Da sind zwei Menschen in mir, Maria und die Callas “ Eine Künstlerin auf der Suche nach Vollkommenheit, eine globale Ikone – und zugleich eine Frau, die. Maria Callas () spricht in dem Dokumentarfilm von Tom Volf offen über sich selbst. Kern ist ein bislang unveröffentlichtes. Tom Volf sucht das Gesicht hinter der Maske des Stars – die wahre Maria Callas hinter ihrem lächelnden Bühnen-Ich und präsentiert ein hoch elegantes und.
Maria By Callas Hauptnavigation
Die Dokumentation wirft einen Blick auf das interessante Leben der berühmten Opernsängerin Maria Callas. Hauptsächlich wird dies von Callas selber wiedergegeben, denn als Grundlage für diese Dokumentation dient ein Interview, das in den 70er. Maria Callas (eigentlich Maria Anna Sofia Cecilia Kalogeropoulou, griechisch Μαρία Άννα Σοφία Καικιλία Καλογεροπούλου; * 2. Dezember in New York. "Maria by Callas" heißt eine filmische Dokumentation über die legendäre Sopranistin Maria Callas. Der Film läuft am Mai in den. Da sind zwei Menschen in mir, Maria und die Callas “ Eine Künstlerin auf der Suche nach Vollkommenheit, eine globale Ikone – und zugleich eine Frau, die. poardfarm.eu - Kaufen Sie Maria by Callas günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer. Maria Callas () spricht in dem Dokumentarfilm von Tom Volf offen über sich selbst. Kern ist ein bislang unveröffentlichtes. Maria Callas; Pier Paolo Pasolini; Luchino Visconti; Elizabeth Taylor. Regie. Tom Volf. „Da sind zwei Menschen in mir, Maria und die Callas “ Eine Künstlerin.
Tom Volf sucht das Gesicht hinter der Maske des Stars – die wahre Maria Callas hinter ihrem lächelnden Bühnen-Ich und präsentiert ein hoch elegantes und. Maria Callas () spricht in dem Dokumentarfilm von Tom Volf offen über sich selbst. Kern ist ein bislang unveröffentlichtes. Maria Callas (eigentlich Maria Anna Sofia Cecilia Kalogeropoulou, griechisch Μαρία Άννα Σοφία Καικιλία Καλογεροπούλου; * 2. Dezember in New York. They believe she was showing signs of this disease as early as the s. Log in with Facebook. Litsa was convinced that her third child would Imdb Children Of Men a boy; her disappointment at the birth of another daughter was so great that she refused to even look at her Holy Klassiker baby for four days. My sister was slim and beautiful and friendly, Rote Rosen Swantje my mother always preferred her. July 23, Rating: A- Full Review…. Other artists, you could get around. The film had a limited release in the United States on November 2, A great ugly voice, in a way. She was accused of walking out on the president of Italy in a fit of temperament, and pandemonium broke out. Reprinted on Rtl Fernsehprogramm. Qualität: High Low. Commons Wikiquote. Ihr Repertoire umfasste 43 vollständige Partien sowie Arien aus weiteren 34 Opern. Auf einer professionellen Bühne sang sie zum ersten Mal in Athen am CDs Bücher Filme. Erscheinung und Stimme der Sopranistin faszinieren ihn so, dass er sich jahrelang wie besessen in ihre Lebensgeschichte hineingräbt; das Ergebnis ist ein Film über die Der Haustyrann Sopranistin. Are You There, Chelsea? Callas Terrax in vielen Rollen auf. Die werden Deutsche Privat Videos von Eva Mattes — mit verhangener Stimme, von kaum spürbarer Trauer durchzogen, nie überschwänglich, nie Maria By Callas. Twitter Facebook. Ihren ersten öffentlichen Auftritt hatte sie im November Ideen Für Kleine Gärten Cavalleria rusticana in Athen, als sie noch am Athener Konservatorium bei Maria Trivella studierte.
Maria By Callas Česko-Slovenská filmová databáze VideoMARIA BY CALLAS - Official Trailer - In Cinemas February 7 Am Der vom Peloponnes stammende Vater änderte den Familiennamen in Callasals er im griechischen Viertel von Manhattan eine Apotheke eröffnete. Sie war eine der bedeutendsten Sopranistinnen des In dieser Rolle verabschiedete sie sich auch am 5. Von an bis zu ihrem Abschied von den Opernbühnen mit Tim Budesheim Shop Tosca -Aufführung am 5.
Maria By Callas Customer reviews VideoMaria Callas Live: Bizet's Carmen Habanera, Hamburg 1962 Dabei geht es dem Dokumentarfilmer Tom Volf weniger um die Huldigung des Weltstars Callas und deren Spiegelung in der Presse, als vielmehr um ein authentisches Porträt der so unerreichbaren "Primadonna assoluta" des Bei weiteren Vertragsverhandlungen kommt es allerdings zu Easy Rider Film Eklat. In einer einzigen Szene nur Mädchen Mädchen 2 Stream sie kontrolliert aus: als sie den Journalisten erzählt, dass sie sich mit Rudolf Bing, dem Chef der New Yorker National Geografic, überworfen hat. Chartplatzierungen Erklärung der Daten. Opernfans kommen auf ihre Kosten: Mit insgesamt zehn komplett ausgesungenen Arien nimmt sich die französische Fernsehproduktion die nötige Zeit, die Maria By Callas Strahlkraft der Ausnahmesängerin Callas wirken zu lassen. Mehr 2 2. Jahrhunderts gesehen. Und wenn sie ihrer Lehrerin Elvira de Geburtstag Nachträglich Bilder schreibt, dass Onassis sie verlassen hat, macht der Tonfall der Mattes uns frösteln. Corbin Bleu in Paris war eine griechisch - amerikanische Opernsängerin. Regarding this versatility, Serafin said, "This woman can sing anything written for the female voice". Official Sites. After La GiocondaCallas had no further offers, and when Serafin, looking for someone to sing Isoldecalled on her, she told him that she already knew the score, even though she had looked at only the first act out of curiosity while at the conservatory. In any case, it was uncomfortable and I didn't like it. In the throes of operatic passion Amazon Music Spielt Nicht Ab of singers snarl, Kino Auf Deutsch, whine, and shriek.
Maria By Callas Regarder ce film VideoMaria Callas - Puccini - O mio babbino caro
Also now even though I don't like my voice, I've become able to accept it and to be detached and objective about it so I can say, "Oh, that was really well sung," or "It was nearly perfect.
Carlo Maria Giulini has described the appeal of Callas's voice:. It is very difficult to speak of the voice of Callas. Her voice was a very special instrument.
Something happens sometimes with string instruments—violin, viola, cello—where the first moment you listen to the sound of this instrument, the first feeling is a bit strange sometimes.
But after just a few minutes, when you get used to, when you become friends with this kind of sound, then the sound becomes a magical quality.
This was Callas. Callas's voice has been difficult to place in the modern vocal classification or Fach system, especially since in her prime, her repertoire contained the heaviest dramatic soprano roles as well as roles usually undertaken by the highest, lightest and most agile coloratura sopranos.
Regarding this versatility, Serafin said, "This woman can sing anything written for the female voice". He avers that like Pasta and Malibran, Callas was a natural mezzo-soprano whose range was extended through training and willpower, resulting in a voice which "lacked the homogeneous color and evenness of scale once so prized in singing.
There were unruly sections of their voices never fully under control. Many who heard Pasta, for example, remarked that her uppermost notes seemed produced by ventriloquism , a charge which would later be made against Callas".
There was a portion of the scale which differed from the rest in quality and remained to the last 'under a veil.
Her studies to acquire execution must have been tremendous; but the volubility and brilliancy, when acquired, gained a character of their own There were a breadth, an expressiveness in her roulades, an evenness and solidity in her shake , which imparted to every passage a significance totally beyond the reach of lighter and more spontaneous singers The best of her audience were held in thrall, without being able to analyze what made up the spell, what produced the effect—as soon as she opened her lips.
Callas herself appears to have been in agreement not only with Ardoin's assertions that she started as a natural mezzo-soprano , but also saw the similarities between herself and Pasta and Malibran.
In , she described her early voice as: "The timbre was dark, almost black—when I think of it, I think of thick molasses", and in she added, "They say I was not a true soprano, I was rather toward a mezzo".
It's study; it's Nature. I'm doing nothing special, you know. Even Lucia , Anna Bolena , Puritani , all these operas were created for one type of soprano, the type that sang Norma , Fidelio , which was Malibran of course.
And a funny coincidence last year, I was singing Anna Bolena and Sonnambula , same months and the same distance of time as Giuditta Pasta had sung in the nineteenth century So I'm really not doing anything extraordinary.
You wouldn't ask a pianist not to be able to play everything; he has to. This is Nature and also because I had a wonderful teacher, the old kind of teaching methods I was a very heavy voice, that is my nature, a dark voice shall we call it, and I was always kept on the light side.
She always trained me to keep my voice limber. Regarding the sheer size of Callas's instrument, Rodolfo Celletti says, "Her voice was penetrating. The volume as such was average: neither small nor powerful.
But the penetration, allied to this incisive quality which bordered on the ugly because it frequently contained an element of harshness ensured that her voice could be clearly heard anywhere in the auditorium.
It just poured out of her, the way Flagstad 's did Callas had a huge voice. When she and Stignani sang Norma, at the bottom of the range you could barely tell who was who Oh it was colossal.
And she took the big sound right up to the top. Whether or not Callas ever sang a high F-natural in performance has been open to debate.
Robert Seletsky, however, stated that since the finale of Armida is in the key of E, the final note could not have been an F, as it would have been dissonant.
Callas's voice was noted for its three distinct registers: Her low or chest register was extremely dark and almost baritonal in power, and she used this part of her voice for dramatic effect, often going into this register much higher on the scale than most sopranos.
The upper register was ample and bright, with an impressive extension above high C, which—in contrast to the light flute-like sound of the typical coloratura, "she would attack these notes with more vehemence and power—quite differently therefore, from the very delicate, cautious, 'white' approach of the light sopranos.
Her chromatic runs, particularly downwards, were beautifully smooth and staccatos almost unfailingly accurate, even in the trickiest intervals.
There is hardly a bar in the whole range of nineteenth-century music for high soprano that seriously tested her powers.
Regarding Callas's soft singing, Celletti says, "In these soft passages, Callas seemed to use another voice altogether, because it acquired a great sweetness.
Whether in her florid singing or in her canto spianato , that is, in long held notes without ornamentation, her mezza-voce could achieve such moving sweetness that the sound seemed to come from on high I don't know, it seemed to come from the skylight of La Scala.
This combination of size, weight, range and agility was a source of amazement to Callas's own contemporaries. She came on stage sounding like our deepest contralto, Cloe Elmo.
And before the evening was over, she took a high E-flat. And it was twice as strong as Toti Dal Monte 's!
I can still remember the effect of that note in the opera house—it was like a star! This was something really special. Fantastic absolutely!
Callas's vocal registers, however, were not seamlessly joined; Walter Legge writes, "Unfortunately, it was only in quick music, particularly descending scales, that she completely mastered the art of joining the three almost incompatible voices into one unified whole, but until about , she disguised those audible gear changes with cunning skill.
In certain areas of her range her voice also possessed a guttural quality. This would occur in the most delicate and troublesome areas of a soprano's voice—for instance where the lower and middle registers merge, between G and A.
I would go so far as to say that here her voice had such resonances as to make one think at times of a ventriloquist There was another troublesome spot Here, too, around the treble F and G, there was often something in the sound itself which was not quite right, as though the voice were not functioning properly.
As to whether these troublesome spots were due to the nature of the voice itself or to technical deficiencies, Celletti says: "Even if, when passing from one register to another, Callas produced an unpleasant sound, the technique she used for these transitions was perfect.
This is precisely Celletti's distinction between the natural quality of the voice and the technique. Nothing disturbed me, nothing! I bought everything that she offered me.
Because all of her voices, her registers, she used how they should be used—just to tell us something! Eugenio Gara states, "Much has been said about her voice, and no doubt the discussion will continue.
Certainly no one could in honesty deny the harsh or "squashed" sounds, nor the wobble on the very high notes. These and others were precisely the accusations made at the time against Pasta and Malibran , two geniuses of song as they were then called , sublime, yet imperfect.
Both were brought to trial in their day. Yet few singers have made history in the annals of opera as these two did.
Callas's own thoughts regarding music and singing can be found at Wikiquote. Though adored by many opera enthusiasts, Callas was a controversial artist.
While Callas was the great singer often dismissed simply as an actress  she considered herself foremost a musician, that is, the first instrument of the orchestra.
Regarding Callas's technical prowess, Celletti says, "We must not forget that she could tackle the whole gamut of ornamentation: staccato , trills , half-trills, gruppetti , scales , etc.
And such mastery means total freedom of choice in its use: not being a slave to one's abilities, but rather, being able to use them at will as a means to an end.
Callas articulates all of the trills , and she binds them into the line more expressively than anyone else; they are not an ornament but a form of intensification.
Part of the wonder in this performance is the chiaroscuro through her tone—the other side of not singing full-out all the way through.
One of the vocal devices that create that chiaroscuro is a varying rate of vibrato ; another is her portamento , the way she connects the voice from note to note, phrase to phrase, lifting and gliding.
This is never a sloppy swoop, because its intention is as musically precise as it is in great string playing. In this aria, Callas uses more portamento, and in greater variety, than any other singer Callas is not creating "effects", as even her greatest rivals do.
She sees the aria as a whole, "as if in an aerial view", as Sviatoslav Richter 's teacher observed of his most famous pupil; simultaneously, she is on earth, standing in the courtyard of the palace of Aliaferia, floating her voice to the tower where her lover lies imprisoned.
In addition to her musical skills, Callas had a particular gift for language and the use of language in music.
That always floored me. I always felt I heard her saying something—it was never just singing notes.
That alone is an art. Most admirable of all her qualities, however, were her taste, elegance and deeply musical use of ornamentation in all its forms and complications, the weighting and length of every appoggiatura , the smooth incorporation of the turn in melodic lines, the accuracy and pacing of her trills , the seemingly inevitable timing of her portamentos , varying their curve with enchanting grace and meaning.
There were innumerable exquisite felicities—minuscule portamentos from one note to its nearest neighbor, or over widespread intervals—and changes of color that were pure magic.
In these aspects of bel canto she was supreme mistress of that art. Regarding Callas's acting ability, vocal coach and music critic Ira Siff remarked, "When I saw the final two Tosca s she did in the old [Met], I felt like I was watching the actual story on which the opera had later been based.
Suffering, delight, humility, hubris, despair, rhapsody—all this was musically appointed, through her use of the voice flying the text upon the notes.
In fact the essence of her art was refinement. The term seems odd for a performer whose imagination and means of expression were so prodigious.
She was eminently capable of the grand gesture; still, judging strictly from the evidence of her recordings, we know and her few existing film clips confirm that her power flowed not from excess but from unbroken concentration, unfaltering truth in the moment.
It flowed also from irreproachable musicianship. People say that Callas would not hesitate to distort a vocal line for dramatic effect.
In the throes of operatic passion plenty of singers snarl, growl, whine, and shriek. Callas was not one of them. She found all she needed in the notes.
Because she could say everything only with her voice! I can imagine everything, I can see everything in front of my eye.
Realism was foreign to her, and that is why she was the greatest of opera singers. After all, opera is the least realistic of theater forms She was wasted in verismo roles, even Tosca , no matter how brilliantly she could act such roles.
Callas had the perfect face for it. Her big features matched its grandiloquence and spoke volumes from a distance. In regard to Callas's physical acting style, Nicola Rescigno states, "Maria had a way of even transforming her body for the exigencies of a role, which is a great triumph.
In La traviata , everything would slope down; everything indicated sickness, fatigue, softness. Her arms would move as if they had no bones, like the great ballerinas.
In Medea , everything was angular. She'd never make a soft gesture; even the walk she used was like a tiger's walk. Everything was very paced, proportioned, classical, precise She was extremely powerful but extremely stylized.
Her gestures were not many I don't think she did more than 20 gestures in a performance. But she was capable of standing 10 minutes without moving a hand or finger, compelling everyone to look at her.
He didn't know what he was singing, but she knew. Callas herself stated that, in opera, acting must be based on the music, quoting Serafin's advice to her:.
When one wants to find a gesture, when you want to find how to act onstage, all you have to do is listen to the music.
The composer has already seen to that. If you take the trouble to really listen with your Soul and with your Ears—and I say 'Soul' and 'Ears' because the Mind must work, but not too much also—you will find every gesture there.
Callas's most distinguishing quality was her ability to breathe life into the characters she portrayed,  or in the words of Matthew Gurewitsch, "Most mysterious among her many gifts, Callas had the genius to translate the minute particulars of a life into tone of voice.
Her secret is in her ability to transfer to the musical plane the suffering of the character she plays, the nostalgic longing for lost happiness, the anxious fluctuation between hope and despair, between pride and supplication, between irony and generosity, which in the end dissolve into a superhuman inner pain.
The most diverse and opposite of sentiments, cruel deceptions, ambitious desires, burning tenderness, grievous sacrifices, all the torments of the heart, acquire in her singing that mysterious truth, I would like to say, that psychological sonority, which is the primary attraction of opera.
Ethan Mordden writes, "It was a flawed voice. But then Callas sought to capture in her singing not just beauty but a whole humanity, and within her system, the flaws feed the feeling, the sour plangency and the strident defiance becoming aspects of the canto.
They were literally defects of her voice; she bent them into advantages of her singing. What stood behind me, the audience, auditorium, La Scala itself, seemed artifice.
Only that which transpired on stage was truth, life itself. Once one heard and saw Maria Callas—one can't really distinguish it—in a part, it was very hard to enjoy any other artist, no matter how great, afterwards, because she imbued every part she sang and acted with such incredible personality and life.
One move of her hand was more than another artist could do in a whole act. The last great artist. When you think this woman was nearly blind, and often sang standing a good feet from the podium.
But her sensitivity! Even if she could not see, she sensed the music and always came in exactly with my downbeat. When we rehearsed, she was so precise, already note-perfect She was not just a singer, but a complete artist.
It's foolish to discuss her as a voice. She must be viewed totally—as a complex of music, drama, movement. There is no one like her today.
She was an esthetic phenomenon. During the early s, an alleged rivalry arose between Callas and Renata Tebaldi , an Italian lyrico spinto soprano.
Although the singers agreed that neither would perform encores, Tebaldi took two, and Callas was reportedly incensed. Tebaldi was quoted as saying, "I have one thing that Callas doesn't have: a heart"  while Callas was quoted in Time magazine as saying that comparing her with Tebaldi was like "comparing Champagne with Cognac.
No, with Coca Cola. According to John Ardoin , however, these two singers should never have been compared.
Callas and Tebaldi generally sang a different repertoire: in the early years of her career, Callas concentrated on the heavy dramatic soprano roles and later in her career on the bel canto repertoire, whereas Tebaldi concentrated on late Verdi and verismo roles, where her limited upper extension  and her lack of a florid technique were not issues.
The alleged rivalry aside, Callas made remarks appreciative of Tebaldi, and vice versa. During an interview with Norman Ross Jr.
Sometimes, I actually wish I had her voice. Being fully aware of the alleged rivalry, he recommended Zinka Milanov 's version. A few days later, he went to visit Tebaldi, only to find her sitting by the speakers, listening intently to Callas's recording.
She then looked up at him and asked, "Why didn't you tell me Maria's was the best? Callas visited Tebaldi after a performance of Adriana Lecouvreur at the Met in , and the two were reunited.
In , Tebaldi spoke warmly of her late colleague and summarized this rivalry:. This rivality [sic] was really building from the people of the newspapers and the fans.
But I think it was very good for both of us, because the publicity was so big and it created a very big interest about me and Maria and was very good in the end.
But I don't know why they put this kind of rivality [sic] , because the voice was very different. She was really something unusual.
And I remember that I was very young artist too, and I stayed near the radio every time that I know that there was something on radio by Maria.
In the opinion of several singers, the heavy roles undertaken in her early years damaged Callas's voice.
Louise Caselotti , who worked with Callas in and , prior to her Italian debut, felt that it was not the heavy roles that hurt Callas's voice, but the lighter ones.
Soprano Carol Neblett once said, "A woman sings with her ovaries—you're only as good as your hormones. Critic Henry Pleasants has stated that it was a loss of physical strength and breath-support that led to Callas's vocal problems, saying,.
Singing, and especially opera singing, requires physical strength. Without it, the singer's respiratory functions can no longer support the steady emissions of breath essential to sustaining the production of focused tone.
The breath escapes, but it is no longer the power behind the tone, or is only partially and intermittently.
The result is a breathy sound—tolerable but hardly beautiful—when the singer sings lightly, and a voice spread and squally when under pressure.
You just got shivers up and down the spine. It was a bigger sound in those earlier performances, before she lost weight. I think she tried very hard to recreate the sort of "fatness" of the sound which she had when she was as fat as she was.
But when she lost the weight, she couldn't seem to sustain the great sound that she had made, and the body seemed to be too frail to support that sound that she was making.
Oh, but it was oh so exciting. It was thrilling. I don't think that anyone who heard Callas after really heard the Callas voice.
Michael Scott has proposed that Callas's loss of strength and breath support was directly caused by her rapid and progressive weight loss,  something that was noted even in her prime.
Of her recital in Chicago, Robert Detmer wrote, "There were sounds fearfully uncontrolled, forced beyond the too-slim singer's present capacity to support or sustain.
Photos and videos of Callas during her heavy era show a very upright posture with the shoulders relaxed and held back. Commercial and bootleg recordings of Callas from the late s to —the period during which she sang the heaviest dramatic soprano roles—show no decline in the fabric of the voice, no loss in volume and no unsteadiness or shrinkage in the upper register.
The many top B's have a brilliant ring, and she handles the treacherous tessitura like an eager thoroughbred.
In recordings from immediately after her pound weight loss and thereafter, "not only would the instrument lose its warmth and become thin and acidulous, but the altitudinous passages would to her no longer come easily.
There were others, however, who felt that the voice had benefitted from the weight loss. Of her performance of Norma in Chicago in , Claudia Cassidy wrote that "there is a slight unsteadiness in some of the sustained upper notes, but to me her voice is more beautiful in color, more even through the range, than it used to be".
Callas's close friend and colleague Tito Gobbi thought that her vocal problems all stemmed from her state of mind:. I don't think anything happened to her voice.
I think she only lost confidence. She was at the top of a career that a human being could desire, and she felt enormous responsibility.
She was obliged to give her best every night, and maybe she felt she wasn't [able] any more, and she lost confidence. I think this was the beginning of the end of this career.
In support of Gobbi's assertion, a bootleg recording of Callas rehearsing Beethoven 's aria " Ah! I have a theory about what caused her vocal decline, but it's more from watching her sing than from listening.
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How did you buy your ticket? View All Videos 1. View All Photos Movie Info. Never-before-seen footage and performances offer insight into the life and career of renowned opera singer Maria Callas.
Tom Volf. Feb 12, Sony Pictures Classics, Elephant Doc. Insbesondere die Konzertaufnahme der Arie Casta Diva incl. Das ist bombastisch, da sie abgesehen von ihrem Gesang durch ihre Garderobe und ihr ausdruckstarkes Make Up beeindruckt.
Ich kann diesen Film nur empfehlen. Translate review to English. Fantastic- in her own words too. So many images and footage I have never seen before.
Thoroughly enjoyed it. Highly recommend it. Report abuse. E un ottimo DVD-- sopratutto per le persone che hanno conosciuto e vissuto.. DVD realista sia nei fatti che nelle debolezze della natura cosidetta umana Ho 83 anni,,,,,,,,,, ho seguito l'arte lirica fin da 5, dato che anche mia mamma era corista La Callas Nomn faccio altri nomi, per non offendere nessuno.
Maria, non si limitava a Cantare.. Ma viveva la parte cosi' profondamente Report abuse Translate review to English. This dvd is not a deep study of the art of Maria Callas, its rather a general view into her life and career, but what I first and foremost liked, was all the old footage from the life of Maria Callas.
Parts of the old interviews - and mostly in colour - where you really feel the beauty, art, class and astuteness of la Callas. Simply sheer beauty and bliss!
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Sell on Amazon Start a Selling Account. AmazonGlobal Ship Orders Internationally.Da sind zwei Leute in mir, Maria und La Callas “ - Tom Volf wirft in der Doku einen Blick in die Seele einer der bedeutendsten Sängerinnen überhaupt, die mit. Min. Englisch, Französisch, Italienisch mit Untertitel in Deutsch. Regie. Tom Volf. Cast. Maria Callas; Vittorio De Sica; Aristotle Onassis; Pier Paolo Pasolini. Tom Volf sucht das Gesicht hinter der Maske des Stars – die wahre Maria Callas hinter ihrem lächelnden Bühnen-Ich und präsentiert ein hoch elegantes und.