WHAT FOR ?

They save their voices,I live in the present, I sing now, today, for for good,for ever,for eternity.I have a short life,thirteen good years but they were years of glory,I don't regret a thing,I don't  want it any other way, all or nothing ! I sell more records than anyone else past and present and future.I  didn't go the wrong way,I went the way I want,destructive,glorious way ,I wouldn't want it any other way, all or nothing.My rivals save their voices,what for,for a career of boredom, they sell themselves short.
tHEYFor all who say that Sutherland "saved" her voice and prolonged her career unlike Callas, I will say this, and I think La Divina would agree: I wouldn't have Callas any other way. She did what she was destined to do, whether it was good or bad. Yes, she started a bit too young and started with massively heavy roles early. And perhaps that led to her breath support ruin, or maybe it didn't. But my God, look at what she left us and generations after us. In 50 years, no one will know who Lady Gaga was. Or Justin Beiber. But they will know Callas. That, my dears, is a legacy.

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jonathan mardust

1 month ago

Yes, Jennifer, you are quite right. Callas career is not finished. She sells more records than anyone else in opera field today and we are yet listening to interpretations that are unique, that nobody can match. 

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Jennifer Rodgers

2 weeks ago

+Liu Cheang Not to down talk Sutherland in any way. She certainly was a great voice. My only point was that perhaps Callas went the wrong and destructive way in her career. But it was glorious! The music she left us, I wouldn't trade for the world...or 20 careers she would've had, had she done it "correctly".

LA MAGNANI

Franco Zeffirelli introduced us at at a dinner party at his new place in Rome, La Lupa wanted to meet me.

---I am a fan ,love the work you do, learn so much from watching your movies. After all you 're  the first Italian actress to win the Oscar, you made history ,no one could have done better  with your portrayal of the Sicilian widow in the Rose Tattoo, "one of the greatest if no the greatest in italian cinema.

 Born in Rome Anna  worked her way through Rome's Academy of Dramatic Art by singing at night clubs. Tragedy struck when her son, an only child  was stricken by polio when he was 18 months old and remained crippled,like his mom he is a fighter, fought his way back to become a successful architect.

They call  me "Celle par qui le scandale arrive ", they call her "La Lupa," the "perennial toast of Rome" , the "living she-wolf symbol" of the  Italian cinema.All I can say is that her personality was "fiery", the cause of her  "volcanic" acting.She was a "passionate, fearless, and exciting" woman, no wonder  Director Roberto Rossellini called her "the greatest acting genius since Eleonora Duse".^[2] PlaywrightTennessee Williams,a fan  of her  volcanic talent wrote The Rose Tattoo  specifically for her ,a role for which she received her first Oscar in 1955.Ten years later became world famous in Rossellini's Rome, Open City (1945),for many  the first significant movie to launch the Italian neorealist movement in cinema. As an actress she was dynamic and forceful in her portrayals of "earthy lower-class women"^[4] in  films as The Miracle (1948), Bellissima (1951), The Rose Tattoo (1955),The Fugitive Kind (1960), with Marlon Brando and directed by Sidney Lumet, and Mamma Roma (1962). As early as 1950, Life magazine had already stated that Magnani was "one of the greatest if no the greatest in italian cinema

I was a fan, learned so much from watching her  films, the first Italian actress to win the Oscar for her portrayal of a Sicilian widow in the rose Tattoo ,I learne so much from watching her, Italy greatest actress..TCHING HERo win the coveted OscarAnna Magnani (Italian pronunciation: [ˈanna maɲˈɲaːni]; 7 March 1908 – 26 September 1973) was an Italian stage and film actress.^[1] She won theAcademy Award for Best Actress, along with four other international awards, for her portrayal of a Sicilian widow in The Rose Tattoo.

Born in Rome,^[2] she worked her way through Rome's Academy of Dramatic Art by singing at night clubs. During her career, her only child was stricken by polio when he was 18 months old and remained crippled.

She was referred to as "La Lupa," the "perennial toast of Rome" and a "living she-wolf symbol" of the cinema. Time magazine described her personality as "fiery", and drama critic Harold Clurman said her acting was "volcanic". In the realm of Italian cinema, she was "passionate, fearless, and exciting," an actress that film historian Barry Monush calls "the volcanic earth mother of all Italian cinema."^[3] Director Roberto Rossellinicalled her "the greatest acting genius since Eleonora Duse".^[2] PlaywrightTennessee Williams became an admirer of her acting and wrote The Rose Tattoo specifically for her to star in, a role for which she received her first Oscar in 1955.

After meeting director Goffredo Alessandrini she received her first screen role in La cieca di Sorrento (The Blind Woman of Sorrento) (1934) and later achieved international fame in Rossellini's Rome, Open City (1945), considered the first significant movie to launch the Italian neorealismmovement in cinema.^[3] As an actress she became recognized for her dynamic and forceful portrayals of "earthy lower-class women"^[4] in such films as The Miracle (1948), Bellissima (1951), The Rose Tattoo (1955),The Fugitive Kind (1960), with Marlon Brando and directed by Sidney Lumet, and Mamma Roma (1962). As early as 1950, Life magazine had already stated that Magnani was "one of