May 052013
 

Rossella Falk 8 and a half The Italian Greta Garbo is gone: Rossella Falk dies at 86

Rome, 10 Novem­ber 1926 – Rome, 5 May 2013

One of the greatest Italian stage act­resses has died in Rome at the age of 86.

Ros­sella Falk was a giant among Italian act­resses, with a slightly arrog­ant air and regal poise which set her apart from many of her more earthy col­leagues. The label “the Italian Greta Garbo” was well chosen, and even her hair­style recalled that of the film star, though Falk’s career, unlike Garbo’s, con­tin­ued well into her eighties. Her 2006 bio­graphy was called The Last Diva, and a diva she was. She fre­quen­ted the likes of  , Noël Cow­ard, Dirk Bog­arde, Peter O’Toole, and had a twenty-year friend­ship with Maria Cal­las, whom she later played in ’s .

Her main pas­sion was for theatre, and she was the co-director of the pres­ti­gi­ous Teatro Eliseo in Rome from 1981 to 1997. Falk’s author­ity on stage, and off, made her per­fect for roles such as Eleanor of Aquitaine in The Lion in Winter and Queen Eliza­beth I in Schiller’s Mary Stu­art. One of her last roles was as the fam­ous clas­sical pian­ist in Autumn Son­ata in 2008. Her film and tele­vi­sion appear­ances were rare, though she was cast in Fed­erico Fellini’s   and Robert Aldrich’s The Legend of Lylah Clare.

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  • wp socializer sprite mask 16px The Italian Greta Garbo is gone: Rossella Falk dies at 86
  • wp socializer sprite mask 16px The Italian Greta Garbo is gone: Rossella Falk dies at 86
  • wp socializer sprite mask 16px The Italian Greta Garbo is gone: Rossella Falk dies at 86
  • wp socializer sprite mask 16px The Italian Greta Garbo is gone: Rossella Falk dies at 86
  • wp socializer sprite mask 16px The Italian Greta Garbo is gone: Rossella Falk dies at 86
  • wp socializer sprite mask 16px The Italian Greta Garbo is gone: Rossella Falk dies at 86
  • wp socializer sprite mask 16px The Italian Greta Garbo is gone: Rossella Falk dies at 86
  • wp socializer sprite mask 16px The Italian Greta Garbo is gone: Rossella Falk dies at 86
Mar 082013
 

Pinnochio’s long nose was the inspir­a­tion behind an inter­net site for woman with extra-large snouts called Pin­noc­chia. Its homepage states,

This web­site is devoted to women who do not con­form to the ste­reo­typ­ical ideal of fem­in­ine beauty and whose beauty is enhanced by their lar­ger or uniquely shaped noses.

So who is the latest to join Streis­and and Cal­las on their forum? None other than .

‘Cuten­oselover’ com­ments on the Roman diva,

Regard­less of the nose, I’ve always found her to be quite sexy.

While ‘Vlad’ says,

She has style and eleg­ance. Attrib­utes that match a big nose. Like and Angel­ica Huston.

Bar­toli and Cal­las might not be nat­ural bed­fel­lows vocally, but schnoz-wise they’re part of a world-wide sis­ter­hood.… [con­tinue reading]

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Dec 272012
 

Q&A

Rosalind Plowright Medee ROH 1989 2 374x500 Rosalind Plowright answers the Gramilano Questionnaire… Singers’ Edition

When did you start singing? 
Age 12. I had always sung before but only found my true voice at this age. My father was a bass player and had been play­ing in the orches­tra for a per­form­ance of The Mikado. Whilst trav­el­ling back home I imit­ated the voice of Kat­isha and out came this big plummy rich sound… My father nearly drove off the road!

Why did you start singing?
Because I had a voice and loved singing!! When I was 13 my mother bought me 3 LP’s, one of Cal­las, one of Tebaldi and one of Suth­er­land. It was the first time I had heard real opera singing and I became totally obsessed. From that moment onwards it has been my life and soul.… [con­tinue reading]

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Dec 092012
 

Alceste La Scala 1987 with Pier Luigi Pizzi Opera singer Rosalind Plowright comments on booing Bartoli at La Scala described it as the worst night of her oper­atic life, after Celeste Aida Roberto Alagna gave a mil­it­ary salute and walked off stage, Katia Ric­ciarelli quit the opera house refus­ing to come back, and Cal­las, Pav­arotti, Ver­rett, Caballé and many oth­ers have all been on the receiv­ing end. Being booed by the log­gion­isti at ’s can be thought of as a rite of pas­sage, as found out last Monday, but does it have to be that way?

While the heck­lers of the upper gal­lery have become a laughing-stock abroad (and amongst most Italian opera goers) it doesn’t dis­tract from the fact that a singer, how­ever fam­ous, is made from skin and bone like the rest of us.… [con­tinue reading]

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Oct 282012
 

Bartoli Musica 424x600 Cecilia Bartoli on her voice, her repertoire, on turning down Carmen and facing up to NormaCecilia Bartoli’s been busy: not only get­ting ready for her new tour fea­tur­ing the extraordin­ar­ily dif­fi­cult arias by that are fea­tured on her new CD , but also doing the pro­mo­tional rounds with  radio, tele­vi­sion and news­pa­per interviews.

The con­tent is mostly the same — why Stef­fani? who was he? — but it takes a spe­cial­ist magazine like Italy’s Musica to get some truly inter­est­ing replies which illu­min­ate the artist and her tech­nique. Nic­ola Cattò and Franco Soda spoke to her. Here is a little taste of their four-page interview.

Your voice in these 25 years of career has main­tained a col­our which has hardly changed, yet the centre of the voice has moved higher: once in Conte Ory you sang Iso­lier , now the count­ess Adèle.[con­tinue reading]

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Jun 052012
 

Callas Karajan Lucia La Scala Milan Unseen photos: an emotional Maria Callas with Herbert von Karajan at La Scala in the 50s

An (almost) unseen photo from the archives at which shows an emo­tional moved to tears by the incred­ible suc­cess of her Lucia di Lam­mer­moor as the cur­tain closes mid-performance. A young Her­bert von Kara­jan looks pleased too.

These his­toric per­form­ances of Donizetti’s opera were dur­ing the 1954/5 sea­son.… [con­tinue reading]

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