(Callas enshrouded in reporters. Credit: Maurice Zalewski/ADOC photos) Vignettes of onstage outtakes are aplenty. Daily shots of the soprano, less so. Here’s a peek into Maria’s typical excursions—culinary and sartorial; social and cultural—on a work(not really)less day. Coruscating like the crystalline intrusion of a cocktail dress’ brooch asparkle in a parking lot; a spotlight pooling blindness onto “Poliuto”‘s Paolina; {…}
“Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. This week’s installment features Luchino Visconti’s “Senso.” {…}
Opera has been used in the mainstream throughout history with many film directors like Martin Scorsese, Tom Ford, Francis Ford Coppola and Joe Wright inserting the art form into their films for crucial scenes. Some, like James Gray, have even been influenced by the art form and have made films that evoke opera. Gray’s “The Immigrant,” was made after he saw {…}