Maria (Original Motion Picture Soundtrack) Maria Callas

• 1 Ave Maria 04:46
• 2 Casta diva 03:36
• 3 Anvil Chorus 02:51
• 4 O mio babbino caro 02:35
• 5 I Showed Him the Diary 00:28
• 6 Ave Maria (Piano Version) 04:33
• 7 La traviata - Intermezzo 03:59
• 8 Ebben? Ne andrò lontana 04:51
• 9 Medea - Intermezzo 00:43
• 10 E che io son Medea 01:09
• 11 Why I Snort Cocaine 01:18
• 12 That Will Be 100 Drachma 00:18
• 13 Habanera 01:28
• 14 Humming Chorus 02:49
• 15 Qui la voce sua soave 03:45
• 16 Parsifal - Prelude 05:24
• 17 Sempre libera 03:58
• 18 I Believe I'm Expected 00:09
• 19 Habanera (Jazz Version) 02:19
• 20 Last Night Before He Fell Asleep 00:44
• 21 Addio del passato 03:45
• 22 Ave Maria (Fully Orchestrated Version) 03:39
• 23 Piangete voi 02:01
• 24 E lucevan le stelle 03:06
• 25 Vissi d'arte 04:02
• 26 Va pensiero (Introduction) 01:01
• 27 Va pensiero 03:53
• Total Runtime 01:13:10

Info for Maria (Original Motion Picture Soundtrack)

The Original Motion Picture Soundtrack from the movie Maria, directed by Pablo Larraín, written by Steven Knight, which delves into the tumultuous final days of the iconic opera singer in 1970s Paris, interpreted by Angelina Jolie. The producer of the soundtrack is John Warhurst, the sound engineer of Freddy Mercury's biopic Bohemian Rhapsody. John Warhurst's extraordinary work involved immersing Callas's voice in a contemporary sound environment: It contains the most beautiful and iconic arias by Maria Callas and for the first time since her death, Callas's voice resonates in a completely new setting.

Maria Callas, soprano
Orchestre De La Société Des Concerts Du Conservatoire
Nicola Rescigno, conductor

Maria Callas, soprano
Orchestra Del Teatro Alla Scala Di Milano
Tullio Serafin, conductor

Budapest Scoring Orchestra
Budapest Scoring Choir
Péter Illényi, conductor

Maria Callas, soprano
Philharmonia Orchestra
Tullio Serafin, conductor

Maria Callas, soprano
Philharmonia Orchestra
Péter Illényi, conductor

Károly Zentai, piano
Budapest Scoring Orchestra
Péter Illényi, conductor

Budapest Scoring Orchestra
Péter Illényi, conductor

Maria Callas, soprano
Orchestra Del Teatro Alla Scala Di Milano
Tullio Serafin, conductor
Budapest Scoring Orchestra
Péter Illényi, conductor

Maria Callas
was born to a Greek family in New York in 1923. Her vocal training took place in Athens, where her teacher was the coloratura soprano Elvira de Hidalgo, who had sung with Enrico Caruso and Feodor Chaliapin. After early performances in Greece, Callas’s international career was launched in 1947 when she performed the title role in Ponchielli’s La Gioconda at the Arena di Verona in Italy.

Her voice defied simple classification and her artistic range was extraordinary. In her early twenties she sang such heavy dramatic roles as Gioconda, Turandot, Brünnhilde and Isolde, but over the course of her career her most famous roles came to be: Bellini’s Norma and Amina (La sonnambula); Verdi’s Violetta (La traviata); Donizetti’s Lucia di Lammermoor and Anna Bolena, Cherubini’s Medea and Puccini’s Tosca. Though her timbre was not always conventionally beautiful, Callas’s musicianship and phrasing were in a class of their own. She brought characters to vivid life with her skill in colouring her tone and making insightful use of the text.

She is credited with changing the history of opera: by placing a perhaps unprecedented emphasis on musical integrity and dramatic truth, and by transforming perceptions – and reviving the fortunes – of the bel canto repertoire, particularly Bellini and Donizetti.

The 1950s marked the height of Callas’s career. Its base lay in the opera houses of Italy, and she became the prima donna assoluta of Milan’s legendary La Scala – notably in the productions of Luchino Visconti – but her operatic appearances also encompassed London’s Royal Opera House, the New York Metropolitan Opera, Paris Opéra, the Vienna State Opera, and the opera houses of Chicago, Dallas, Houston, Lisbon, and, in the early 1950s, Mexico City, São Paolo and Rio de Janeiro.

From 1959, when she started a life-changing love affair with the Greek shipping magnate Aristotle Onassis, her performing career slowed down and her voice became more fragile. Her final stage performances came in 1965, when she was only 42.

There were many plans for a return to the stage – and for further complete recordings – but they never reached fruition, though in 1974 she gave a series of concerts in Europe, North America and Japan with the tenor Giuseppe di Stefano; he had partnered her frequently in the opera house and in the studio, not least in the 1953 La Scala Tosca under Victor de Sabata, considered a landmark in recording history. Callas died alone in her Paris apartment in September 1977.

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