Maria Callas sings Bolenas Aria (rare remastering) while the audience calls her Divina

Highlighted comments from the commenters below: From Folgore Dasangimignano: From the story of a listener who was in the loggione that night, I knew that you could not see no gesture, no particular poses during this aria, but only a small kneeling figure at the center of the great black dress lying on the ground, and these sounds that filled the whole Scala, as if singing was already the queen s ghost (Visconti s idea ) Folgore Dasangimignano: I do not think so. Many of gestural Boleyn solutions are usually attributed to Callas instinct: the hands towards the tenor, the affront to the public in Giudici ad Anna , the final gestures. Compared with the Traviata, is a role where the fusion of vocal color, gesture and psychology of offense queen reached an expressive summit: it was a clear sign that Callas was no more distinction between real life and the stage characters, but it was also the beginning of a great inner solitude From Carel van der Merwe: Not only the grea