I came to think of it recently that Callas' voice sounds right mostly when she sings out loud. As a matter of fact, she needed lots of strength when she sang on stage. It probably derives from the way she enforced her vocal cords that she drew the tension in/to the back of her larynx, and that was probably why some accused her of making too much falsetto voices. In some senses, she might really sound like a sopranista. Of course, as an amateur I have no right to comment on her voice like this. But I couldn't help wondering why her voice could have been so different and so loud from other sopranos and why she had often been accused of screaming.

Callas' Lesson Scene in Il Barbiere keeps amazing me. I haven't yet found anyone quite fit in the way she portrays her coloratura. To think of it when she first utters almost every vowel with two notes each. It feels like climbing stairs. It feels like that something's at the end of the staircases. I also come to believe that because of the confidence of Callas the opposite Cont's voice has become so full of emotions, valor and power that flood off like water coming down staircases. The way she interprets the line "dolce idea d'un lieto amore" is most incredible. That's absolute perfection; I hardly find anyone who can quite do it like her. In this aria, all the contract and tension really build up and merge together. Maybe I can put it this way that the cadence of Maria Callas has made opera poetry and perhaps, poetry opera.

最近我開始以為卡拉絲的聲音要在他唱的很大聲的時候才聽起來順耳 . 也因此當她登台時她需要很大的體力. 這也許來自與她運用聲帶的方式, 因為她把力量放在喉嚨的後方, 而這也許也是她曾被批評運用過多假聲的原因. 在某方面看來, 她可能真的聽起來像假音男高音. 當然, 作為一個業餘愛樂者, 我可能沒有資格這麼說, 但是我不免懷疑為何相較其他女高音她的聲音如此不同與音量如此之 大, 還有她的聲音為何常被批評為尖叫聲.

卡拉絲在塞維利的理髮師中的音樂課一幕一直都讓我感到十分驚奇. 我從未發現任何人有辦法像她一樣的方式表演花腔. 試想她如何先用兩個音符詮釋大部分的母音. 像爬樓梯一般. 似乎有什麼東西等在樓梯的另一端. 我不禁這樣想, 或許是卡拉絲的自信, 演對手戲的公爵的聲音有了感情, 勇氣以及力量, 就像洪水洩下階梯一樣透徹. 而最該讓人津津樂道的是她如何詮釋 "愛情甜蜜的思想dolce idea d'un lieto amore"這句. 那真是無可挑剔的完美. 我無法找到任何人做的像她一樣. 在這首詠嘆調中, 所有的對比以及張力合而為一, 也許我可以這麼說, 瑪莉亞卡拉絲的抑揚頓挫早已將歌劇變成了詩, 也有可能詩因此變成了歌劇.
15. Jul. 2008