Maria Callas: The Woman Behind the Legend (65 page)

M’s settlement with

as M’s “Shadow”

M’s will contested by

M’s withdrawal from

as musically untalented

obsessive ambitions for M of

son’s death and

as strict parent

suicide attempted by

theatrical ambitions of

troubled marriage of

World War II and

Callas (Kalogeropoulos), George (father)

as ambivalent about wife’s move to Greece

Americanization of name

as critically ill

death of

divorce of

at Epidaurus with M

family moved to U.S. by

Meneghini liked by

in Mexico with M

M’s regard for

M’s reunion with

M’s twenty-first birthday and

opera as boring to

as pharmacist

remarriage of

son’s death and

troubled marriage to Evangelia of

as uninterested in M’s career

womanizing of

Callas, Jackie (sister)

engagement of

as favored by mother

Greek Civil War and

M’s childhood relations with

M’s death and

M’s envy of

M’s reunion with

M’s withdrawal from

in physical comparison with

World War II and

Callas, Maria:

admirers vs. detractors at performances of

allergies of

American citizenship renounced by

American Dream epitomized by

artistic philosophy of

on bel canto

birth date dispute of

bleak philosophy of

breaking friendships, as habit of

canceled performances of

in car accident, as child

childhood of

childhood dreams of

childhood interest in opera of

as childhood loner

childhood music training of

childhood singing appearances of

christening of

colleagues and

“comeback” of

as comic vs. tragic heroine

comic opera and

as “complete artist”

conservatory studies of

conventionality of

on creating new roles

death of

death of, reactions to

death feared by

declining performances of

de Hidalgo period of,
see
de Hidalgo, Elvira

dentistry as ambition of

di Stefano period of,
see
di Stefano, Giuseppe

as dramatic actress

early signs of talent of

education of

on fame

fashion tastes of

fiery temperament of

first professional adversity of

first social acceptance of

French people loved by

funeral of

genius of

Greek “blood” of

Greek Civil War and

homes of

illnesses of

jewels of

language of

last operatic appearance of

last will and testament of

legal entanglements of

as legend vs. real woman

life dominated by past

loneliness of

love and admiration craved by

as loyal to instincts

on marriage

marriage of,
see
Meneghini, Geovanni Battista

as mezzo

on modern music

money fears of

mother’s relationship with,
see
Callas, Evangelia Dimitriadis

on Mozart

myopia of

nightclubs hated by

as operatic director

operatic standards set by

on operettas

oratorio singing disliked by

perfectionism of

pet canaries of

pet dogs of

pregnancy of

press gossip about

professionalism of

professional stage debut of

public’s enthusiasm for

recordings of

regal dignity of

religious attitude of

reporters and

scholarship fund of

self-confidence lacking in

Serafin period of,
see
Serafin, Tullio

servants of

as shipowner

shopping habits of

singleness of purpose of

sinus troubles of

on Skorpios

sleeping pills needed by

social life important to

social singing disliked by

stage debut of, in student production

stage fright of

success of others as threat to

taped conversations with

as teacher

televised

as transformed by love

Trivella period of,
see
Trivella, Maria

turning point in career of

as “ugly duckling”

verbal directness of

Visconti period of,
see
Visconti, Luchino

voice of, criticized

voice of, as deteriorating

voice of, emotional relationship with

voice of, praised

voice of, range of

weight problems and dieting of

Zeffirelli period of,
see
Zeffirelli, Franco

at zenith of career

see also specific individuals and topics

Calvé, Emma

Caraza-Campos, Antonio

Cardin, Pierre

Carus, Neville

Carmen
(Bizet)

Carnegie Hall (New York)

Caroli, Dr.

Carosio, Margherita

Caselotti, Louise

as jealous of M

Cassidy, Claudia

“Casta Diva” (
Norma
)

Castelbarco, Contessa

Catalani, Alfredo

Cavalleria Rusticana
(Mascagni)

M’s stage debut in

Celli, Teodoro

Cerquetti, Anita

Cetra Records

M’s first recording and

Chanel, Coco

Chapin, Schuyler

Chaplin, Charlie

Cherubini, Luigi

Chiarini, Francesco

Chicago American

Chicago Lyric Opera

Chicago Opera House

Chicago Tribune

Chopin, Frédéric

Christina (yacht)

Jackie Kennedy on board

M on board

Christoff, Boris

Christoff, Maria

Churchill, Lady Clementine

Churchill, Diana

Churchill, Randolph

Churchill, Sir Winston

Cleva, Fausto

Cohn, Roy

Colbran, Isabella

Collier, Marie

Consuelo (M’s cook)

Consul, The
(Menotti)

Copley, John

Corelli, Franco

M as jealous of

Corriere della Sera

Cossotto, Fiorenza

Cournot, Yves

Coveney, John

Covent Garden (London)

centenary gala of

La Scala vs.

M’s debut at

Coward, Noel

Crespin, Régine

Curtis Institute (Philadelphia)

Cushing, Richard Cardinal

d’Adda, Brando

Daily Express

Daily Mail

d’Albert, Eugen

Dallas Civic Opera

Dallas Morning News

Dal Monte, Toti

d’Astainville, Kim

Davis, Ivan

de Almeida, Antonio

Dedichen, Ingse

de Hidalgo, Elvira

home of, as M’s refuge

as meticulous teacher

M’s departure for America and

M’s destiny perceived by

M’s devotion to

as M’s “fairy godmother”

M’s talents uncovered by

as teacher of romantic repertoire

World War II and

de Hidalgo, Luis

de Jong, Peter

Dellendas, Antonis

Del Monaco, Mario

de Los Angeles, Victoria

de Nobili, Lila

de Sabata, Victor

Dettmer, Roger

Devetzi, Vasso

Dialogues des Carmélites
(Poulenc)