The Hellenic Parliament Foundation in collaboration with the Embassy of Greece, The Hellenic Foundation for Culture and The Italian Cultural Institute in Washington, DC, present a Tribute to Maria Callas, one of the world’s best-known opera singers.

The Tribute will start with the screening of two films: “Biography®: Maria Callas” and “Callas Assoluta” followed by a reception

 Monday, February 11, 2008, 7:00 – 9:00 p.m.

At: The Embassy of Greece
2217 Massachusetts Avenue, N.W.
Washington, D.C. 20008

R.S.V.P.: Acceptances only
[email protected]
or call: 202-939-1353

and will continue

Wednesday, February 13, 2008,
7:00-9:00 p.m.

Featuring An exhibition, video screenings,
soprano Elizabeth Stevens, and pianist Danielle DeSwert who will perform
a Maria Callas' repertoire selection followed by a reception At:
The Italian Cultural Institute
3000 Whitehaven Street NW
Washington, DC 20008

R.S.V.P.: [email protected]
or call: 202-518-0998 ext. 1

The exhibition will be open until February 26.
Visiting hours during the exhibition: from 10:00 am-12:00 p.m.; from 2:00.-4:00 p.m.

FILMS
A.  “Biography®: Maria Callas” production and courtesy of The History Channel, duration 51 min.

MARIA CALLAS
Born in New York City, Maria Callas studied opera in Athens and made her operatic debut there in 1938. Her European career blossomed in the late 1940s, but she was denied a contract with New York's Metropolitan Opera following her reportedly disastrous audition in 1945.  Never deterred, she returned to Europe and soon met with the role that would define her career and make her a star: the title role in Bellini's Norma.  As Callas' fame rose in Europe, the United States came calling, but contract disputes with the directors of the Metropolitan Opera earned her a dubious reputation.  Until her retirement from the stage in 1965, she was celebrated less for a glorious voice than for her electrifying dramatic gifts.  She was equally known for her dramatic temperament and romantic life, including a long liaison with Greek shipping magnate Aristotle Onassis.  She retired briefly from opera between 1961 and 1964, only to return to the world stage with several triumphant performances under the direction of maestro Franco Zeffierelli.  Callas' heart was broken when Onassis wed widow Jacqueline Kennedy in 1968.  Onassis died in 1975, and two years later, Callas died of unknown causes.

B.  “Callas Assoluta”.  Production: ERT SA, Arte France and Swan Productions in association with Europe Images International Backup Films, SBS-TV Australia, COFICUP with the participation of Télévision Suisse Romande and in partnership with Fondazione Teatro alla Scala Milano. Duration 98 min.

About CALLAS ASSOLUTA  By Philippe KOHLY:
“It took 30 years for the first real film about Maria Callas to see the light of day.
A film which for the first time isn't just a collection of interviews but which tells a single story from start to finish. Inspired by the desire to give the character of Maria Callas the limelight, it does not include a single interview with eye-witnesses. No third party gets between the audience and the heroine.

This film, which does not make do with just words, isn't a work of fiction. Events, settings, authentic characters – everything is shown as it really was.

This film achieves the seemingly impossible task of portraying the true story of Maria Callas. After a year's research in eight countries, it provides the biggest collection ever seen of authentic materials. Many – scenes from her life, photos, and amateur movies – will be shown for the first time.
It is the complete story of the singer and the woman, a film in which the emotion often exceeds that of her operas.
We know that Maria Callas literally brought opera back to life. This film sets out to do the same with Maria Callas' art and life.

It is a resurrection of the diva which brings back to life the period of the great Callas. The one at La Scala in the 1950s of which no footage remains.

The original dresses still exist. They provide a real evocation and are the product of patient work conducted together with La Scala: photos (Erio Piccagliani), sketches of sets, the opera itself and the stage – everything is brought together to conjure up the great Callas. Thus, in this film, Anna Bolena, La Sonnambula, and Don Carlos - operas of which no footage remains – will come back to life for the first time.

It is a resurrection of her life and its meaning, as each document blends into a single story.For example, the archive footage of Maria Callas, jostled by the crowd, on the red carpet at the 1960 Cannes Festival, with flash bulbs popping on all sides. It shows a woman who, 5 weeks earlier, had just buried her son. A baby she gave birth to in absolute secrecy and who died 8 hours after being born. The star who looked triumphant at Cannes would never again be a mother. Her glory conceals the dazzling death of happiness.

Richer and more poignant than fiction, this true story is the film about Maria Callas that everyone has been waiting for.”