Th. 3e cycle--Sci. de l'inf. et communication--Grenoble 3, 1985.

The following study is an analysis of New York reviews of performances of Maria Callas and Renata Tebaldi which attempts to discover what opera critics feel to be the most effective artistic balance between singing and acting in opera. Callas and Tebaldi have been chosen as the subjects of the reviews because of their renown as singers, the closely coinciding circumstances of their careers and the polarities which they represented in the issue of acting versus singing in operatic performance. The primary data of the study (largely opera, concert and recording reviews) has been taken from distinguished American journals, such as Saturday Review. The New Yorker. Musical America and The New York Times. Secondary information has been extracted from "news" journals, such as Time and Newsweeky and books, most of which were written by critics who figure prominently in the main body of the analysis. The information (consisting of news stories, personal interviews with the singers, and discussions of critical obligations) has been included in order to gain a broader perspective on the critics, the singers and the concept of acting in opera. The general conclusion reached in this study is that though most critics demand much musical and little dramatic finesse in operatic performance, they are capable of profound appreciation of a singer's histrionic talent and will overlook many vocal flaws when it is manifest. / Arts, Faculty of / Theatre and Film, Department of / Graduate

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In the world of Musical Theatre and Opera, it is not acceptable to simply have a pretty voice; you must be able to portray the character you are singing and ground it in reality. Drama in music theatre was highlighted in the Early Romantic Movement by bel canto composers Rossini, Bellini and Donizetti who re-designed the opera scene format to better tell the story. Late Romantic composers, Puccini and Verdi, took it a step further by writing music to compliment the drama of the story. Twentieth- Century Opera singer Maria Callas is admired for her famous portrayals of title roles in Rossini, Bellini, Donizetti, Verdi and Puccini operas. Callas combined bel canto vocal technique with her dramatic, realistic acting in her opera roles and revolutionized the art form. Callas stressed the importance of understanding and interpreting text and music with precision, detail, specifics and artistry. Her techniques set the standard for future aspiring singer/actors. In the 1970’s, Callas lost her ability to sing, so she conducted Master Classes at the Julliard School of Music. Her Master Classes were the inspiration for Tony Award-Winning Playwright Terrence McNally’s biographical play, Master Class. The play, Master Class, shows Callas as an overbearing, intimidating diva instructing opera students. The play also contains several vulnerable flashback monologues that break down the layers of Callas’ harshness. McNally’s script shows Callas as a guarded, domineering, and callous woman; however, when she is singing or talking to her lover, she becomes a vulnerable, exposed, and available woman. iv With research and examination of Callas’ life, operatic career, operatic composers, bel canto technique, and music analysis, I wrote an original script to portray the multi-dimensional Callas in a one-woman show featuring famous arias Callas is known for singing

Thesis (M. Phil. (Music Technology)) -- University of Stellenbosch, 2006. / ENGLISH ABSTRACT: Modern digital signal processing, allowing a much greater degree of flexibility in audio processing and therefore greater potential for noise removal, pitch correction, filtering and editing, has allowed transfer and audio restoration engineers a diversity of ways in which to “improve” or “reinterpret” (in some cases even drastically altering) the original sound of recordings. This has lead to contrasting views regarding the role of the remastering engineer, the nature and purpose of audio restoration and the ethical implications of the restoration process. The influence of audio restoration on the recorded legacy of a performing artist is clearly illustrated in the case of Maria Callas (1923 - 1977), widely regarded not only as one of the most influential and prolific of opera singers, but also one of the greatest classical musicians of all time. EMI, for whom Callas recorded almost exclusively from 1953 - 1969, has reissued her recordings repeatedly, continually adapting their sound “to the perceived preferences of the record-buying public” (Seletsky 2000: 240). Their attempts at improving the sound of Callas’s recordings to meet with the sonic quality expected of modern recordings, as reissued in the latest releases that form part of EMI’s Callas Edition, Great Recordings of the Century (GROTC) and Historical Series, have resulted in often staggeringly different reinterpretations of the same audio material that bear no resemblance to previous CD or LP incarnations or “evince no consolidated conviction about exactly how Callas’s voice should sound.” In essence, some commentators argue that the “Callas sound” we hear on recent CD releases is not necessarily exactly as the great diva might have sounded. The purpose of this study is to consider the influence of audio restoration and remastering techniques on the recorded legacy of Callas, by illustrating the sometimes startlingly different ways in which her voice has been made to sound, examining and comparing the way in which different remasterings of the same audio material can vary in quality, as well as demonstrating how vastly different sonic reinterpretations of a single recording can affect our perception of an artist’s “true” sound. To this end, various reissues of six different complete opera recordings, including four studio recordings: Tosca (1953), Lucia di Lammermoor (1953), Norma (1954), Madama Butterfly (1955), as well as two “live” performances of Macbeth (1953) and La Traviata (1958), have been evaluated and compared, using the “true” sound of Callas’s voice as reference in comparing the different remasterings. Pitch and frequency spectrum analysis was used to confirm or support any subjective claims and observations and further analysis performed with the aid of a specialised Matlab algorithm. / AFRIKAANSE OPSOMMING: Moderne digitale seinprossesering bied kragtige en veelsydige moontlikhede vir die verwerking van klankseine. Die groter potensiaal vir ruisverwydering, toonhoogte verstelling, filtrering en redigering van opnames bied klankingenieurs ‘n wye verskeidenheid van maniere om die oorspronklike klank van opnames te verbeter, te interpreteer en soms ingrypend te verander. Dit het aanleiding gegee tot teenstrydige en uiteenlopende menings oor die funksie van die klankrestourasie-ingenieur, die aard en doel van klankrestourasie en die etiese gevolge van die restourasieproses. Die invloed van klankrestourasie op die klanknalatenskap van ‘n uitvoerende kunstenaar kan duidelik bestudeer word in die geval van Maria Callas (1923 – 1977), algemeen aanvaar as een van die mees invloedryke en grootse klassieke musici van alle tye. Die platemaatskappy EMI, vir wie Callas feitlik uitsluitlik vanaf 1953 tot 1969 opgeneem het, het haar klankopnames reeds verskeie kere heruitgereik en die klank daarvan deurlopend aangepas om aanklank te vind by die “veronderstelde voorkeure van die publiek” (Seletsky 2000: 240). EMI se pogings om die klank van Callas se opnames te verbeter om aan die klankvereistes van moderne opnames te voldoen, het ontaard in dikwels aangrypend verskillende interpretasies van dieselfde audio materiaal wat geen ooreenkomste toon met vorige laserskyf of langspeelplaat uitgawes nie, asook “geen vasgestelde oortuigings openbaar oor hoe Callas se stem presies moet klink nie.” Sommige critici argumenteer dat die “Callas klank” wat ons op hedendaagse CD uitgawes hoor, nie noodwendig klink soos wat Callas werklik geklink het nie. Die doel van hierdie studie is om die invloed van klankrestourasie op die klanknalatenskap van Callas te bestudeer deur die verskillende wyses waarop die klank van haar stem aangepas is te illustreer, die verskille in klankkwaliteit tussen verskillende uitgawes van dieselfde materiaal te ondersoek en te vergelyk, asook te demonstreer hoe uiteenlopend verskillende interpretasies van ‘n enkele opname die persepsie van ‘n kunstenaar se “ware” klank kan affekteer. Vir hierdie doel is verkeie uitgawes van ses verskillende volledige opera opnames, insluitend vier studio opnames van onderskeidelik Tosca (1953), Lucia di Lammermoor (1953), Norma (1954) en Madama Butterfly (1955), asook twee “lewendige” opnames van Macbeth (1952) en La Traviata (1958) bestudeer deur Callas se “ware” klank as maatstaf te gebruik om die onderskeie opnames te vergelyk. Toonhoogte- en frekwensie spektrum analise, asook analise deur middel van ‘n gespesialiseerde Matlab algoritme, is deurlopend gebruik om enige subjektiewe gevolgtrekkings en waarnemings te staaf.

Die Tradition, der zufolge sich Werkanalyse mit Notentexten befasst – ‚Werken‘ in ihrer Gestalt als Partituren – wird mittlerweile in zahlreichen musikologischen Zusammenhängen hinterfragt. So findet die Analyse von Musik als klingender Praxis (in Bereichen wie Popularmusikforschung und Ethnomusikologie seit langem etabliert) aktuell regen Zuspruch im Diskurs der sich disziplinär formierenden Interpretationsforschung/Performance Studies. Interessanter Weise lässt sich im Schrifttum zu bedeutenden Interpret*innen westlicher Kunstmusik eine quasi komplementäre Tendenz beobachten: Nicht selten verwenden Untersuchungen von Performances hochrangiger Künstlerpersönlichkeiten zur Beschreibung Begriffe, die zugleich Schlüsselkategorien der Analyse schriftlicher Notentexte darstellen (etwa solche aus dem Bereich der musikalischen Formenlehre). Diese Strategie unterstreicht indirekt die Einordnung des vermeintlich peripheren Klangereignisses als Analysegegenstand eigenen Rechts. Der Beitrag belegt diese Beobachtung an Beispielen aus der Literatur zum diskographischen Vermächtnis der Sängerin Maria Callas. Von dort ausgehend werden zunächst methodologische Grundsatzfragen thematisiert: Hat die Erschließung textanalytischer Kategorien für die Performance-Analyse lediglich metaphorische Qualität, oder birgt sie konkret-methodisches Potenzial zur Untersuchung musikalischer Aufführungen? Dass Letzteres zutrifft, wird anschließend am Beispiel einer Einspielung der Scena „O rendetemi la speme“ aus Vincenzo Bellinis Oper I Puritani durch Maria Callas (1953) gezeigt. / The traditional focus of musical analysis on scores – music in its written form as notated »text« – is by now questioned in several musicological contexts. For instance, the analysis of music as sounding practice (as it is well-established e.g. in popular music research and ethnomusicology) is highly acclaimed in the realms of Interpretationsforschung/performance studies, research fields currently undergoing organization as disciplinary integrated scientific discourse formations. Interestingly, in publications on major performers of Western art music, tendencies in a virtually opposite direction can be observed. It is not uncommon that analyses of high-quality performances make use of concepts known as central categories of »musical text analysis« (e.g. features of musical Formenlehre). This strategy can be understood as emphasizing the recognition of the performative event as an object worth of analysis by its own. This article gives evidence for this by quoting publications on the discographical legacy of Maria Callas. Following these observations, basal methodological questions are considered: can the valorisation of categories traditionally located in musico-textual analysis have anything more than purely metaphorical function in the context of performance research? That it indeed offers methodological potential of great value for performance analyses is shown by investigating a recording of the scena »O rendetemi la speme« from Vincenzo Bellini‘s opera I Puritani by Maria Callas (1953).