Bellucci creates in Spain “De diva a diva” his tribute to Maria Callas

The Italian Monica Bellucci created this weekend in Spain its special tribute, as well as that of the director Tom Volf, to the New Yorker María Callas through a show “De diva a diva” which took place at the Peralada Festival.

Bellucci had already warned the day before while walking on the Costa Brava that he had fully understood what he had experienced Callas in the form of a double image: the public one known to the public and the personal one investigated by Volf. The photographer and filmmaker began work ten years ago to discover what was hidden behind this soprano who fell in love with the world, she in turn with the magnate Aristotle Onassis and who found herself disappointed in a Parisian apartment. with little more than this property, a few jewels and all your memories.

Tom Volf interviewed numerous witnesses to the New Yorker’s life, collected his documents and letters and returned everything in the award-winning documentary “Maria by Callas”which plunges into this dichotomy between the known face and the unknown face of the singer.

Later came a book with all this material and, finally, “Maria Callas. Letters and memoirs”, the show designed for Monica Bellucci, a diva of her acting role, to play another, the admired soprano, l lover of Onassis, but also the one who ended her days in the solitude of her Parisian apartment.

It is precisely this space that has been recreated on the Peralada stage, presided over by a sofa and the presence of Bellucci in a black dress that belonged to Callas and no one else has worn.

The Italian explained last Thursday that such an exclusive piece allowed him to contact the soprano, put yourself in her shoes and feel some of what she felt. The Italian explained last Thursday that such an exclusive piece had allowed her to contact the soprano, to put herself in her shoes and to feel in part what she felt.

It is transmitted to the public by reading these letters compiled by Tom Volf and which had various recipients, includings the magnate Onassis, but also documents with reflections on the mother and sister of Maria Callas. And in the background, of course, the omnipresent voice of Callas that Monica Bellucci, thanks to her talent as an actress, can imitate in many things, but not in this gift for the opera.

The scorching night, at least for being on the Costa Brava, contributed to the languor that Bellucci strove to show on stage. In this Spanish premiere of “Maria Callas. Cartas y Memorias”, the letters were read in French, a nod to the French public who usually visits this festival because of its geographical proximity and also because of its type of proposals, mainly from the fields of poetry and dance.

The music came from the hand of the GIO Symphonia orchestra under the direction of Francesc Prat, who already lamented in the previous one to be the only one to turn his back on Bellucci, located at the back of the stage.

The combination of live chords, with the voice of Maria Callas coming out of an old gramophonethe sofa reproducing that of this apartment on avenue George Mandel in Paris and the black dress made up a set intended to give all the place to the words of the soprano.

This was the great merit of Monica Bellucci, to become a kind of medium able to convey these phrases to make it clear that at least two Callas walked this world simultaneously, one that the public knew and only a few knew.

By Bellucci in a sort of journey in the style of Dickens’ Christmas tale over four decadesthe different stages of the life of the New Yorker follow one another from the first performances and the marriage with Meneghini until the moment when she meets Onassis, the separation which follows and the years of nostalgia and loneliness.

Peralada, as Volf explained, thus became the location of Maria Callas’ return to Spain, although she spoke French and portrayed it as an Italian actress.

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