Theater in Traun

Maria Callas: Between anger and vulnerability

Katharina Bigus as Callas and singer Salvator Sinitsyn

(Bild: Oliver Erenyi)

With the film "Maria", in which Angelina Jolie plays the opera diva Maria Callas, the spotlight is currently on one of the world's most famous singers in cinemas. Theaterfrühling Traun is contributing a remarkable stage play to the hype surrounding the icon: Katharina Bigus plays Callas in "Master Class".

Her voice was celebrated, the woman in her was revered, but her moods were feared: Maria Callas (1923-1977) was the queen of opera, she will remain unforgotten as "La Divina", the divine one.

The play "Master Class" by Terrence McNally, however, is dedicated to a subject that few people know: It shows the soprano at the end of her career - and at the end of her life. But she is still giving lessons: Callas is seen challenging - and destroying - intimidated young singers. In between, she is overwhelmed by memories.

A play with live opera arias
Katharina Bigus slips into the role of Callas on stage at Schloss Traun, the production is directed by Julia Ribbeck. Bigus will be joined by young singing students from Bruckner University Linz. Soprano Elena Dadajova will perform an aria from Bellini's "Sonnambula".

"Let the tears behind your voice be felt!", the ageing diva tells her. Ksenia Valentina puts Lady Macbeth's desire to kill into her voice, and tenor Salvador Sinitsyn the passion of the lover from "Tosca". Pianist Stepan Vinichenko accompanies on the Bösendorfer, confident, restrained and charming. The young stage talents are also convincing as actors.

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Images, feelings, successes, defeats
With her radical artistic principles, Callas, who plays Bigus convincingly, repeatedly addresses the audience. On the one hand, her dry humor makes people laugh, but one look is also enough to freeze the mood. She resents applause - and craves it at the same time. The scenery freezes. Life stories pour out of her to the playbacks of acclaimed performances.

The plea for love
The second act after the interval follows the same pattern as the first. Auditions, verbal destruction, interruptions for flashbacks. She describes her triumphs even more vividly, right up to her downfall, when she begs Aristotle Onassis for love on her knees. But it is not only he who leaves her, but also her voice. A feast for the press.

Strong finale
Hats off to director Ribbeck, who manages to inject pace into the static construction of the play and give the often long-winded avalanches of text edges and sharpness. A resigned Maria Callas ends the performance with ultimate thoughts about art and a succinct "We'll call it a day now".

After a good two hours, including the interval, the audience is enthusiastic. Long applause for Bigus, Ribbeck and the ensemble! (11 further performances until 29.3. at Kultur.Park.Traun).

Eva Hammer