said, “I’d like this, I wouldn’t like that.” But I’m not ready yet. I wouldn’t like it this year, maybe next year. But I think with La Scala, we’ve never had difficulties about this. Q: When you turned down a role, what prompted your refusal? MC: can’t say. Every role, for me, has had a lot of love. Every role was accepted, more or less, with pleasure. But each one required something because in these seven years, one role served the other. Each role served to demonstrate what I’m made of as an artist, naturally, as a woman, as a soul. I believe each role was necessary. There was nothing useless. They say my proud demeanor comes from shyness. But how can someone shy achieve what they want? I never like to ask for something. Perhaps it’s shyness because I’m always afraid of being refused and suffering. Maybe it’s a complex of mine. In short, I don’t enjoy asking. They offer, they say it’s fine, and I say I like it. I would have liked this or that. I think this role could go before or after the other. So, it’s collaboration. I’ve never asked for a role. I’ve never said, “I want this.” Maybe I’ve said, “I’d like this, I wouldn’t like that.” But I’m not ready yet. I wouldn’t like it this year, maybe next year. But I think with La Scala, we’ve never had difficulties about this. Q: What prompts your refusal? MC: I can’t say. I can say that every role, for me, has received so much love. Every role has been accepted, more or less, with pleasure. But each one demanded something because in these seven years, one role served another. Each role served to demonstrate what I’m made of as an artist, naturally, as a woman, as a soul. I believe every role was needed. There was nothing unnecessary. They say my proud manner is due to shyness. But how can a shy person get what they want? I never like to ask for something. Maybe it’s shyness because I’m always afraid of being rejected and suffering. Perhaps it’s my own complex. In short, I don’t enjoy asking. They offer, they say it’s good, and I say I like it. I would have liked this or that. I think this role could come before or after the other. So, it’s collaboration. I’ve never asked for a role. I’ve never said, “I want this.” Maybe I’ve said, “I’d like this, I wouldn’t like that.” But I’m not ready yet. I wouldn’t like it this year, maybe next year. But I think with La Scala, we’ve never had difficulties about this. Q: Will you return to singing at La Scala? MC: They haven’t told me. They keep telling me every year, every month. But when I return, I want to come back when I have peace. Not peace from the audience-I know that’s there. Intimately, not with myself, because I know I’m working even if others leave. That is, if the small enemies, the ones I mentioned before, the pointless troublemakers, which I think don’t exist anymore, if they leave me alone. Also, personally, my husband. He should leave me in peace so I can return almost to my homeland, because Italy is my homeland, especially musically. To return in complete peace, to work for La Scala, which is the only theater in the world, the only one that’s truly mine. It suffered with me, felt with me, received the best of me.
@@antben8992 non dicevo lei : é stato ridoppiato l' intervistatore a 3 minuti e 27 ad esempio le era stato rischiesto quale ruolo le fosse riuscito maggiormente mentre qui le chiede il perché avesse rifiutato alcuni ruoli : difatti la risposta della signora Callas non combacia con la domanda.... Comunque quattro anni fa non era originale nemmeno la voce della Callas in seguito (almeno lei riprestinata ,)
Sicuramente l'intervistatore è stato doppiato, infatti questa non è la voce di Emilio Pozzi, un giornalista che tante volte l'aveva intervistata per il giornale radio della RAI
She learned Italian after her marriage with B. Meneghini and (supposedly) they communicated in a Veneto dialect! But she definitely had a "foreign" accent, in every language she spoke...
I think this is because she also spoke Greek as a first language (she has a foreign accent in greek too!), usually Spanish and Greek have similar ways of pronouncing consonants and vowels. I am a native Greek speaker and people often tell me I have a Spanish taint in my accent... confusing!
I'm Italian and can tell you that she speaks Italian VERY well....she has just a slight foreign accent, but all and all excellent use of the language and accent
Greek has more or less the spanish accent from Spain. As italian she sounds to me like she has a slight foreign accent but I can't recognize a specific one.
Sì e in più la sofferenza di non avere una famiglia come avrebbe desiderato (nemmeno quella di origine😢), soprattutto in quel periodo in cui ormai cantare diventava sempre più difficile
Her Italian was better than the average spoken Italian people speak in Italy nowadays. Syntactically and grammatically was flawless. Spettacolare.
she was much smarter than the average person of any time haha
how is her accent may i ask you?
I don't speak Italian, but I am amazed listening her speaking all the languages she spoke..she was a real magic, the one and only
drinka pavlovic , she really was an amazing woman.🙌😍
I speak italian, and she spoke perfectly!
Please check out soprano Kasondra
Aside from her musical gifts, she was fiercely intelligent & carried herself like a goddess!
It is normal to speak several languages in Europe, at least 3. It has to do with the exposure. In her case, she went to live in the various countries she speaks the language of. She was born in the US, lived in Italy and in Greece, ended up living in France until she died. Totally expected for her to speak these 4 languages. Her music ? fantastic and that is what she could do with her voice. Her life is fascinating as she lived with and loved the man who made her famous and beautiful but he lost her to a greedy and narcissistic man. She fell for that fake human being as he took everything she had, then he dumped her for a flat footed, dull and greedy American woman, who had been the US first lady. Onassis was despicable and by loving him, she lost her glitter as a performer and a woman. At the end, they all died, eventually as we all do. Maria went out, with her respect and dignity , still loving that opportunistic man who brought her much but took it all with him, when he died. That is the power of love.
THE most gorgeous and identifiable voice in Opera history.
Words cannot express enough thanks to Maria Callas for the joy that her gift has brought us. Her voice was purely from heaven; no discussion about it !
Non si puo' non amarla.Intelligente e vera,sincera come le sue interpretazione
Considering the tragically few videos of Maria that exist, it would be wonderful if someone could do subtitles for these sort of things- then we could all share what is out there....
Amazing Italian speaking
"La scuola da cui noi veniamo . . . non esiste più!" Ma certissimo, o mia regina! Certissimo, tristamente.
Gencer era migliore
¡Va Bene con la Callas!
Demonio!
Tormentata ,ma onesta come nessun personaggio della sua levatura è mai stato.Gli altri,noi,voi tutti dovremmo riflettere quando rendiamo la vita difficile al prossimo.
How beautiful was she looking ! I love the way she talk and her speaking voice.
Che donna fantastica!
This interview is very moving in many ways... this was in 1966, two year before she was dumped by Onassis and just 1 year after her very last performance of a whole opera on a stage (Tosca, London July 1965). Yet, you can feel a terrible sadness in her voice and in her words... It seems that she already knows what is going to happen with Onassis. At that time, she had never announced she would retire but it's interesting to listen to her speaking about a career that has existed, and of which she perfectly knows is already behind her.
Great observation on your part, Faust, abb NBC d so true. Onassis, what a scum bag!
Sorry for typos, Faust. Great observation on your part! So sad and so true. Onassis was a scum bag.
She wasn't dumped tho
Es evidente que sufrió mucho con esa relación, pienso que nunca se recuperó de ese fracaso.
Her Casta Diva was the 1st one which sent me directly to the libretto! The talent? Not the voice as much as the interpretation. And how she managed all the Romance languages! Her speaking voice, like that of Tebaldi, by the way, is perfectly placed, forward, non-nasal, her American English so beautiful...like her Italian. So much better than most American speakers.
Oh yes. I also think her speaking voice was beautiful. I like to listen to her interviews where her English was perfect. She and Tebaldi were two classy ladies in opera and in life!
@@debbiejohnson2789 As do I. BTW: Her French was parfait too. What a linguist.
@@mckavitt13 Non, son français était bon, mais loin d'être parfait. Parole de Libanais :-))
She could speak Greek, English, French, Italian and she is right saying that her standard doesn't exist anymore.
Unlike Mrs. Kennedy, Maria Callas spoke four languages extremely well.
The one and only ❤️
Una grande donna e artista! Molto carismatica e intelligente!!!
Non sono un gran amatore d'opéra. Ma Come dire? Ho per la Callas un sentimente di quasi amore. La sua voce velata mi fa piangere, e il suo personnagio e affacinante : la sua trasformazione fisica, e questa ricerchia d'un amore impossibile. E morta sola a Parigi. Peccato!
Un suicidio annunciato! Si presume sia stato un suicidio e comunque è morta sola abbandonata da tutti!
Voglio troppo bene a questa donna ❤
La Diva María Callas.
La eminencia de la ópera del siglo xx
Interesante e triste.... Come un adio all'Opera... et spratutto la tristezza nell'occhi dice tutto...
Very interesting perceptive. Being only 27; I have no first hand knowledge relating to Onassis or Callas. I only found out about Maria Callas. While randoming listening to female singers on you tube. It's Her interviews, that have caught my eye.
è incredibile come la sua voce nel parlato sia veramente bassa :)
un estensione invidiabbile
ma anche lei era più grande qui. quando era più giovane la sua voce nel parlato era un po' più chiara e alta ma ancora con profondità
Noi ti amiamo per sempre Maria❤
Bella...
ÙNICA !!!!!!!!!!!!!!!! ATEMPORAL !!!!!!!!!!!!!!!!!!!!
Thank you for the insight.
La amo 😍
Ma quante langue parlava, piu di 4? Creatura sublime
Maria parlava l’inglese, greco, l’italiano ed il francese perfettamente
@@philipc67 Il francese lo parlava abbastanza bene, lungi dal perfetto.
You should learn Italian so you can enjoy your favorite operas the way they were intended to be heard. There is so much meaning and beauty lost in the translation of an opera from Italian to English. I cringe sometimes when I read the translations, they are so poorly done.
I think Italian sounds so beautiful. I don’t mind that I don’t understand it, I can tell by the music that it’s a tragedy or what else. I just love it anyway, because sounds so beautiful and evokes such emotion,
@@debbiejohnson2789 to be sure my friend the romance languages are derived from Latin. All 5 of them. I'm glad I can speak two of them. Italian and Spanish. Some Portuguese but not fluent. Take care Arnold Bourbon Amaral. 🌏🌎🌍🎹🎶🎵
Yeah and I don’t believe that… Just as Maria was out of style and the rest of the world caught up, so too, will Operas (In the future) be written in the language that EVERYONE understands… And you can hear it in her voice. She’s NOT speaking Greek… Nor were MANY of these operas that you RAVE about written in THIS! Her MOTHER tongue… “Cringe!” Your comment, sir! Especially since you’re neither educated nor well read!
It’s too bad EVERYONE wants to speak English, these days! I believe it is the NEXT language for opera… Why would ANY composer pass it up… Of course, you can’t deny the logic! Why! I can EVEN hear Maria Callas say with SUCH SUPERFLUITY! Why not… She DOES talk in absolutes after all… That’s a musical joke… JUST in case you didn’t get it!
Notice the subjunctive in her first sentence, ‘siano’.
It's very disappointing, to have a crush on maria callas; when you only understand English.
love, love the rest of my life!!!!!!!!!!!!!!!!!!!!!!!!
Clara, sobria, seria.
Perfect italian
Grande grazie ti fai venire i brividi
Ps. The Interview, with Mike Wallace was very disrespectful towards Maria.
Do you have any insight; on why Mike Wallace. wanted to communicate to Maria, with so many low blows? Mike Wallace, looked like a gossiping school girl. Then a professorial interviewer.
(That's just my lay opinion)
Because he was American and more interested by the gossips and scandals than by really talking about her career and wishes.
He revealed his own lack of character.
Wallace was a thuggish interviewer, check out his interview with Bernstein.
She is very fluent in Italian and French. English is her native language.
Not Greek?
no greek was her native language. she was greek.
She wasn't fluent in French. Her French was good enough.
Where is the rest????
💞💝
Can someone give a brief summary in English about what she says?
Thank you
I’d say these are the main points:
1. Her relationship with La Scala di Milano was akin to a married couple: petty fights, ups and downs, but in the end a joyful and successful relationship.
2. Her struggle to get to the top, through hard work, 14 hour work days, high emotions, her musical background and education at the end of the day... all of that does not exist any more. Success is too easily attained, glory is within reach too easily. At La Scala you must arrive “ all done “, not “ in the process of making “.
3. She has accepted all her roles gracefully, even if she has certain insecurities and still thinks she might get refused if she asks. Opera at the end of the day is about working together, which she has done at La Scala except for her first year where there was a bit of mistrust.
4. She plans to come back and sing when she sorts out her private life and her husband leaves her alone. She considers Italy to be her motherland, her country, even more musically speaking.
@@Gabriel-hs9mv Thank you very much!! Very much appreciate it!
@@Gabriel-hs9mvthank you so much for the translations!!!
(I have always wanted to learn Greek.) Maria, was very unique; not just a singer but as human being. Onassis was a fool; to past her to the side for Jackie.
Her relationships with various opera houses have always been difficult; it was the same with La Scala.
MC: Certainly, La Scala had things it couldn’t accommodate. With so many heads to please, one has their own artistic ideas. So, at a certain point, you get tired. There’s no time to politely ask or wonder if they listened. You have to firmly put your foot down. These are things that happen in all professions, all jobs. They’re episodes that come along with successful work.
Q: They compared you to Pasta Malibran. What do I think of myself?
MC: There are few great artists, few who truly love art with a million to work devotedly and pessimistically, believing they’re worth nothing. Like what we did, working 12-14 hours a day, arguing, trembling, crying with joy-all to create something special, something integral. I believe that doesn’t exist, not yet. Until new artists emerge, I don’t want to offend anyone.
I don’t think it’s pride on my part to say that today, the school we come from, it doesn’t exist anymore. Money is earned too easily, there are too many travels, glories, successes given too easily. I’m not talking only about La Scala; the same goes for other places. People come to La Scala and achieve things that shouldn’t be done.
Q: When you said no to some places, what led to your refusal?
MC: I can’t say. Every role, for me, has had so much love. Every role I’ve accepted, more or less, brought pleasure. But each one required something because in these seven years, each role served the other. Every role served to show what kind of artist I am, of course, but also as a woman, a soul. It took everything, not a single role was useless.
They say my proud manner is due to shyness. But how does someone shy get what they want? I never like to ask for something, maybe it’s shyness because I’m always afraid of rejection and suffering. Perhaps it’s a complex of mine. I don’t like asking. They offer, they say it’s good. I say I like it, I would have liked this or that. I think this role could come before or after the other. So, it’s collaboration. I’ve never asked for a role. I’ve never said, “I want this.” Maybe I’ve said, “I’d like this, I wouldn’t like that,” but I’m not ready yet. I wouldn’t like it this year, maybe next year. But I think with La Scala, we’ve never had difficulties about this.
Q: Did your refusal come from?
MC: I can’t say. I can say that every role, for me, has had a lot of love. Every role has been accepted, more or less, with pleasure. But everything took something because in these seven years, one role served another. Each role served to show what I’m made of as an artist, certainly as a woman, as a soul. I think every role was necessary. There was nothing useless.
My proud manner, they say, comes from shyness. But how does someone shy get what they want? I never like to ask for something. Maybe it’s shyness because I’m always afraid of rejection and suffering. Perhaps it’s my complex. In short, I don’t like asking. They offer, they say it’s good, and I say I like it. I would have liked this or that. I think this role could come before or after the other. So, it’s collaboration. I’ve never asked for a role. I’ve never said, “I want this.” Maybe I’ve said, “I’d like this, I wouldn’t like that.” But I’m not ready yet. I wouldn’t like it this year, maybe next year. But I think with La Scala, we’ve never had difficulties about this.
Q: When you turned down a role, what prompted your refusal?
MC: can’t say. Every role, for me, has had a lot of love. Every role was accepted, more or less, with pleasure. But each one required something because in these seven years, one role served the other. Each role served to demonstrate what I’m made of as an artist, naturally, as a woman, as a soul. I believe each role was necessary. There was nothing useless.
They say my proud demeanor comes from shyness. But how can someone shy achieve what they want? I never like to ask for something. Perhaps it’s shyness because I’m always afraid of being refused and suffering. Maybe it’s a complex of mine. In short, I don’t enjoy asking. They offer, they say it’s fine, and I say I like it. I would have liked this or that. I think this role could go before or after the other. So, it’s collaboration. I’ve never asked for a role. I’ve never said, “I want this.” Maybe I’ve said, “I’d like this, I wouldn’t like that.” But I’m not ready yet. I wouldn’t like it this year, maybe next year. But I think with La Scala, we’ve never had difficulties about this.
Q: What prompts your refusal?
MC: I can’t say. I can say that every role, for me, has received so much love. Every role has been accepted, more or less, with pleasure. But each one demanded something because in these seven years, one role served another. Each role served to demonstrate what I’m made of as an artist, naturally, as a woman, as a soul. I believe every role was needed. There was nothing unnecessary.
They say my proud manner is due to shyness. But how can a shy person get what they want? I never like to ask for something. Maybe it’s shyness because I’m always afraid of being rejected and suffering. Perhaps it’s my own complex. In short, I don’t enjoy asking. They offer, they say it’s good, and I say I like it. I would have liked this or that. I think this role could come before or after the other. So, it’s collaboration. I’ve never asked for a role. I’ve never said, “I want this.” Maybe I’ve said, “I’d like this, I wouldn’t like that.” But I’m not ready yet. I wouldn’t like it this year, maybe next year. But I think with La Scala, we’ve never had difficulties about this.
Q: Will you return to singing at La Scala?
MC: They haven’t told me. They keep telling me every year, every month. But when I return, I want to come back when I have peace. Not peace from the audience-I know that’s there. Intimately, not with myself, because I know I’m working even if others leave. That is, if the small enemies, the ones I mentioned before, the pointless troublemakers, which I think don’t exist anymore, if they leave me alone. Also, personally, my husband. He should leave me in peace so I can return almost to my homeland, because Italy is my homeland, especially musically. To return in complete peace, to work for La Scala, which is the only theater in the world, the only one that’s truly mine. It suffered with me, felt with me, received the best of me.
ma l'intervista è stata doppiata? le domande e le risposte non combaciano perfettamente!
Non è stata doppiata è ORIGINALE!
@@antben8992 non dicevo lei : é stato ridoppiato l' intervistatore a 3 minuti e 27 ad esempio le era stato rischiesto quale ruolo le fosse riuscito maggiormente mentre qui le chiede il perché avesse rifiutato alcuni ruoli : difatti la risposta della signora Callas non combacia con la domanda.... Comunque quattro anni fa non era originale nemmeno la voce della Callas in seguito (almeno lei riprestinata ,)
Sicuramente l'intervistatore è stato doppiato, infatti questa non è la voce di Emilio Pozzi, un giornalista che tante volte l'aveva intervistata per il giornale radio della RAI
English?
I don't know Italian that much but is it just me or does she sound like a Hispanic speaking Italian?
She learned Italian after her marriage with B. Meneghini and (supposedly) they communicated in a Veneto dialect! But she definitely had a "foreign" accent, in every language she spoke...
I think this is because she also spoke Greek as a first language (she has a foreign accent in greek too!), usually Spanish and Greek have similar ways of pronouncing consonants and vowels. I am a native Greek speaker and people often tell me I have a Spanish taint in my accent... confusing!
I'm Italian and can tell you that she speaks Italian VERY well....she has just a slight foreign accent, but all and all excellent use of the language and accent
Greek has more or less the spanish accent from Spain. As italian she sounds to me like she has a slight foreign accent but I can't recognize a specific one.
Poliglotta, parlava un italiano eccellente, direi ricercato, meglio di molti/e madrelingua.
Веллини Опера Нормв
Мария Каллас
О Богиня Богиня
Взор твой ясный озаряет лес свещеный Обрати к нам лик прекрасный Нас улыбкой одари
Удалите свой "комментарий", не позорьтесь сами и не позорьте своих соотечественников!
@@amneris78 А Не могла бы подписать правельно знаток
Оперы я буду рада
Perché nel 66 non aveva una pace nella sua vita?
Aveva contrasti con il marito meneghini per l divorzio e per la divisione dei beni.
Sì e in più la sofferenza di non avere una famiglia come avrebbe desiderato (nemmeno quella di origine😢), soprattutto in quel periodo in cui ormai cantare diventava sempre più difficile
Αχ δέν μιλώ ιταλικά , θα ήθελα να μιλώ για να καταλάβω τι λεει
inoltre, c9i sono dei tagli che rendono l'intervista completamente falsata!
No mi sembra, quali e a quali punti sarebbero? 31.5.22