I adored this lady, and I respected her work ethic. She always wanted to improve her understanding of a piece. "Casta Diva", [for instance] — what interested me most was how she gave the runs and the cadenzas words. That always floored me. I always felt I heard her saying something — it was never just singing notes. That alone is an art. It’s an art that you can try to achieve, but you can’t copy, because that’s just imitating without delving into [how she felt] about that particular fioritura. ... how many other artists since Callas have you heard and thought, "She sang gorgeously, but I never cried?"
--
Martina Arroyo, as quoted in "The Callas Legacy" by James C. Whitson in Opera News (October 2005)Maria Callas
No coloratura or fioritura was ever done for its own sake — it was always at the service of some expressive challenge....Her runs always gave the impression of being done so effortlessly. I liken it to the greatest ballerinas — they never made you aware of how painful it is to be en pointe. Callas transcended and transformed pain and difficulty into sheer weightlessness and ease and joy. It's absolute perfection in itself, and then on top of that she overlays expression — that's the thing I adored about this singer. She must have spent hours, days, weeks, years on this art, you know? The one I'm floored by is the Entführung that she did. ["Martern aller Arten"] is just beyond belief. I don’t think anyone has sung it better....
Maria Callas
Then there was this extra on the set who runs up to me and says, "Oh, I know you! I know who you is, I seen you before. You that comedienne, Margaret Cho! I saw you at the Comedy Store. You was wearin' a kimono and you was bowin'." "No, that's the other one." "Oh, right! Now I remember. I just didn't recognize you because you've put on a little weight since your show." And it didn't piss me off that she said that, but it was that she said, "You put on a lot of *gestures* weight!" so I'll know exactly where I put it. And it pissed me off, so I just sort of talked about it to everybody for the whole day. The next day I come into work and the assistant producer comes over to me and says, "Uh, you know that lady from the other day? Well, don't worry. We took care of her." Oh my God! What did you do?! Suddenly I felt like I was running around like this tyrant, all drunk with power- "Nobody can call me fat on this set!"
Margaret Cho
I gave a speech in Omaha. After the speech I went to a reception elsewhere in town. A sweet old lady came up to me, put her gloved hand in mine, and said, "I hear you spoke here tonight." "Oh, it was nothing," I replied modestly. "Yes," the little old lady nodded, "that's what I heard."
Jerry Ford
I gave a speech in Omaha. After the speech I went to a reception elsewhere in town. A sweet old lady came up to me, put her gloved hand in mine, and said, "I hear you spoke here tonight." "Oh, it was nothing," I replied modestly. "Yes," the little old lady nodded, "that's what I heard."
Gerald Ford
I lifted my glass to my lips when suddenly I stopped and felt all my blood rush to my heart.
This is what I heard:
"What's the theme of the novel you're working on?"
"Truth," replied Pierre Villiers.
"What?" exclaimed his friend.
"A succession of human beings caught just as they are."Henri Barbusse
Callas, Maria
Callender, James T.
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z