Main Operatic Career
After returning to the United States and reuniting with her father in September 1945, Callas made the round of auditions. In December of that year, she auditioned for Edward Johnson, general manager of the Metropolitan Opera, and was favourably received: "Exceptional voice—ought to be heard very soon on stage". Callas maintained that the Met offered her Madama Butterfly and Fidelio, to be performed in Philadelphia and sung in English, both of which she declined, feeling she was too fat for Butterfly and did not like the idea of opera in English. Although no written evidence of this offer exists in the Met's records, in a 1958 interview with The New York Post, Johnson corroborated Callas's story: "We offered her a contract, but she didn't like it—because of the contract, not because of the roles. She was right in turning it down—it was frankly a beginner's contract."
Read more about this topic: Maria Callas
Famous quotes containing the words operatic career, main, operatic and/or career:
“You have promise, Mlle. Dubois, but you must choose between an operatic career and what is usually called a normal life. Though why it is so called is beyond me.”
—Eric Taylor, Leroux, and Arthur Lubin. M. Villeneuve (Frank Puglia)
“The main effect of a real revolution is perhaps that it sweeps away those who do not know how to wish, and brings to the front men with insatiable appetites for action, power and all that the world has to offer.”
—Eric Hoffer (19021983)
“Even an extraordinary policeman seems a strange suitor for an operatic soprano. Does he sing?”
—Eric Taylor, and Leroux. Arthur Lubin. M. Villeneuve (Frank Puglia)
“What exacerbates the strain in the working class is the absence of money to pay for services they need, economic insecurity, poor daycare, and lack of dignity and boredom in each partners job. What exacerbates it in upper-middle class is the instability of paid help and the enormous demands of the career system in which both partners become willing believers. But the tug between traditional and egalitarian models of marriage runs from top to bottom of the class ladder.”
—Arlie Hochschild (20th century)