An Interview with Maria

Photo: Wikimedia

I met Maria at the backstage of Norma opera after the performance at Milan Opera House. She looked radiant and beautiful in her diva costume, with her broad smile shining on her face. She seemed satisfied with her performance that night, and judging from the applause and the flowers she got, the public loved her.

Interviewer:

Congratulations Maria on your beautiful performance, the public seem to love you very much. Are you satisfied with your performance tonight?

Maria:

I am happy that the public love it, it is such a great relief to hear the public reception, after the hard work to prepare for this performance. It really lifts our spirits to know that the hard work has been liked.

However, after every performance I would think what could have been done better, to make it better in the next performance and how things can be done differently. I am never satisfied with my performance and will try to improve it next time.

                              

Interviewer:

You are known as perfectionist, it seems what you just said just now confirms people’s believe.

Maria:

To me, the art of music is magnificent, and I cannot bear to see it treated in a shabby way. When it is respected and when the artists who serve it are respected, I will work hard and always give my best . . .
I do not want to be associated with inferior staging, taste, conducting or singing.

Interviewer:

But the people working with you think of you as too difficult to work with.  

They said you are temperamental, too demanding, sometimes you refused to perform, and even cancelled performances.

Maria:

I will always be as difficult as necessary to achieve the best. I am a hard worker, willing to rehearse more than expected, even when a role or a production was not new. I am an artist and like to try to bring the best performance to the public so I like to rehearse more and more with the team within the limited time we have.

Interviewer:

But, you walked away from contracts with Metropolitan Opera for Puccini’s Madame Butterfly and Beethoven’s Fidelio.

Maria:

Have you never walk away from a job that don’t suit you? I think you have.

For me, it was impossible to sing as Madame Butterfly, a 15 years old Japanese girl, I was then too fat--210 pounds.

As for "Fidelio" Opera in English is so silly. Nobody takes it seriously.

More than that, I didn’t like the contract, it looked like a beginner’s contract.

Interviewer:

You mentioned you were then too fat. How did you become so slim and beautiful today? What is the secret to lose weight in short pace of time?

Maria:

Purely strong will, there were rumours that I ate certain kind of pasta, but it wasn’t so. It was driven purely by strong will.

Interviewer:

You indeed seem to be a person driven by a very strong will. One of your teacher, Maria Trivella said of you: “A model student. Fanatical, uncompromising, dedicated to her studies heart and soul. Her progress was phenomenal. She studied five or six hours a day. ...Within six months, she was singing the most difficult arias in the international opera repertoire with the utmost musicality.”

Interviewer:

The Norma that you just performed was also a woman with strong will, brave, and even vengeful to betrayal.

Maria, her eyes sparkled and started singing part of the famous aria Casta Diva of Norma:

Casta Diva, che inargenti               Virtuous Goddess, covering with silver

queste sacre antiche piante,         these sacred ancient plants,

a noi volgi il bel sembiante            turn towards us your fair face

senza nube e senza vel                 cloudless and unveiled

Interviewer:

Other than Norma, you also seem to like to perform Carmen, Medea, Tosca and Violeta in La traviata. However you like to portray them as strong, passionate woman whom stand-up to their tragic fate, rather than a crushed delicate woman.

The way you expressed it, the women become the tragedy heroines of the story.

Maria:

It is a matter of interpretation, indeed normally Floria Tosca is portrayed as a delicate, submissive woman that was completely dominated by the powerful male character.  But I see that she can be performed as a strong, fiery woman and assertive.  In the famous “Vissi d’Arte” aria of the opera, she was lamenting, questioning her fate as well as becoming assertive, she sings from “I lived for art, I lived for love”, then  “I never did harm to a living soul!”

Interviewer:

One of the reporter wrote about your performance as Tosca :”her conception of the role was electrical. Everything at her command was put into striking use. She was a woman in love, a tiger cat, a woman possessed by jealousy. . . . This was supreme acting, unforgettable acting."
Bravo Maria!

Maria:

Thank you for the compliment. As Floria Tosca said it: "Vissi d' arte, vissi d' amore" ("I lived on art, I lived on love").

Interviewer:

In Medea, your enormous acting skills and perhaps your Greek blood guided you in the interpretation of agony of this princess from Colchis, a performance which was historic for Greece, in the ancient theatre of Epidaurus.

Is it probably that you can relate this Greek tragedy with your personal experience, that you can perform Medea that intense?

Maria:

I am a person without identity. I was born of Greek parents, yet I have never felt absolutely Greek. I was born in America, yet I am not an American. I lived the most crucial period of my career in Italy, I married an Italian but, of course, I am not an Italian. I now live permanently in Paris, but this doesn't mean I feel French. What the hell am I, after all?" What am I? I am alone, always alone.

Interviewer:

Were you surprised about Onassis marrying Jackie?

Maria:

As the public have known, there is no doubt that Onassis and me are deeply in love. Somehow we did not get married, but we remained good friends.

Interviewer:

Does Onassis still love you?

Maria:

You have to ask him yourself,  but maybe he does not really love opera.........

This is an imaginary interview in memory of Maria Callas.

The Face Changing of Sichuan Opera

The face-changing performance in Sichuan opera is one of its kind in the world, and the technique has been tightly kept secret. The face-changing , actually mask-changing, originates from the ancient times when humans in China decorated their faces with colors and patterns to scare away animals.

The masks are prepared and pasted on the face, each of which is tied  with a yarn to the costume of the actor. During the performance, the masks are torn away one by one by pulling the yard and the previous mask is replaced by a new one. The action has to be performed in quickly so that the audience does not notice how it happens.

Sichuan Opera is one of the most famous traditional Chinese operas. It was originated in Sichuan province about 1,700 years ago. Sichuan Opera plays an important part of the Chengdu culture and has wide spread in south-western China. The most famous parts in the opera show are "Changing Faces", "Fire Spitting", "Rolling Lamp", “Folk Music", "Hand Shadow" and "Puppet Opera".

Wearing brightly beautiful colored costumes and heavy careful makeup, performers sing in a high pitch and move to quick, dramatic music, twirling, hopping, rolling, and jumping carrying the heavy costumes. As they move, they also change masks to reveal characters’ changing emotions.

A skilled performer can change faces many times, and four changes is not uncommon. But knowing how it’s done and being able to performed it are two different things. It’s protected as a kind of state secret. The art of face changing has been passed down through families as a closely guarded secret. In 1987 the skills of face changing were listed as a “second-level state secret” by China’s Ministry of Culture.

The costumes, dances and singing are quite similar to Peking Opera, but the Sichuan Opera has more stunts, such as blowing fire, rolling lamps and the most famous face changing.

In the famous Sichuan Opera of “Madam White Snake”, about the love between a man and a snake sorceress, the actor playing the White Snake spirit changes faces eight times, from blue, red, white, black and other colors.  It’s very demanding to tear the face, the masks cannot stick together and the hand movement must be quick and unnoticed.

The Sichuan Operas had been performed for centuries in China, but then came the devastating 10 years Cultural Revolution from 1966 through 1976.  With that China's performing arts suffered considerably. Mao saw all art should represent interests of the common class and demanded that Opera should serve the workers, peasants and soldiers. Art should be an explicit propaganda for the revolution and should help to convert the masses to socialism.

The arts were then completely controlled by the government and the actors no longer had any control of what was to become of their performances. The only opera that was allowed to be performed during this period was called  'model opera', with contemporary and revolutionary themes and with realistic staging and costumes.

 Mao Zedong's wife, Jiang Qing, rewrote many of the operas using contemporary themes and her interpretation of the communist ideology. It is believed that she pushed for these ‘model opera’ , to reform, rewrite operas to be the only ones that were acceptable to be performed.

Not only was the theme changed, but the musical style changed as well. There were many more Western instruments and instead of a small group of musicians entire orchestras were performing. There are far fewer percussive sections, which were usually attributed to fight scenes. Even the singing was westernized, following bel canto style. Ironically, Western instruments were banned during this time, yet were allowed to be performed because the music was based on 'model operas'.

Then, the end of the decade-long Cultural Revolution in 1976 marked the end of 'model opera'. Traditional opera made its way back to the theatres and is now regularly practiced, but much damage has been done. During that decade many actors died, retired, or simply lost the touch of their art because of the lack of ability to practice it.

But that there are still older actors that made it through the Cultural Revolution and are still performing today and even though traditional opera has been greatly damaged, traditional theatre in contemporary China is still thriving.

Operas are being reformed again, but this time simply to appeal to modern audiences and not in an attempt to control the content that is getting out to the public. For intellectual urban audiences, plays with daring political and philosophical themes are staged with imagistic rather than realistic scenery and original, historically-based costumes, extraordinary classic-based scores, and innovative instrumentation.

Although the Cultural Revolution was devastating for much of China, including its art, Sichuan Opera rebounded easily afterward. The economic reform of the late 1970’s helped, as did the continued evolution of theatrical technology and technique. Today’s opera patron gets to see the best of the old and the new in Chinese opera.

Modern opera still holds long years of tradition and is blossoming in its recovery from the Cultural Revolution. Many older operas are being performed, some in pure traditional style and some with modern twists. Considering every reform that Opera has been through, one might be surprised at how much of the originality is still retained.

Sichuan opera stands out for its variety of stories. Some say there is an endless range, drawn from its diverse background and the broad culture of rural China. The Sichuan operas are a big favourite enhanced by “trick performance” like the face changing show.

The face changing performance is actually a tiny part of Sichuan Opera, but people, tourists, are curious about the face changing, as if it is a kind of circus.  If the Sichuan opera is a big sea, face changing is just like a drop of water, so to say.  

But let’s admit that because of face changing, more people are getting to know Sichuan Opera and that’s a good thing.