She transformed opera into dramatic theater, and the girl who had avoided mirrors since childhood became a model of aristocratic taste that captivated millionaires. “I didn’t have my own face; I created it myself,” confessed the star, who began her career weighing over 220 pounds and with a vision of minus 7. Professional achievements brought the opera diva fame, while personal losses granted her immortality.
Stage and Diamonds
Along with her exclusive jewels, the primadonna had two bodyguards. The guards were responsible not only for the celebrity’s safety but also for the protection of her precious treasures, which she never parted with, even at the beach. Maria Callas’s jewelry could have been a standalone topic for getting to know their owner.
After the mysterious death of the “golden voice,” her multimillion-dollar estate sparked numerous debates, and the anonymous sale of her famous collection at a Sotheby’s auction in 2004 became a sensation. Eleven of Maria Callas’s favorite pieces, with a preliminary estimate of $1,000,000, drew global interest.
Jewelry from the Callas collection in Lugano, Switzerland, in 2004. Photo by Karl Mathis/nytimes.com
Among the items listed for six figures in Geneva were a ruby bracelet, pearl earrings, and an 11.7-carat diamond ring. The rarities that went under the hammer were both personal purchases by the singer and gifts from her admirers. Luxurious presents were bought in the Swiss capital as mementos from men who played significant roles in her life: her producer husband Giovanni Meneghini and Greek magnate Aristotle Onassis.
The most famous pieces from the jewelry brand Van Cleef & Arpels silently witnessed the joyful and sorrowful events in Maria Callas’s life. In necklaces and bracelets adorned with Burmese rubies and large diamonds, the star always made a splash at social events. Her evening gowns from haute couture and luxurious fur coats were complemented by a gold handbag encrusted with diamonds.
Opera Chic
“The singer was a diva, a primadonna, a queen, a goddess,” praised the owner of the magnetic soprano, French couturier Yves Saint Laurent. “After losing 77 pounds, Maria completely transformed her former image and became the embodiment of elegant femininity. With her new style, she chose midi dresses paired with exquisite jewelry, which Callas was very particular about.”
A frequent visitor to the Parisian jewelry boutique, she purchased the exclusive treasure Cinq feuilles at Place Vendôme. The delicate platinum brooch shaped like a flower with five petals made of four types of precious stones was custom-ordered in 1967: the rare beauty was decorated with oval rubies weighing 15.77 carats and diamonds weighing 16.35 carats.
Maria Callas selects jewelry from Cartier in Milan, 1957
Maria Callas’s jewelry collection also featured many large pearls that beautifully complemented her dark hair. The dazzling white strands of necklaces and striking chokers were the passion of the vibrant brunette with the fierce gaze of a tigress. Rings and earrings for performances were chosen with particular care. In her theatrical roles, Maria Callas often dazzled with Swarovski gemstones. Specifically for her opera parts, the company created jewelry masterpieces—diadems, necklaces, and pendants—by Milanese designers Ennio and Antonio Marangoni in the 1950s and 60s. Among Maria Callas’s jewelry were also pieces of her own design.
The Condition of Love
Despite having performed her last opera role in 1965 and passing away in 1977, exactly 100 years after her birth, she remains the most sold and discussed singer in the world today.
Greek immigrants in New York dreamed of a son and were disappointed when a daughter was born to them on December 2, 1923. Her mother forbade the girl from approaching mirrors, distracting her from her studies. From the age of three, she listened to classical music; by five, she was playing the piano; and by eight, she was taking vocal lessons.
Young Maria Callas plays the piano
In 1934, Maria took second place in a prestigious radio competition, earning her first award—a wristwatch—for her performance of an aria from Carmen. This early success caught her mother’s attention, who had once dreamed of becoming a pianist. Satisfied, Evangelia finally praised Maria, and for the first time, the child had a chance to earn the unfulfilled maternal love through hard work and achievements. Until the end of her days, the daughter would dutifully support the family, but she would leave this world too soon, alone, even though her mother and sister lived in the same city.
Art Without Borders
At just 13, Maria’s mother took her to Greece to learn the unfamiliar language and enroll in the conservatory (Callas was accepted three years earlier than her age allowed). In 1940, the talented singer had the honor of performing the lead role in “Tosca” on the opera stage in Athens, stepping in for an ill soloist who would later become her competitor.
However, after returning to America five years later, Callas had to reintroduce herself. In her hometown of New York in 1945, the nearsighted young performer with extra weight was not accepted on the big stage. Her concert history was yet to unfold. Soon, a remarkable transformation would occur for the owner of three octaves, and contemporaries would call the singer la divina—”the divine.”
Maria Callas, June 1947, photo by Amilcare Ponchielli
After two years of setbacks with American producers, Maria found her lucky ticket when she met American-Italian opera singer, vocal coach, and impresario Giovanni Zenatello. The initiator of the “Arena di Verona” festival entrusted her with the lead role in the opera “Gioconda.” From 1947, the American singer of Greek descent tied her life to Italy, making her debut in the amphitheater under conductor Tullio Serafin, who introduced her to the world of grand opera. In 1948, Callas performed lead roles in “Aida” and “Norma,” and a year later, she sang diverse roles of Brünnhilde in “Die Walküre” and Elvira in “I Puritani” in the same week. Her equally successful performances of Wagner and Bellini’s works created the phenomenon of a universal singer with a wide vocal palette.
“Four Voices in One Throat”
Throughout her musical career, Maria Callas excelled in lyrical, dramatic, and coloratura roles, performing in various vocal styles: lyric-dramatic soprano, dramatic coloratura, and mezzo-soprano. Critics referred to the versatile vocalist as “four voices in one throat.”
The rise of her career was aided by her friendship with the owner of a famous recording studio and the release of records after premieres. Maria Callas’s fan base grew steadily, and one day, the singer received a love confession from a millionaire theatergoer from Verona.
Maria Callas with her husband Giovanni Meneghini at Nice Airport, 1959
Local industrialist Giovanni Battista Meneghini was twice Maria’s age and often spent a lot of time at the opera. The young soloist amplified his interest in this art form: every evening during the season, the regular patron showered his favorite performer with flowers and tokens of male attention. Then came their public outings and the sale of his business to invest in la divina’s career.
In 1949, the couple married, despite a 30-year age difference. Maria Callas gained a loyal friend and skilled organizer. The experienced producer quickly took on the “promotion” of his protégé, and within a year, the world learned of the new star: Callas was invited to perform at Milan’s La Scala, London’s Covent Garden, and New York’s Metropolitan Opera.
A New Image
In the next twenty years, the singer would change her stage image beyond recognition. This transformation would affect both her appearance and character. Gaining popularity coincided with a remarkable weight loss, but the strict diet would lead to nervous breakdowns.
From everyone she worked with, Maria demanded high dedication and quickly earned a reputation as a diva. The situation was complicated by the high expectations from administrators: Callas was entrusted with the most responsible roles, and the prima was expected to maintain consistent excellence. Not being in top form was tantamount to failure for the soloist. When bronchitis prevented her from finishing a role, the decision to interrupt the performance proved disastrous for her career.
Maria Callas’s concert at the Concertgebouw in Amsterdam, 1959
A scandal erupted during a visit to the theater by the president of the republic. The singer had warned the administration about her poor health, but they did not provide a replacement. The attendance of a high-profile guest at the performance of “Norma” in Rome added to the artist’s anxiety. Due to her vocal cords not closing properly, Callas missed notes several times and refused to go on stage for the second act. The audience was outraged, and critics condemned the “poor character” of the overrated star.
Melpomene’s Revenge
For the next premiere of Bellini’s opera “Il Pirata,” the singer arrived after surgery. The recovery was difficult: Maria could neither eat nor sleep. But on the stage of La Scala, the artist held herself confidently, the performance was a success, and the audience received it with enthusiasm.
However, the theater management did not allow the artist to enjoy her triumph. As Callas took her bow, she was unexpectedly separated from the audience by a suddenly lowered fire curtain. This was a sign of hostility. The artist perceived what happened as a settling of scores: “It should have been understood as: get lost, the show is over.”
Maria Callas, Bellini’s opera “Il Pirata” (Milan, 1958)
The singer, once exalted, had to endure a downfall. With a heavy heart, Maria left Italy to focus on continuing her career in America. Yet, this professional crisis coincided with a personal one. During this turbulent period, the singer realized she needed changes in her family life as well. Soon, a rival would emerge for Meneghini. The subsequent decision would bring Maria Callas unknown feminine happiness and, at the same time, a great trial. The tigress would meet a man for whom she would be ready to become a house cat. Would it be worth it? Fate doesn’t ask such questions.
Of One Blood
The 15-year romance between opera queen Maria Callas and shipping magnate Aristotle Onassis is one of those love stories that fill books. At the time of their meeting, the 53-year-old father of three had already been living in a lucrative second marriage to a Greek aristocrat for 15 years and had a history of numerous high-profile romances. The charismatic billionaire knew how to impress remarkable women, and Callas was no exception.
Aristotle Onassis, 1967, photo by Pieter Jongerhuis/wikimedia.org
After meetings at the Vienna Ball and social soirées, Maria and her husband received an invitation to Onassis’s yacht “Christina,” among whose guests on that cruise were dukes and even the Churchills with their daughter and canary. Accompanying her husband on board was Onassis’s wife, Tina. When she caught Aristotle in a passionate kiss with the married guest Maria Callas, she immediately made the scandalous event public. Even Winston Churchill became an unwilling witness to the scandal.
Embarrassed, the singer had to hastily request to disembark. But a week later, Onassis showed up at her home and offered Maria’s husband a large “settlement” just to let his wife go to him. That night, Callas, in love like a schoolgirl, left home and flew to her Aristotle on the wings of love: “Only with him did I learn what it means to be a woman.” For the sake of that wild love, the star interrupted her opera career. At 43, she dared to have a child with the 60-year-old Aristotle. The newborn son, Omero, did not survive. And the blows of fate for Maria were just beginning.
Greek Tragedy
The freedom gained from the divorce from his previous wife in 1960 gave Aristotle the opportunity for a new marriage. However, it would not be with Maria. The relationship that Callas referred to in interviews as a “sensitive friendship” deteriorated against the backdrop of the singer’s professional losses. What could be worse for an opera star than losing control over her vocal abilities? “I lost my voice in your bed,” Callas would reproach Onassis. She would tell him with resentment: “The voice that people called divine, you listened to while lazily chewing gum.” Of course, Aristotle was not responsible for this tragedy: specialists later found the cause of her vocal loss to be a disease of smooth muscle in Maria Callas. Detractors blamed her loss of mastery on her change in lifestyle, claiming she had stopped singing and degraded into a life of leisure surrounded by diamonds.
Maria Callas and Aristotle Onassis, to the music of violins in Paris, France, December 21, 1966
Learning from the newspapers about her beloved’s marriage to another perfect partner, Callas attempted to return to the stage, but her late attempts were unsuccessful. Meanwhile, Aristotle Onassis entered history as the last husband of Jackie Kennedy, the widow of the American president. It is said he was not happy either. Onassis passed away in 1975, and on September 16, 1977, Maria Callas was found dead in her Paris apartment.
According to film director Franco Zeffirelli (the director of the opera in which the opera star sang at the end of her life), the singer may have fallen victim to her accompanist friend, who was drawn to her wealth. However, in fact, $12,000,000 was inherited by Maria’s mother and her ex-husband, who claimed that the 53-year-old ex-wife had taken her own life. The lack of a clear cause of death continues to spark interest in this story among contemporary researchers. In 2002, a hypothesis was published by doctors suggesting that the heart failure was not due to possible poisoning but rather a myocardial infarction, which was a complication of dermatomyositis (the same diagnosis had once been given by the singer’s doctor as the cause of her vocal loss).
There are no remains of Maria Callas left. After the discovery of the ashes stolen from the Paris columbarium, the found ashes were scattered over the Aegean Sea, and only an empty box remains at the Père Lachaise cemetery.