357: Maria with Sophia Lambton

Dan LeFebvre  02:21

Before we look at some of the details in the movie, if you were to give Maria an overall letter grade for its historical accuracy, what would it get?

Sophia Lambton  02:31

I would give it a G. So it’s going off the scale of customary grades here.

Dan LeFebvre  02:38

Doesn’t even count as a traditional letter grade. The opening scene of the movie is Maria’s death, but it’s also how it ends. And then most of the movie itself is the final week of her life, and we get flashbacks of Maria’s earlier life here and there that will throughout the movie that we’ll talk about. But let’s start today by filling in some of the historical context, because since the movie is focusing on that final week of her life, we don’t really get a lot of who Maria Callas was. So for listeners who aren’t familiar with who Maria Callas was, can you feel in some more historical context that we don’t see up until the timeline of the movie starts,

Sophia Lambton  03:18

Maria Callas was a Greek American soprano. She was born to Greek parents in Manhattan on the second of December 1923 she had pretty negligent parents. They were quite first of all, they just didn’t love their daughters, especially the mother, Evangelia. But the father George was also not great. He He had trouble sustaining contact with his daughters through the years, and at one point, when callous and he actually did an interview together, he couldn’t remember he got the dates of both daughters birthdays wrong in public. In an interview, he was a pharmacist, they were not well off. When callous was 13 years old, Evangelia decided to take her and her sister, yanti, who was known in America as Jackie, and generally as Jackie to Athens, Marie Kals, began performing very, very early. She was actually, according to her cousin Mary annexy, she was actually singing whilst playing with a ball, even at the age of three, and by the age of five, she was parading around the living room with a with her other cousins, shawl singing the habanero, or just fitted Dan Yeah, from the opera mignon, which isn’t even that popular in opera. She actually began entering radio contests at the age of think it was 12 and, well, I’ll, I’ll share more on that later. But she had quite a difficult time during the war in Athens, not just the war that we know of, but also the Greek civil war between communists and allies of the British, which was actually bloodier in Athens than World War Two. She came back to New York in 19. 45 trying to make a career, and reunited with her father, whom she hadn’t seen in eight years. But that didn’t help her much, so she went to Rona in June 1947 and little by little, she both made a career, but she also met her husband, Giovanni Battista minigini, a man 28 years her senior, who was not at all attractive, but she was not really she didn’t have a big interest in men or romance, per se, so she did love him. He was a father figure to her, and she she saw him as a nurturing man. He also became her manager, but in his over greed, he actually inadvertently calls for a bad reputation, because he demanded too much from opera houses. Demanded too much pay from opera houses, you know, spread rumors about other soprano she would never have spread herself anyway. They began to have marital problems because he kept insisting she’s seeing more and more at a time when she was really having very severe vocal problems. And finally, I’ll get to this more detail later on. But finally, he admitted he had invested their money in forgeries as paintings. And she said, Well, I’d like to take over my own career. And he said, No, that’s not going to happen. And he left her. He left her coincidentally, truly, coincidentally, as a time when she was when they were both socializing with the Greek shipping magnate, Aristotle Onassis. And later on, later on, she began a relationship with Onassis that lasted for actually, it didn’t last much longer than eight and a half years. But throughout that time, having got I forgot to mention so she was building her career. Obviously, that what made her absolutely unparalleled was the fact that she could sculpt her voice. She could sculpt the tamper of her voice to really incarnate a character to the point that you sometimes don’t even recognize the voice. So you’re hearing a Japanese, 15 year old Japanese Geisha in the voice of a 3031, year old, a Greek American soprano who, by that point, was living in Italy, she took insane artistic risks that other singers generally do not take, because it’s it’s perilous for the voice, and her vocal decline is not exactly a mystery, but there were multiple factors going into it, various health problems, and that was the main plight of her life. Later on, actually, she she dumped Aristotle and asked us three months before he, quite famously, married Jacqueline Kennedy. During those three months after she dumped him, he kept trying to get her back, but she wouldn’t take his calls. He sent her bouquets. She you know, she just, she was actually traveling around the United States and Mexico, and was not answering his calls, but she did not know he was going to marry Jack Mackenzie, and was obviously hurt when he did later on. She knowing that she had this terrible vocal decline. I will have a mention that she never retired, and we’ll get to that point further on in the podcast, she never retired, so her career was never suspended or ended. But there were periods when she sang less because she was going through various health problems and that was impacting her voice. And she tried a film career. So she tried. She played the role of Medea in Pierpaolo pozzolini, Medea in 19 it was shot in 1969 came out in 1970 in the US. She tried being an opera director in Turin, where she and her tenor partner, Giuseppe DiStefano, who actually later, or actually around that time, in 1972 was already her lover, they tried staging Verdi’s events, but that didn’t fit her either. And she also tried giving master classes at the Julia School of New York series, master classes from October 71 to February 1972 which are all recorded and all on YouTube, and they’re tremendous fun. And this was later on, much later on. This inspired a play by Terence McNally called master class, which was on Broadway. It got Zoe Caldwell Tony, I believe it’s actually a very fictitious play, but the master classes themselves were fascinating. However, she found she didn’t really like teaching that much. She did have a big comeback tour with Giuseppe Miss Efrain from 73 to 74 when her voice was ready in a very, very bad way, and she considered many projects later on before Well, her health just kept getting worse, but also her voice just was not recoverable for various reasons. However, she was considering projects and practicing, rehearsing for projects up to her death. This film is apparently focusing on the last week of her life, but it’s very misleading even about that, because there have been various portrayals and perceptions of Mary camps being this terrible recluse at the end of her life. And yes, it is true that she did not go out as often she had. She was very, very unhappy, apart from the fact that Onassis, by that point, had died, because people tend to center her sadness on this, but also her dear friend, the film director, lucchinov. Ganti, who had staged her in opera, had also passed away not long after Onassis her dear friend Pier Paolo Pasolini, who had directed her only film, ROM role, had been brutally murdered at I don’t remember what age he was about. Her rating was about 5152 she had gone through various losses. She couldn’t understand why she couldn’t recover her voice. So it’s not just that, oh on US has died and then she didn’t eat the house. That’s absolutely not true. In the last week of her life, she met up with Princess Grace. So Grace Kelly, who had who then became Princess Grace, she had lunch with her and the conductor Franco manino, a longtime friend of hers, reminisced about the past. She was also going to meet with the French choreographer Maurice Baja to discuss a potential project, some kind of film about singing with him. She actually was on the phone with a woman I interviewed, Bettina Brentano, who was still only a kid then, I think, 18 years old, so just about an adult. And she told Bettina, they Betina told her. They told me often, because Bettina was going to undergo an appendectomy. But by the afternoon, Mary calles had died, and she was also planning, according to George Moore, the president of the Metropolitan Opera Association, she was planning to visit him in Sotogrande, Spain. So it is not the case that she alienated herself from everybody and shunned everybody and said, No, I’m not going to talk to anybody. The head’s true, but the ending of her life was very sad. It was obviously quite premature, because she died at 53 but she was still very determined to Pierce, persevere and to survive.

Dan LeFebvre  11:33

Wow, yeah, it seems sounds like she had so much more to her than obviously we see in the movie, because we don’t really see much of her actual life in in the movie, it just kind of focuses on the end there, but the talking about the strain that it had on her voice, and just just the performances and opera that taking chances like that, but then getting into acting and teaching and all these other things too, was that something that was uncommon at the time, that she was doing things and then just almost mentioning her husband pushing her to do that was, was she being pushed to do more and more things that were strenuous and putting even more strain on her?

Sophia Lambton  12:13

Well, that’s a really good question. Dan, actually, because her career became very young, she sang, she was, I told I mentioned everything radio conscious. I think 11 was the first one. She was 11 when she entered the first one. She made her she sang her first role at the age of 15. Later on, she would say, my mother pushed me. But we also know that she herself was a performance geek from a very young age. She was very determined to succeed. She would say, reflecting back on her teenage years that she would work, she would work toward performing because she went, she actually attended two conservatories, the National Conservatory in Athens and the Athens Conservatoire, but she didn’t graduate from either one because she didn’t attend the mandatory harmony classes, as she thought the teacher was bad and she failed to examine music history. But she was a geek when it came to performance, and she would work from 10am to 8pm every single day. And she would reflect, reflect on it, saying, but you know, you would ask, well, didn’t I want to go out? Well, no, I had no interest in going out. I that was what she was. She wanted to she would say, the poet speaks of the mind’s eye. There is the mind’s ear. There is so much you can do even without a piano. And she would talk about rehearsing operas in her head, just on the bus in Athens during the war. So she she pushed herself harder than anybody else. Now, in terms of her vocal strain, that’s the whole giant topic, whether she pushed herself so hard that she handed is a difficult question. Is also the subject of her weight loss, which could have had an effect, but primarily what caused vocal decline was damage to the stomach muscles, which ruined her support, the support of her vocal apparatus, because her vocal cords were always fine. And she went to various kind of doctors, laryngologists, lung doctors, you know, she went to see all the specialists. And it wasn’t her ailment, in terms of her vocal decline. That wasn’t anything, uh, visible. It wasn’t something you could identify and say, Oh, so this happened, but she did get uh, several hernias, including one which she said was in the diaphragm, which would have also, uh, apparently it pushes out through the diaphragm, and she said it, she herself said it damaged her stomach muscles in terms of, was she being pushed to do things her husband when they were together, she was at the peak of her career, really the peak of her career. We’re talking 5758 59 Yeah, he wanted her to do things she didn’t want to do. He also tried to get her to sing when she felt unwell, so when she had the flu or bronchitis, and she did push herself through that, but she was also pushing herself through that because the media was giving her an unfair reputation as a diva, which was partly because her husband was demanding higher salaries, kind of to her, not to her knowledge. So she kind of left him in charge of all that, and didn’t want to. Have much to do with also because she had various arguments with Opera House managers, because she wanted everything to be perfect, not for herself, but for the composers. She always used to say, I am a servant of the composers. She was very self Lovick. She never thought she was giving enough, but she herself wrote an article for a French newspaper called out with just the arts, basically in 1958 saying, I will not, I cannot stand by and see opera being treated in a shabby or second rate way. So it was never about making life easier for her. It was about making life, making the world of opera as best as it could be when her husband did, and we’ll get on to this later on, when her husband did want her to do projects that she didn’t want to do, like film, for instance, he wanted her to be in. She was offered the role, the leading lady role in Carl Foreman’s The Guns of Navarone. I think Carl Forman was produced with that which eventually starred Gregory Peck and Irene papas. She was offered the leading role in the German film called the Prima Donna. She was offered some kind of gig singing in a cabaret at Las Vegas, and that’s when she told her husband, no, this isn’t me. I sing opera. I don’t want to do some stuff. And she and she didn’t, in terms of the master classes and directing evasive Giuliani in Turin and starring in Medea, those were more. Those were her trying to find herself in other ventures, and she tried, she really committed to them, but she never felt quite at ease in any one of the three. But that’s a later callus that doesn’t have anything to do with her husband, because those ventures started in 1969 she split from her husband in 1959

Dan LeFebvre  16:38

if we go back to the movie, kind of throughout the movie we see a character named mandrax. He’s played by Cody Schmidt McKee, and he’s interviewing her throughout the movie. But it doesn’t really take long, as was watching the movie, to figure out that he’s not a real person. Mandrax is the name of a drug that she’s taking quite a lot. There’s a one scene in the movie where we see Maria’s Butler, frucci, oh, keeping tabs on how many she’s taking, and it seems like she’s taking at least four pills a day, along with some other medications. The movie doesn’t really talk about why she’s taking it and some of these other medications, so I thought maybe she was perhaps ill. You kind of talked a little bit about some of the vocal decline in that. But then there’s towards the end of the movie, not to get ahead of our timeline here, but begrudgingly, she gets some blood work done, and a doctor flat out tells her that she tries to sing the extra stress and medications that she’ll need to get through that will kill her. So can you unravel this whole mandrax thing that we see in the movie and how it played into if there was an illness that Maria had?

Sophia Lambton  17:36

Oh gosh. Well, first of all, she did not have any kind of substance abuse disorder at all. She was not addicted to pills. She did take a pills called mandrax to sleep. She had terrible insomnia problems. And on two occasions in her life, it is true that on two occasions in her life, she accidentally took too many so and it was hard to wake her up. So that was on the 17th of February, 74 when she was supposed to sing at Carnegie Hall, and four years, almost four years before that, on the 25th of May, 1970 but those were accidents caused by the fact that Maria Callas was, to be honest, quite an ignorant person when it came to anything except mutual sorry, music, music and culture at large. She her entire schooling. Her entire schooling, except for music, finished at the when she was 13 years old. Wow, she did not graduate high school. She went from her mother taking her from New York, from middle school to enlisting at a Conservatoire, being asked by her mother to lie and say she was 17, you know. And she also did not have close relationships with her parents. Her sister, that was a tricky relationship. So nobody. There was no guidance to say other than the fact that in those days, you know people, her generation typically do not know much about pharma, pharmacological things in general, you know tablets or anything else. But there was also no guidance to tell her about this. So there were two occasions when she took too many but she did not have a disorder. She was not addicted. She was not dependent on these tablets. It is true that in the last couple of years of her life, she really, really had problems sleeping, and she did ask her sister Jackie to send them from Greece because they were not on the market. But I don’t understand why that’s such a big deal when they were, for instance, they were, they were not on the market in Paris where she lived. That’s true, but they were on the US market until 1983 so we’re not talking about some forbidden, you know, forbidden, taboo drug. Here she was, however, yeah, so I will mention, also in the film, it’s, it’s completely fictional, because the doctor mentions her liver. And Marie Kellis did have many health problems. I never heard about anything wrong with her liver from her or anybody else. Ironically, I actually remember there’s at one point she says, Onassis liver is okay, but there was never anything about her liver. She had so many problems throughout her life. She was such an unwell woman for. First of all, and most of all, she had, or you could say, lethally, low blood pressure, because eventually she died of a heart attack, but was mostly spurred on by her blood pressure. But she pushed herself and pushed herself, and at one point in May 1965 performed Norma, which is one of the most difficult operas for any soprano, when her blood pressure was 70 over 50, so she would just push herself and push herself. She had had an underactive thyroid in her youth. She had eczema, she had acne, she she had such low blood pressure she could drink 10 espressos a day. She had allergies to antibiotics, which meant that when she in 1958 when she had she had an, I won’t say what it was, because it was an embarrassing for her. It would have been an embarrassing gastro, gastroin, gastrointestinal, yes, gastrointestinal thing that caused it made her have an operation. She couldn’t have painkillers after them because she was allergic to the painkillers. But she performed il Perata, which is one of Opera’s most difficult operas ever. The next day, when she got on a plane, her legs would be swollen in this film, at some point, Angelina Jolie’s character Maria, says her legs went purple. Don’t know where that came from. Her legs never went purple, but her legs would be swollen because her circulation wasn’t that great, which is what happens to people with low blood pressure. She would suffer from terrible migraines. She had allergies to various herbs, including garlic. She would have anemia in about 1970 I think she had cerebral anemia, which is a particular kind of anemia. She would be diagnosed with exhaustion at various points in her life. She had jaundice at various points in her life, and also at various points in her life, she got laryngitis, bronchitis, pharyngitis, trachetitis, which all disturbed her performances, because obviously they have an effect on your voice when she did finally die. This happened shortly after she had complained to her doctor that she felt pain on the left side of her back, which was obviously a precursor to a heart attack, but he he attributed it to flu and rheumatism. It is, however, also true that she had been diagnosed with dermatomyositis, which is an autoimmune disorder by a doctor called Mario Joker. So Marco jocovid. So I remember his name is Joko. That’s it. Marco Mario. Okay, sorry, I don’t remember for this moment that was an autoimmune disorder. And he then later speculated much, much later in about 2002 so decades after her death, he said maybe that caused a vocal decline, but the median prognosis for somebody with that disease is about 12 years, 12.3 years, for someone receiving treatment and her vocal decline. You can speculate when it began, but it was already very present. By 1957 she died in 1977 so I don’t think she had dermatomyositis, untreated and survived for 20 years, but that caused a violet tinge on her neck and wars on her hands. So she did have very many ailments, obviously. I mean, I say obviously, obviously. I’m not a doctor. She also didn’t have a post mortem, but she had a heart attack. She collapsed in front of you. Mentioned her button of filcho. She collapsed in front of him and her maid, Bruna, who was also fictionalized in this film, they were there when she died. She clapped. She had a heart attack. She died in terms of, was her singing killing her? I wouldn’t go that far for sure. And she was never told by any doctor, if you sing, you will die. She was, however, advised against singing because of her exhaustion at various points, and she often did it anywhere because she feared terribly. She feared being villainized by the media and being described as a diva who refuse to go on stage. Because, instead of saying no, I mean, I know the media have to exaggerate and have to have clickbait headlines. And Callis, by the way, understood that too, she would say, I know, you know, they have to fill their pages, and they have their job, and I have mine. But instead of saying, recalci goes on stage despite having blood pressure of 70, over 50 or, you know, despite being very ill, they, they would say every time she had to cancel or suspend a performance, Marie Council does again. She’s a diva. She’s unruly, uh, they were not interested in reporting on her health at all. Um, so, yeah, that’s, that’s a story that’s just a little bit of her medical history, correct

Dan LeFebvre  24:21

me if I’m wrong. But with that, and then what you’re talking about earlier, with with her husband kind of being almost like a manager for handling all the business side, but then also with her not having a lot of schooling and focusing more on just the creative would it be correct to say that she she trusted, say her husband or or others, for a lot of that diagnosis, and she was that really just focused on pushing herself creatively, and then whatever the consequences were, she not being a doctor herself, just kind of trusted whoever was giving her advice at the time, whether it be her husband or doctors or. Wherever that may be,

Sophia Lambton  25:00

I would say that’s pretty much correct. But, yeah, she was a workaholic, and she really ran herself ragged. But even in July 1957 when she was diagnosed with exhaustion, and the doctor said, you really should cancel the next performances of La sonambola, she didn’t. She didn’t. She had previously asked for four instead of five. And there was then a scandal, because the manager, I can’t remember, who was organizing it, didn’t understand that she was going to sing the fifth one. So instead of the media saying there was a mix up between her husband, her manager, and it was, it was a La Scala production, but it was performing in Edinburgh and saying that there was a mix up between my guinea husband and it wasn’t getting Getty. Someone else was organizing it anyway. Do you remember the the guy? The name of the guy organizing this round was an ambulance. The media said, Oh, there she is off again, canceling performance because she’s such a big celebrity, and she thinks she has, she thinks she’s entitled to, and of all of all adjectives, Maria Carlos was not at all entitled. On the contrary, she was. She could be quite self loathing, and she endlessly tore herself to pieces feeling she hadn’t given enough.

Dan LeFebvre  26:12

Yeah, yeah. But that passion that she, I mean, you don’t get to that level without loving what you’re doing. And she obviously loved it. And you’re saying, you know, the hours that she practiced even, even as a child to get there, I mean, and then being a workaholic, you’re just gonna run yourself to that, to your own detriment, even, I think we see that happen a lot with with a lot of people, yeah,

Sophia Lambton  26:34

yeah. I mean, rehearsals until 3am and then to continue, you know, a record that was only 40 minutes long. Took her 40 hours to record and add another for another record. She spent 12 hours on, no, sorry, she spent three hours recording 12 bars of an aria because she didn’t like the way it was coming out. Wow,

Dan LeFebvre  26:57

wow. Well, I have a feeling I might know the answer to this next one. But in the movie, mandrax is not the only hallucination that we see her having. We see orchestras and choruses in various places that she’s going, but then not you mentioned her sister. And near the end of the movie, she gets to her sister comes to visit, and she grasps onto her sister arm to see if she’s even really there. Do we know if Maria saw hallucinations, like we see happening in the movie?

Sophia Lambton  27:27

No, Maria did not see hallucinations, except for when she was four years old, shortly after she got knocked over by a car. She kind of dramatized this when I don’t know how well she remembered it, but she remembered it as I was in hospital for three weeks because I got knocked over by a car, and I saw in my head hallucinations about music, which were fascinating and stimulating. But I don’t know how much of that was true. That was adult Maria, remembering four year old Maria, but other other than when she was four years old, she never reported hallucinations. She did have insomnia, and she did wake up quite late by the last two years of her life or so, so typically waking up midday or one o’clock. But no, she did not suffer from hallucino. Because, what I mean, why would she have suffered from because she would, that’s the thing. It’s bizarre. Mandrax was prescribed primarily as at least for her, it was a sleeping pill, right? And she didn’t have a substance abuse disorder, but she took them to sleep. I don’t know how this movie continues. Can insinuate she was taking them four times a day when she wasn’t asleep for the full day. You know, she takes

Dan LeFebvre  28:29

it right before she goes out. You wouldn’t take a sleeping pill right before you’re going out.

Sophia Lambton  28:35

Oh, by the way, I also forgot to mention that she had glaucoma. She had to take eye drops every at one point is every half hour. Maybe later on, it was every hour, but yeah, she was also going blind for some reason. This, this movie which wants to be so dramatic and serious, doesn’t touch on that, but it makes up hallucinations when she actually was losing the ability to see. Having already been severely myopic her whole life, she was very short sighted when she was on stage, she couldn’t really see anything. But she preferred it that way, because that way she felt she was on her own world. So she wouldn’t put in contact lenses. At one point, she accidentally left them in. So she would wear contact lenses in the daytime, and at one point she actually lent she accidentally left them in a torsca in Paris in 1960 this would have probably been 1965 and then she told her friend, Michelle glords, who was produced at EMI France, the record company EMI France, which is now Warner Music, she told him, I was completely overturned. I saw my colleagues, I saw the props, I saw the audience members scratching their heads. I was she said I was literally overturned. And I was shocked. And you know, she was horrified, because she felt so exposed. Because, other than that, she would come on stage before every before, well, yeah, during rehearsal, she would create a mental map of all the props in her head, because she had to know where everything was not, so as not to bump into everything, bump into anything. At one point, actually, her friend Stelios galatapos, who’s a music critic. Who then actually wrote one of the, one of the better books about her, quite a quite a good book about her. Remembered she was playing Medea, and she lost the dagger, the dagger she was using to kill her children. She lost it at some point, and she had to feel for it. And the way she felt for it was remembering where that the sound of the metal falling had landed by ear. I mean, that’s

Dan LeFebvre  30:22

impressive. I mean, just being able to remember all of that for each performance, because I’m sure you know, the stages in around the world that she’s performing are going to be different every time, and I don’t have that kind of memory either, wow. Well, if we go back to the if we go back to the movie. You already talked about some of this, but the way that the movie shows her being forced to stop singing, she we don’t see it happening, but she visits this theater to privately practice. There’s only one guy there who’s playing piano for he’s never really named in the movie. By looking at the cast listing, it’s Steven ashfield’s character, Jeffrey Tate, and Maria tells him that her last performance was in Japan about four and a half years before the time of the movie, she got a hernia. Her legs turned purple as you talked about it not happening, and everything swelled up. We don’t see that happening, but then we do see a scene with Maria burning her theater dresses at her home in Milan, which movie seems to suggest was a symbolic gesture of marking the end of her career. How well does the movie do telling the end of her career, although, as you mentioned earlier, her career never really seemed to end. So I feel like I already answered that one.

Sophia Lambton  31:34

Yeah, it’s, this is all very mixed up, because it’s not based it’s it’s taken various elements out of context that have nothing to do with so there’s her vocal decline, and then there’s a whole costume burning thing. So it’s true that she burned her costumes, but it had nothing to do with her vocal decline, and it had nothing to do with the progression, or, on the contrary, the devolution of her career. So Rhea Callis had a very interesting career until 1953 until about the spring of 1953 she was a very, very heavy woman. I don’t know. Did you? Did you know this? Dan, so she was very, very overweight from about the age of 18, 1718, because she wasn’t an overweight teenager at all. Rather, she wasn’t overweight young teenager child. But she then gained a lot of weight, and so she was a very, very heavy woman. And then in about spring of 1953 she realized that she couldn’t carry on that way, because firstly, was just she found it, you know, she was not a very well woman in general, and she found logging around her weight difficult. And she also needed the chin for expression. She was singing the role of Medea in Florence in 1953 conducted by Leonard Bernstein, whom she had personally recruited, having heard him on the radio, and she needed the chin for expression, so she decided to lose weight, and she lost about 95 pounds in the span of 18 months. So that’s a lot, and that’s why there’s been a lot of deliberation. Did that affect her voice? That’s a whole other topic. But just going through her perspective of things when she was overweight, that was also very early on in her career, and she was starring in really tacky opera houses where, I mean, when she was in Sicily, in Palermo, I think it was, maybe it was a Catania, I don’t know, but when she was in Sicily, the opera house actually called her two hours before the performance to remind her she had a performance, and she was so she was outraged by the idea that she had to be reminded she would write to her husband. Can you believe it? This is how well organized they are that apparently their other singers don’t remember their singing tonight. So khaki opera houses, very cheap productions, including very cheap costume, she said, stank of sweat, insinuating that they hadn’t even been washed after their previous wear by the previous hanger. Yeah. The director Lucchino Visconti, who was is most more famous for his films the leopard and Death in Venice, was also an opera director because of her. He actually said, I staged opera for callous, not because of callous, he said for callous. And the first time he saw her was in Wagner’s Parsifal. And he said she was wearing something that looked like a bra and a pillbox hat on her head that kept falling on her nose as she sang. So this was a period of her career, very early on, when she was relegated to wearing tacky stuff. Eventually, she actually asked her husband, menegas mother to supply some costumes, and she would eventually bring some of her own costumes, because she did not like what she was being given when she burnt costumes. It was not the costume shown in this movie, at least, at least what they were implying. She burnt the costumes from what she knew as her overweight period, her tacky period, her I haven’t developed as an artist yet, period. And she talked about Efrain in a French interview in 1965 which is where they got this information from. She said. That the past that I didn’t like that is to say it was before the birth. My birth artistically. So once tastes change, the body changes, one changes artistically. And I’ve read the screenplay of this movie because it came out before the film itself. It was published a deadline, and in the screenplay, it said among it had tags on the costumes, and it included Anna Bolena by Don it SETI. She would never have burnt the Anna Bolena costume because that was a Latino Visconti reduction. That was a gorgeous dress, and she I mean, so this refers to costumes from a completely different era, costumes from a completely different part of her career, where she looked different, she felt different, and she also sang differently. So that’s a whole other topic. But in the early part of her career, she was not as tailored, and she would be over dramatic. She would do vulgar things with the voice, and then she she really wanted to to worship and honor the music, and she tried to doing she really wanted to devote us up to doing exactly what the score required, and not what she would call pyrotechnics. So not fireworks, not, you know, adding a high note just so the audience would be impressed. That’s the costume burning thing. In terms of her vocal decline, that’s a very different subject. So she noticed it as early as about August 1954 when she was recording Verdi’s La forsa del distino in Milan, and she later that night at beefy restaurant, which is the restaurant at La Scala. It’s since been renamed, but it was traditionally known as beefy. She asked the prana, Elizabeth Schwarzkopf, who was also the wife of EMI records producer Walter Lech, to touch her diaphragm, and she performed a high a. She said, Elizabeth, can you ask? Can you teach me how to perform this high a so it doesn’t wobble, because Walter, her husband, Walter, the EMI producer who was overseeing the record la Ford del distino, Walter says mine make him seasick. So even as early as that, when she had lost weight, well, shall we say, about a year that she started to lose she had started to lose weight about a year and a half before. So this was shortly after she lost weight. And that problem became more and more and more prevalent as she got older. But I’m saying older. I mean the first time, you know, in August 1954 this was a 30 year old woman. So she was not old, she wasn’t even middle aged. She was still very young. By january 19, sorry, by March 1959, she was really, really struggling. And the 10 of Ferruccio talevini, who sang with her on her second record of Lucia de Lama more, said she kept singing the same E flat and she kept cracking it when they were recording the the opera she was she tried and tried and she kept cracking the E flat, the top E flat, and she would soon start seeing less and less because of that. Simultaneously, she had been having problems with opera houses, partly on account of her husband, partly on account of the high standards she expected of them. And she had actually said, way back in September 58 she had said, in about a year’s time, I will probably retire, or at least I will sing a lot less because I don’t understand, I don’t understand the purpose of singing in conditions that are not, you know, conditions that are not optimal. She meant the various opera houses that she said wouldn’t, wouldn’t give her enough rehearsals, not just her, but wouldn’t give the company enough rehearsals. She specifically spoke of the met in New York, saying, I’m not the only one dissatisfied with the way they work. You know, for instance, not having enough rehearsals. For instance, introducing me to my baritone and La Traviata a few hours before we have to go on stage to perform it. Giuseppe de Stefano doesn’t sing there. Elizabeth Schwartzkopf doesn’t sing there, and Eileen Farrell doesn’t sing there. So, you know, I’m not the only one dissatisfied. It’s just that the media lights on to me. And then so she was having vocal promissory on 1959 that happened to coincide with the time when her husband left her and she later paired off with an asses. She also had sinusitis, which she said was very bad, because it was like she said, the pus dripped onto my vocal cords and blocked the sound chambers, and I felt like a deaf man who shouts because he can’t hear himself anymore. And she had several hernias, and one of them, she said she she had, well, she had an operation for the sinusitis in December, 1961 she had an operation for the hernia in january 1963 but then she got another hernia. At the same time, she was having terrible problems with blood pressure, because she felt so stressed that by this time when she would perform, her blood pressure would just tank hours before the performance. So at one point, as I mentioned earlier, she had to give a norma with a blood pressure of 70 over 50, and her friend Stella tapos said she could barely walk on stage, but she was going through it because she didn’t want media to say, callus abandons performance. Yeah. Yeah, no, it’s bizarre. It’s really bizarre because actually, even from a tabloid perspective, they could have said callous almost kills herself trying to sing, right? Callus almost faints. But instead of that, it was all about, oh, callus is being a diva. Or in that, you know, in that case, there was some dramatization of her fans in the audience that there were anti callous people or pro callus people, and it was all about their feud.

Sophia Lambton  40:25

But she quite soon realized, by 1964 she was saying that the first hernia, she said, it knocked me out so much I damaged the muscles of my abdomen, which naturally drained my strength and affected my singing apparatus, to which the abdomen and diaphragm are as much apart as the vocal cords. So she had hoped the operation would improve things. Immediately following her operation, in january 1963 she had a tape recorder, and she was listening to herself obsessively, but that didn’t improve things. On the contrary, she got another diaphragm. Sorry, another diaphragm. What? She got another hernia, which was in the diaphragm. She got another hernia, which was in the diaphragm. And by the time her concert tour, which took place, not in this movie, they said, four and a half years, or something, her last performance as part of her concert tour, which was her last performance ever, was in November 74 so it was only two years and 10 months before she died. It was not four and a half years. She was in terrible pain after that because she said, Probably I’m working my diaphragm more and better and it starts kicking. Also, after that performance, she had labyrinth, it’s which is an infection of a labyrinth in the inner ear. She said, I couldn’t stand straight or sit straight for 12 hours, or see or see for nearly 12 hours. So I don’t know why. In this film, they made up something about purple legs. Weird. Because, to be honest, even if they wanted to be ultra dramatic, they could have used this stuff. A lot of it isn’t new to my book, either. It’s it’s been out there for a while. This information,

Dan LeFebvre  42:03

I think it kind of tells a gives an idea of how accurate a movie is when in that in that case, like, she’s telling the story, we don’t even see it on screen. But even saying four and a half years, as opposed to a couple years, like, it’s so easy to change that dialog and make it just a little bit more accurate, but for some reason, they don’t do that. And I mean, unfortunately, there’s movies that do that.

Sophia Lambton  42:29

But bizarrely, in the screenplay, it talks about 19 June, 1959 and it says it introduced the husband, many Guinea, and it says in the screenplay, a man in his 40s, and by that time, he would have been 63, years old. Bizarre, quite bizarre. I don’t get it to say the least, yeah. Well, if

Dan LeFebvre  42:53

we circle back to like when she was telling that story, she was telling it to the Jeffrey Tate character. And there’s another thing I found interesting, because Maria in that specifically says he is not a repetitier. But correct me, if I’m wrong, he actually was, and you had an opportunity to interview him before he passed in 2017 so can you share a little bit more about the real Jeffrey Tate that we don’t get in the movie?

Sophia Lambton  43:19

Yeah, I was really surprised that a film about Marie cows would include a fictional Jeffrey Tate, because Jeffrey Tate worked with her for six weeks of all the collaborators with whom she worked, he worked with her perhaps the least even. I mean, even in her last years. I assume they did that, because first he was English, so they didn’t need to get a French person, you know, I mean, her main vocal, vocal coach then was Janine Rice, who is a lovely, lovely French lady who might my first interviewee, who’s also gone. Now she’s passed away, but I presume they didn’t want to use her, because that would have been a French woman speaking English with with a French accent, even though they spoke French in real life, because calla spoke French, Italian English on Italian, English on Greek. But Jeffrey Tate I in advance of this film, I listened to my interview of him again because I hadn’t in ages. I interviewed him in january 2014, he was a repetitor. He works for the Royal House here in London. He was recruited to work with her, even though Italian music and Italian opera in general wasn’t his specialty. He preferred German music so leader and and operas by Wagner. I think he also preferred Baroque music so callous his favorites of Rossini, Bellini, Donizetti and Verdi were not his specialty, but she was considering singing Cavalier rusticana at the Royal Opera House. Now this was in March 1976 it had nothing to do with the last week or even the last month or even the last year of her life. They only worked together for four to six weeks. He said he was very, very shy with her, and I have to say that when I saw his portrayal in this film, I felt really sorry, not just. For callous, who’s obviously being I don’t know what is going on, because that’s got nothing to do with her. But for Jeffrey Tate, this conductor, he later became a conductor for Jeffrey Tate, whose partner is still alive, as far as I know, and the bizarre realm in which Jeffrey Tate, who came as a very young, very shy, repertor, very scary, scared of this big, you know, big name of callous being portrayed as thomp, I would say, quite arrogant character. They did warm to each other, meaning, he felt free with her. So eventually he said I could treat her as any other normal singer. He I could say Maria, that was flat. Try that again. She was very determined to work hard. He called her extremely nice. Um, he they, he said they didn’t talk about because I deliberately listened to my truth him. They’d never talked about personal stuff. She’s, I mean, occasionally she might mention analysis, but she never said anything specific. And I, I really pushed him on this, you know, are you sure she didn’t say anything specifically on Onassis or Pasolini? You know? And he said, No, no, she we didn’t know each other long enough for that to even occur. We stopped mainly to the mezzo repertoire because her voice was in a really bad way then. And he said she was never harsh, never difficult. He called her again about five to six months after their initial collaboration, asking if she wanted to resume, and she said that she would be back in touch or probably later on. He said, When I called, when I ran her up again, she was extremely nice. So they, typically, they would only work together up in a theater, which was the teaser. Once a week she was allowed access to that theater because the manager, char Dan, had given her access, probably because she had contacts in EMI. Otherwise they worked in her apartment. But it wasn’t as dramatic as as it’s portrayed. And also I still find it weird that he was even, that even a fictional version of him was included in the film.

Dan LeFebvre  47:07

And the way you mentioned it, like they didn’t talk about personal stuff, but in the movie, the impression that I got, I don’t remember the exact line of dialog, but she meant mentioned something about about him, and immediately the Jeffrey Tate character knows who she’s talking about, which implies to me that they have this whole kind of personal connection and background like that she knows that, or he knows that she’s talking about Onassis and all you know, it’s like they start to get very personal very quickly in those discussions in the movie, which implies there’s this whole backstory that wasn’t there in real life. Um,

Sophia Lambton  47:41

well, it was only then so far as everybody who had heard of Marie callus by that point associated her with onas. But I do want to say because obviously I have seen the movie, and it’s definitely not the first instance of a portrayal of Marie callus as saying, oh, Onassis forbade me to sing. That is not only incorrect, but it’s kind of the opposite of the truth. Because when she first began, I would say her friendship with Manassas, because she wasn’t together with him for a while, primarily because, as I mentioned earlier, she really wasn’t interested in romance. She wasn’t a very sexual being. And that’s a whole other subject. But I mean, there are nine separate sources, including callous herself, who attest to the who say something suggests that, strongly suggestive of of the fact that she wasn’t really that much intersex. So when people portray the callous analysis relationship as this big affair, it’s not true. First of all, not because Marie Callis was such a good person. And, I mean, she was, she tried her best to be a good person. But I’m saying it’s not true primarily because she just, she wasn’t interested in that, in that kind of thing. I mean, you know, when she met Onassis, she she later would, remember, I was rather indifferent to him. She wasn’t looking to have an adult an adulterous affair. She wasn’t looking to leave her husband. And even though she and many were having difficulties, she actually what she tried to salvage that marriage. But anyway, going back to Onassis for the moment, he was working with her to try to get her some role at the Monte Carlo opera so she could sing there wherever she wanted. He eventually tried to found a Marie Callis television production company with his friend who Roberto Arias, who was the ambassador, the British ambassador to Panama, also the husband of ballerina Margo Fontaine. But for some reason he was good in finance. So that’s why NASA approached him, because Anas could see Carlos was going through terrible strain, both vocal strain, but also psychological strain as a result of the vocal strain, and he thought performing in a pre recorded environment would be less stressful for her, but she didn’t like that. She always preferred life stage. She didn’t really, she didn’t really like pre recorded anything that much. And Onassis also, it has been multiple times alleged that Onassis did not want her to star in a film of Tosca, but that’s actually the opposite. He was the one working harder than she was on that because she didn’t like the idea of starring in Tosca, but he communicated with Jack Warner of Warner Brothers, so I. Found a letter of him, of his to Jack Warner, that had actually not it’s never been published before, and he communicated with Spyro scurris, the chairman of 20th Century Fox, trying to incentivize callous to do a film of Tosca later on, when their relationship soured. That happened at a time when both he was having terrible bad luck in his business. So he had lost all his stocks in the associated de van de mer, which is this big, big conglomerate in Monaco, which is where he was mostly based. At least his business was based at the time thing. And also his airline, Olympic airways, was making terrible, terrible losses. And actually, council would remember to her friend Surya, who wrote a diary entry about this, he would she would say, he’s so nervous. He’s so frat he, she said, fragile, unstable man. I tell him go and see a doctor about your nerves. He says, It’s not the business of a doctor. And she would complain about that to her friend Leo Lerman as well. She would say, He’s so stubborn, I would tell him he needs to see a doctor because he’s so anxious. He has anxiety. He can’t say I have anxiety. So, you know, you had a situation where they’ve been together already for I mean, I think things were especially going bad, and by the spring of 67 so they’d been together for at least seven and a half, well, about seven years, depending on where you begin to count their relationship. But over seven years, and his career is in the pits, her career is in the pits, and obviously they’re very, very insecure, so she eventually dumped him, because they were tired of each other, and she herself remembered in reference to the relationship, familiarity breeds contempt. He did not forbid her from singing. But what I will admit is that after they split, as you know, three months later, he married Jacqueline Kennedy. She was very hurt, despite the fact that he had tried to call her many, many times, and she had not taken his calls. So I’m not sure how he had told her if she was blanking him all the time, but no, I understand she was hurt. Obviously she was blindsided by this, but she she used a lot of the performative energy she wasn’t using on stage because of her vocal decline, in very long rants about Onassis and some stuff about their arguments was true. Yeah, obviously they in their spots, they said some unpleasant things to each other, but other times she would say stuff like, here we only ever had his friends on the yacht, not my friends. And that was totally untrue, because she had had her best friend of a time, John nawatsu There, the conductor Herbert von Karajan, who actually said he was best friends with Onassis than callus and Onassis actually they had had a spat about Lucia dinamimore and Onassis had actually reconciled them after they hadn’t spoken to each other for a while, and Princess Grace had always been callous friend and Frank, as efrali Callis had friend had been on on the Christina, and so had the conductor, Josh Kretz, one of her favorite conductors, who had rehearsed with her there using the Steinway and Asus had had commissioned to withstand dump the Steinway piano that he had had commissions so the callous could practice on his yacht, withstanding the dump. And I spoke to his step niece, Marilena Patroni colas, who was about 16 the time when she was spending time on the Christina. And she remembered, generally, most people who knew callous of time remembered her practicing on the Christina. Both Marilena, his step niece, and also his and callous physiotherapist COVID espanidou, told me how much Onassis liked castaiva. Told me he liked Bucha. It is true that he wasn’t a big opera fan, but it is completely untrue to say he forbade me from singing because he didn’t do that. Why would he have done that? That’s crazy.

Dan LeFebvre  53:34

Yeah, mentioning him forbidding her to sing, that leads to another question that I have for you about something that’s portrayed in the movie, because in the movie there, it’s implying that her career is over, but she’s still trying to get it back into singing. There’s, I think, a line where she mentioned that her mother made her sing, and then Onassis forbade her to sing, and now she’s finally singing for herself so, but she also mentioned that she wasn’t going to perform for anybody. So the impression that I got just watching the movie was she still wanted to sing, because it was just so deeply ingrained into who she was that maybe she felt lost without being able to sing. Is it true that she was still trying to sing, even if it was not to ever perform on stage?

Sophia Lambton  54:19

Yeah, she sang all the time. And if there’s you know, I have tried resisting speculation about her vocal decline. I do want to resist speculation because, other than the fact that her stomach muscles were damaged, we can’t really say why that was, but I still think she worked too hard, if anything, for her. Have got her own health for the blood pressure that was really low. She herself said, when I’m alone with a score, that’s where I find my true self. But how can one bring paradise to Earth? That’s why I’m also obligated to live another life. So in terms of her mother making her sing, I did touch on that briefly earlier. Her, yes, it’s true. Her mother pushed her from a very from callus, very early years. But Carlos also pushed herself. And then once she was really completely, you know, enslaved to music, she pushed herself really, really, really hard. Late in her life, she did contribute herself a bit because she didn’t know what or whom to blame for her decline. So sometimes she would say, Oh, my mother made me sing. And at other times she would say, manegini made me sing. And you know, I guess you can say that was kind of true, but she was the one making her, making herself sing more than anybody else. So you can’t really attribute all of that to her mother or to maneu. And when she was with an Assa, she was singing less because of her vocal decline. And she there were times when she may have tried to convince herself that at least she had Onassis. And, you know, maybe she’s trying to see this other side of life and in love and relationships. But she was bored. She would she would get bored because, you know, late is 1970 after 1970 so she had left an asset in July 68 and in a 1970 interview, she says, what is there in life if you don’t work, you can only live on work by work, through work, without work. There are only a few sensations, and you can’t live off them. And it’s true, she was really having an identity crisis without the opportunity of performing. Yet she was considering engagements all the time. She was considering them all the time. She would get nervous so throughout all the years, and she was considering engagements, including in 1963 she was considering she was going to do Macbeth, but she didn’t. She was going to do Trevor Tory, but she didn’t. Sorry, Macbeth, I think she was going to do in 59 but she’d be at Macbeth was going to be 59 and then there’s a room about 63 she’s going to do Trevor Tory in 63 but she didn’t. I found correspondence between her and her manager signed a golden ski at the Victoria and Albert news. And Albert Museum here in London, which had bizarrely never been uncovered. Which is quite funny, because he was saying the Victoria Albert Museum is a quite major institution. And gorlinski really detailed what she was considering doing at various points. And there was so much that hadn’t been in the public eye, so she was considering an American tour in 1963 but she was so nervous that at first she’d say, Okay, let’s postpone it, because I’m not ready. And then it would be, well, I know we were going to start in New York with the tour, but can we start in Philadelphia or Washington? Because there’d be, there’ll be too much, but the nerves will be too much in New York, because there’ll be all this publicity in New York. So let’s start at a less, you know, less prestigious city, less visited city, and then eventually would get canceled. So if we actually go to her final performance in November 74 she did consider many things after that, because she stopped at that point. I mentioned she had LeBron. She had terrible pain from her hernia, and she she was diagnosed with labyrinth. It’s an infection of the inner ear. But her partner both actually at that point in life and in the concert tour, Giuseppe Di Stefano continued with the accompanist Robert Sutherland. They went on to perform in Australia. When she returned to Paris, she was going to do Tosca with him. She was planning it for a very long time, but eventually she sang the second act in front of her friend, the costume designer Umberto tirelli The teata del opera in Rome in May or June, 75 she saw he wasn’t very impressed, and she thought, I’m I’m not up for this. There was a rumor she was going to sing with the Pasadena Symphony Orchestra in LA in January, 76 and then in March 76 Jeffrey Tate visited her to practice for a potential Cavalier ruscana at the Royal Opera House. She never did. She was practicing with her vocal coach, Janine rice, the role of Charlotte in basnes vertell. She was hoping to do a recording of this opera she had never fully performed before. She recorded, it’s a letter Aria. It’s an air delet a letter ARIA for a compilation album. But she had never recorded the full opera Verde, and she really wanted to do that. She was working on that two days before her death, and her vocal coach, Janine Weiss, traveled to New York for some work, I think, with Herbert von carrion, carrying luggage full of scores, full of opera scores. And when she arrived at the airport, a porter took the luggage and said, Oh, you’ve got a really heavy suitcase. Are you in fashion? Because he thought maybe she was carrying fur coats, I guess, or something, or outfits. She said, No, I’m an opera you know, these are schools. And he said, Oh, did you know a very famous opera singer died today? And she was she said, No, who was that? And she and he said, Marie Callis and Janine rice learnt about the death of her friend and student from a porter at an airport. You know, people really shocked, because, as I mentioned earlier, yes, she was definitely less social than she hadn’t previously. She was definitely extremely dismal. And Jeffrey Tate did tell me that her attitude, although she he said he did want to precise. She didn’t run people down. She ran the whole world down. So she had that, you know, attitude of an older person. Everything’s changed. Nothing is good anymore. But she didn’t, she didn’t run people down. She didn’t say, oh, remember him. He was terrible. She didn’t do that. He said she had. She felt like a 79 or 80 year old woman. In how completely dispirited she felt, but she was in touch with various people up to the day of her death, so she did not close herself up away from everybody else. She was singing. She wanted to sing and but her most horrifying thing was how her voice just got worse and worse, despite her continuous attempts to improve it.

Dan LeFebvre  1:00:27

Yeah, yeah. Well, like you said, like the I think what’s life without work? I mean, I feel like that’s a any, anybody who is a workaholic, and you know, focus is so hard, and you have to do that, to get to the level that she was. But I think that’s it’s it’s normal to to do that, and then with on top of all the all these medical things that you know, she’s just still pushing herself, despite that, I can see how it can be very it’s got to be so disheartening, because you you remember the way you were, but your body just isn’t able to do that anymore, and so you just want to keep pushing harder and keep practicing and keep doing that. But it sounds like that was her body failing her in ways like that, even though she’s, you know, keep pushing. Yeah. Well, a moment ago, I mentioned with Maria feeling lost, but in the movie, there are some flashbacks that we get that give another indication that maybe there’s something else that makes her feel lost, beyond the ability to perform on stage. And specifically, there is a flashback that we see with a room with Maria, her sister and her mother. There’s two soldiers that enter the room wearing Nazi uniforms, Maria and her sister are forced to sing for the soldiers they pay her mother for that private performance. And in the movie, Maria mentions that’s where it all began. And I’m assuming that that’s talking about kind of her mother forcing her to sing, and that kind of career starting, there was that a moment where she started performing first.

Sophia Lambton  1:02:04

No, not at all, not at all. She started performing first when her mother entered her into radio contest back in New York, and she didn’t win any of them, but she got some kind of compensatory prize. I don’t think, I don’t think she actually said if it was second prize or third prize. She won a Bulava with wristwatch because Jack Benny. Do you know Jack Benny? Yeah, Jack Benny was one of the judges, right? Well, Jack Benny was in the judges, and he apparently voted for her, but, but not many of the others did. So he she won some kind of runner up prize, and she never forgot that Jack Benny had been partly responsible for her winning a bit of a wristwatch at a radio contest when she was 11 years old. But the first role she sang she sang at the age of 15, and that was Dan Tutsi Cana. That’s the same opera that she was hoping to sing when practicing with Jeffrey Tade in 1976 she made her professional debut on July 4, 1938 in a celebration of the American Independence Day in Athens. And she, back then, would have been 14, yeah. July 38 she was 14 Yeah. She signed her first professional contract with a National Theater the age of 16, and she was given just a swarm of chain for performances. By the age of 18, she was seeing Tosca in a professional production. So she spent the war earning, you can’t really call it money. She was pretty much earning food as a result of performance. She now evangelio was, it is true, she was a very unsympathetic, negligent woman. She wasn’t really much of a parent at all. Later on, she had various psychological problems. She wanted her daughters to get money any which way. That’s true, but she did not ask them to prostitute themselves at all. I mean, how could she even have what she did, what she would say? Well, you know, socialize with the soldiers, meaning, go get food, not not become I mean, obviously we’re looking at a very extreme context when a lot of people did things so they would never have done ordinarily for their own survival. But thankfully, callous did not have to sleep with anybody to get money or food. The only thing she ever mentioned about her mother trying to set her and Jackie up in that context was that her mother made her go out with a German soldier, and Carlos was so anguish, she started crying, and the German soldier took pity on her and gave her, I think, some spaghetti anyway, or some of some food. Other than that, I’d like to mention what she actually did do in the war, other than performing. And I mean, she really became a team player during wartime. I’m sure she was one before, but that really war time is obviously a very, very extreme, especially in Athens, first during World War Two, then during their civil war, she would hike for miles and miles, not hike, but walk rather. Maybe she did hike as well. I don’t know. I would imagine. Well, Athens is quite hilly, but anyway, what I mean is she would walk for. Miles and miles to get cabbage leaves and tomatoes for herself or her family for her colleagues, she would barter the complimentary opera ticket she had at the National Theater, both hers and her colleagues for food for herself and for the company. She persuaded some kind of anti Nazi to sign a food warrant for the company, because they were being paid in food, but they were being paid something like less than a meal a day. So she went through a very, very hard time, but she did not have any kind of childhood trauma from any kind of sexual abuse, thankfully, thankfully, because I think her childhood was hard enough. No, I I’m pretty sure she was a virgin up to, actually, when she met manygini, which would have been much later, when she was 20. I mean, I’m, I can’t for sure say when Cal’s lost a virginity, but she it wasn’t in Athens. And also, as I mentioned earlier, yeah, she wasn’t particularly interested in sex. And she was actually 18 years old, the first time she had she heard of how babies were born, meaning the first time she realized what reproduction is, as in, she found out because no one had told her. No one had told her. This is Athens wartime. There isn’t a TV. She’s not going to hear about stuff on the radio at that point, you know who’s going to tell her? She could only have learned on her own experience and had. The flirtation she had with men at that time didn’t really amount to much, so all three men who were in close proximity to her. There was a Greek businessman, tech is cigars. There’s a British soldier, Ray Morgan, and there was a doctor called elusive testus. He was more like a father figure. All three men commented, not to me, because they they died. I think all of them, maybe Ray Morgan is still alive, but they told the boba for Nicholas, but Salus the omidys, back in the late 90s, mid to late 90s, how she really didn’t have much interest in physical intimacy. She did she perform for the Germans? Well, she she performed for the Germans because the whole company was performing in front of the Germans. But she and Jackie never performed. I never, I don’t remember ever reading about her and Jackie singing together. Now, Jackie didn’t want to be an opera sing. That’s true. And to begin with, evangelio was trying to push Jackie into a career, but when Evan Jenny understood that Maria was the real singer, she kind of forgot all about Jackie’s abilities. Jackie, meanwhile, was doing perfectly fine, not perfectly fine. That’s badly put. Jackie was okay, relatively because she had hooked up with a guy called Milton empiricus, who really helped both Jackie and Maria and the whole family in terms of food provisions and supplies during the war. I don’t remember why, but he had some connections, so that helped so she didn’t have to go out and prostitute herself. And that’s that’s just a big fabrication that’s based on the fact that, yeah, at one point, Maria mentioned, my mother asked me to go out with a German Sultan, but not to, I don’t think even evangelio would have specified sleep with a German soldier. I don’t think she would have even said that. Um, so, I mean, there is an interesting moment from the period when the was the Greek, like, who was the Greek Air Force, or they were asked, yeah. Members of the Greek Air Force asked Evangelia and Jackie Henri, who all lived in the same apartment on petition Street, to hide two British members of the Air Force, John Atkinson and some man called Robert. And they did. And then at some point, when Italian soldiers barged in, they wanted to inspect the apartment, and in order to distract them, Maria sat down and played on the piano and started to sing to distract them from the search. So there were definitely really horrible moments. There were definitely close calls, but, and she did say, she did say they were very, very sad war years, and it was hard for her to talk to them, but she also said I was in no way harassed by the Germans. She said this in an interview to the German magazine de spigo in 1957 think 57 she said I was in no way harassed by the Germans, even though I had an American passport. And at another point she said, Well, it was hard, but hardship does one good. Now, of course, she went through very difficult times. She went through harder times during the civil war in Athens. Now, the Civil War was between homes. Get this wrong, the National Liberation Army, the National Liberation Front, sorry, the National Liberation Front and the Greek People’s Liberation Army. The National Liberation Front was a resistance group. The Greek People’s Liberation Army was a group of communists. So the Greek People’s Liberation Army were the communists known as the reds, the National Liberation Front, when they were known as the whites, and they were supported by the British, by the Allied Forces. She lived in the red zone, so the danger zone, and then she began work at the British headquarters, where she was in charge of distributing secret mail. And they were in the white zone, so she had to make this very dangerous journey every day to work to earn some money. Meanwhile, Jackie got a job translating film titles from Greek into English. I assume vice versa. So they were, they were very, very difficult years for them. But cars also continued performing. She sang Fidelio. Uh, in Greek. Isn’t Greek. I’m blanking here. It couldn’t have been in German, because she never sang in German. I’m pretty sure it was in Greek, um, and she sang Tosca. And at one point in July 43 she actually double booked herself, by accident. She had a concert, and then she had a Tosca. So she had, she sang arias from Han or Rossini and your son, Milan Chela, from Chile’s Adrian le COVID, at a theater on in the customers through she sang at the customers through theater. Then she ran through wartime Athens to clafuna square to enter as Tosca just in time for when Tosca enters opera. Boss, listening will know this, Mario, Mario, Mario. And she got there just in time. So not at the start of the opera, but at toss was entrance. So yes, they were very, very painful years. But I don’t think she suffered from childhood trauma from that. I think if anything, she felt obviously she was forever traumatized by the fact that her mother didn’t love her. That was horrible. And those problems persisted into her later life, she had troubles with her sister as well, and even her father let her down eventually. And this was all terrible, and that was why, you know, I mentioned at the start, I think, or earlier on, she married a man who was 28 years a senior. He was not attractive, he was quite overweight, he was bald. He didn’t like opera either. He actually fell asleep sitting at her studio recording of Norma in 1954 one of the most famous records ever, including her signature, Aria Casta Diva, which today, I think, is used, still used in the Jean Paul Gaultier ad and he fell asleep. But she needed a father figure, and in her pursuit of a career. Obviously, she had traveled, you know, she went from Athens back to New York and then to Italy. She didn’t know that many people. She didn’t have a best friend, her mother. She was still in touch with her mother when she came to Italy. She was still trying to, you know, trying to preserve that relationship, but she always had doubts about her mother’s love, and she marries this guy who ends up actually being terrible for her and terrible for her and terrible for her reputation

Dan LeFebvre  1:12:04

as well. Yeah. Well, speaking of her family, that we do see little bits and pieces with her family in the movie, with her mother, like I mentioned that flashback, we only really see her in the negative flashback. So the impression I get with Maria’s relationship with her mother was not a good one. I think there’s a line of dialog in the movie where she talks about remembering the day that she finally told her mother to off, but she’s still in contact with her sister, because we see her in the movie and then the only mention of her father. There’s a scene where she’s talking with JFK and her father, or JFK talks about the father she never had. Do you think the movie did a decent job portraying the relationship between Maria and her family.

Sophia Lambton  1:12:44

Well, first of all, I’d like to say that Maria Kellis would never tell anybody to f off, because she was a goody goody who actually couldn’t stand cursing. She couldn’t stand cursing. And when, when the director, Lucchino Visconti, would swear during the rehearsals, it turned her stomach, because that’s what Houseman menaghini said. And in this regard, I think this regard, I think he was, he was probably telling the truth. Also, Richard Burton mentioned in his diary how, because Richard Burton and Elizabeth Taylor were friends with her, she was at their place, and Elizabeth Taylor and Richard Burton and his niece Caroline, were playing Gin Rummy, uh, Elizabeth Taylor said at one point and callous was aghast. And according to Richard Burton, she said, Oh no, I’ve never heard such words. Never heard such things. And he and Elizabeth Taylor were very surprised that she was so surprised herself. So I really dislike that, because she would have hated that. And you know, there’s been a lot of Fictional portrayals of her, there’s been, there have been a lot of inaccurate biographies, but very few have actually portrayed her as being somebody who curses. Because everyone, not everyone, of course, not everyone. But very many people know that that was not the case. So with Evangelia, there are three, obviously. Do you have three members of her nuclear family? You have Evangelia, her mother? Oh, Evangelia was a very difficult person. It wasn’t clear in the movie at all why there was a discordance between them. Um, so Evangelia, obviously, as I’ve said, really wanted to milk callous, also Jackie, but more, most of all, callus, because she was the one with the talent. Financially. Evangelio was an entrepreneurial woman. She wanted her daughter to be making lots of money, and she wanted her share of that money. Um, money. So they had difficulties, because evangelio would say, Oh, I have no money. Give me money. Carlos would give her money. And then Carl would find $1,000 under her mattress, which, at the time was a really huge amount of money. In 1950 you know, massive amounts of money, really. And not only that, it wasn’t just that evangelio was kind of black beating her. So she’d say, I’m going to tell you a secret about your father, because obviously Evangelia and George have even separated one very acromis terms. She was saying nasty things about George. She eventually wrote such a horrible letter that callus didn’t even want to share it with her husband, many Guinea. This was in about October 1950 when callous would have been 26 Greeks. She didn’t even want to share with Nagini. It was obviously written in Greek, and many Gini didn’t speak Greek or English, so he had that Greek letter translated into a talent, and she was so hurt by the many Guinea she couldn’t even reply. And many Gini replied. He wrote an Italian took his own letter to a Greek translator, and he said the letter was malicious, vindictive and offensive cannot be written. Those things cannot be written by good mother. So basically, she would just make really she would say really horrible things. I think the only thing in the movie, I believe this was said that actually was accurate, was that evangelist did at one point say, I brought you into the world to sustain me and your sister, so to financially maintain me and your sister, she did say something along those lines. At one point, callus just could not suffer that relationship, so she broke off contact. But she did actually financially support Evangelii and her sister Jackie, on and off until her death, because the because Evangelia was didn’t want to work when she did try working out, I need to try various things. She was trying to use the callous name as much as possible to make money. She went on the balls talk show, I think, talking about how, what an in grade her daughter was, she told lies to the press. And at one point, Keller said, at one point, the government, the New York, I think, Department of, I don’t remember what taxation now can be taxation, the New York Department of something, contacted Maria and said, your mother, you know, don’t have any money, so she had to send money over. But that was really painful. It was really painful relationship, because she understood quite not too early on, but she understood she was not particularly loved. Um, neither was Jackie, really. But going on to George for the moment, the father, who I don’t think was her father, mentioned in this fictional movie at all

Dan LeFebvre  1:17:01

the only, the only mention that I that I not by name, but JFK mentions a father who wasn’t there because he has all these CIA agents that found out about Maria. But that’s the only mention that I I remember in the movie. Totally

Sophia Lambton  1:17:15

bizarre, because Maria counts banning you. Met him. Met John F Kennedy once, and that was at the Madison Square Garden birthday celebration. Met him once publicly. It’s just an entirely fictional thing in this film. JFK would never have spoken on a personal level to Maria, not on that level. At least they barely knew

Dan LeFebvre  1:17:32

it seems, truly seems par for the course for this movie so far to make up fictional things.

Sophia Lambton  1:17:35

Yeah, but the going this far, I didn’t understand. I thought maybe it was trying to be a tongue in cheek thing or something. But why on earth John of Kent? Why on earth John F Kennedy, who had to be, to be to put in Marley, had bigger fish to fry, as we say in the UK, than concerning himself with Murray Callis life. But anyway, George the father was more kind of indolent and not really bothering. So he cared on some level for the girls, but he took long business trips, and he actually openly said that he preferred it that way, because he could be away from their mother. As I mentioned, evangelist took Maria and Jackie to Athens when Maria was 13, she wouldn’t see George until she would be 21 back in New York, and she did sustain a relationship with him. He came to see her sing several times in January, 1959 he saw her sing. He came to see him epidurals at the epidurals festival in August 1960 so they were on good terms. But then eventually he got ill, and she was happy to she was happy to foot his medical bills. But at some point his next wife, he married, he remarried. He remarried, a woman called Alexandra, Papa John and her family started bothering Rhea for money. And then Rhea started hearing from other people that George was going around Athens saying his daughter, his famous singer, daughter, was supporting him. And that really, really hurt her. So she cut herself from that. She cut herself off from that as well. There was just a lot of pain. I’m not saying maybe, maybe she could have made more than effort with her father, but having heard an issue with him, myself for the high Garden Show for NBC, high garden show from 1957 when he gets growth his daughter’s birthday is wrong. I don’t think you know being, I don’t think being on very good terms with him when he was demanding money as well, reminding Maria of her mother when she thought she could trust him, she actually ended up saying he has betrayed me even, perhaps even worse than my mother, because I think she was accustomed to who her mother was, but she’d been on such good terms with her father for years, he’d come to her performances, and Now it turns out he’s also bitching about her to other people. She was really hurt by that. Jackie is a bit her sister Jackie, that relationship is a bit more nebulous in that. The thing is, she tried to make contact with her sister Jackie, but Jackie was kind of on Evangelii side. And, you know, but we need money, and you’re making money. It’s. So she did sustain contact with her at a time when she wasn’t in contact with Jackie, the last time she sorry the other way, at a time when she wasn’t in contact with her mother, evangelio, she was still in contact with Jackie, on and off. The last time she ever saw her sister Jackie was in september 1960 so it was a long time before her death. It was 17 years before death. It is not entirely certain if it was september 1960 or 1961 because Jackie herself mistakenly referred to callous performances of Norma and Medea at Epidaurus taking place in the same summer, when they took place in different summers, 60 and 61 so I don’t know if it was September 60 or September 61 but it was one of those years, 16 to 17 years before her death, that was the last time they met face to face. She later no before that, she had way before that, November 1950 she had written to her godfather. As for my sister, I’ve tried to do my best, but that has only brought me insults. I don’t know what exactly she meant by that, but obviously it was difficult with Jackie as well. And then I get a very poor impression of Jackie from her own book, which is very nasty in that there’s a lot of bitterness about, you know, I wanted to be a singer too. If my life had been different, I would have been a great singer, like callous two. Jackie couldn’t, could sing a little bit she, there’s a recording of her, maybe still on YouTube. She gave an interview to a Marie callous fan club that was recorded in 1992 on videotape, and it was on YouTube. I don’t know if it still is. It probably is so and that during that interview, she played a recording herself singing in her youth. She did not have a great voice. She was never going to make a great, great career as an opera singer. She might have, if she had wanted, she might have made a bit of money singing at various, you know, restaurant venues, but this was not the voice of a great singer, so she had a lot of resentment against Maria. They were back in touch. After they were back in they came back into contact when George, the father, died in December 1972 so this would have been four years, nine months before Council’s death. And then they were on and off in contact, on the phone a little bit, and it is true that callus asked her to send mandrax pills from Athens because they were no longer in the mark on the market in France because she needed them to sleep. But there was nothing as dramatic as portrayed in the film. They never did meet up anytime after 60 or 61

Dan LeFebvre  1:22:17

okay, I’m sensing a kind of a trend with a lot of Maria’s relationships between her mother, who is saying things, you know, you mentioned going on a talk show and saying things about her, her father, even her first husband, you know, the manager who was saying things, did she have somebody that she could rely on throughout her life at all? It seems like everybody’s almost using her and trying to get money out of her, or whatever their purposes are, and then slandering her behind her back. Yeah,

Sophia Lambton  1:22:49

you make a really good point. Unfortunately, that really feels like the case. I haven’t even mentioned her longtime best friend, Joanna lomazzi, who wrote a series of articles in 1961 for an Italian magazine called La setsimana income about callous private life. Now, these articles are very useful to me because they came from the period, and I think she wasn’t lying, but she was outing the private life of her best friend for money. Wait, you know which was which was terrible. And then she was very surprised that after that, callus wasn’t much in contact with her, although she did actually write to her several years later. Yeah, so on one hand, callus was very unfortunate when it came to a lot of people, that’s true, but she had some good friends. They were just not, they were not part of her closest, most intimate circle. I mean, she had a lot of good colleagues. When I was interviewing various people, they said such lovely things. Janine Rice was just amazing. She was such a dear, dear woman. When I interviewed Fabrizio Milano, who is still an opera director, he was the assistant to her when she and Giuseppe Stefano stage ver dive siciliani in Turin in 1970 three. At the end, after I interviewed, when I was leaving, he said, I really hope you write your book Sophia, because she was just such a wonderful woman and and I said, I know, I know. So she did have people who cared about her, but in terms of her closest relationships, yeah, yeah, she had bad luck. I will say, though, Onassis, in this regard, was by far the best person she had in her life. Because let me tell you about the things Onassis didn’t do analysis, didn’t love about her to the press at all, and at one point he actually said, because they had, they had a lawsuit against someone else who unfortunately let them down, rather the other way. Their dear friend panagivgoti sued them from a misunderstanding because he and Onassis had had bought Ray callus, a freighter, a ship called the artemision in 1965 and he and Anastas had an argument over how many shares he owned, versus Onassis owned, versus callous owned a. Eventually he sued, callous analysis, and then they and then, I always get confused about this, because, to be honest, is such a boring story. But anyway, there was they won, that lost, or they sued. No sorry, they had to sue him because he wasn’t handing over his shares. And it was afraid, and it was, it was a sorry story. Uh, but analysis during this lawsuit in in a London court said madam callus is not a vehicle for me to drive. She has her own brakes and her own brains. Uh, it’s very sad that it’s very sad that the media has portrayed him as believing the opposite. Um, he I mean, they stayed friends until the end. They did. They did not resume. It’s been what, it’s been quite widely reported, that they resume the romantic relationship after he married Jack and Kennedy. That is not true. He tried with her, but she wasn’t having it. As I mentioned before, she was not a very sexual woman. So I and also, by that time, you know, she was 40, so Okay, she wasn’t that old. She was 40. She was 44 when they split up. Okay, but as I mentioned, she wasn’t a very sexual woman. I don’t think she was going to have a sexual relationship with Manassas when he was married to Japanese I think she was tired of that relationship. I think she said it herself, many attributes contempt, and she did it also say to Stella Scott topless, uh, my relationship with NASA. So my affair with the NASA was, you know, did not end well, but my friendship with him was a great success. So they were much better when they were on the phone to each other. And, you know, these very independent individuals. I would also like to mention, because this never gets mentioned, they did not live together, which means that about half of the year they were kind of in a long distance relationship. So you’re talking about two individuals very focused on their careers. It’s quite a boring relationship, to be honest. And I say this as someone who I I’m also a novelist. I have a lifelong absolute fascination in relationships. I’ve made it my mission to seek out the most fascinating romantic relationships out there. This is not one of them at all. So I, when I went into my research years and years ago, I thought it was more interesting. No, no. Anyway, he they were in contact until his death, even though she was with Giuseppe Stefano. So he was quite Yeah, okay, it is true, he did cheat on her. He had various flings during the relationship, but she knew about that, and she also, in retrospect, talked about, okay, well, that was the way he was. She was, you know, she did not get broken by this. She was not broken by that. What others did is was far worse than anything Onassis did to her. There’s,

Dan LeFebvre  1:27:43

there’s a point in the movie where she kind of mentioned, I think it’s on when Onassis is on his deathbed, he calls her in and she talks about how when he married Jackie Kennedy, that he she wasn’t heartbroken, but she had her pride hurt. Do you think the movie did a good job portraying the relationship between Maria and Onassis.

Sophia Lambton  1:28:04

Well, I couldn’t I know, because any, any movie that alleges Onassis forbade her to sing is already completely overturning the representation of that relationship. Also any movie that has a fictional Maria Callas saying I did not want to go on the cruise because I knew, I knew what would happen. You know, in that melodramatic soap opera, soap opera kind of worse than Douglas Sirk, kind of tone, that isn’t what happened. Because, actually, she didn’t want to go because she didn’t want to go on the cruise. Her husband wanted them to go on the cruise because he thought they would make advantageous business contacts on the cruise. It was all about, oh, yeah, we need to meet. People need to network. I mean, I don’t think the term networking wasn’t used back then, but that would have that was what he would have said today. This was a time when he was making her sing, even though she was ill. And yeah, on that cruise in July to August, 59 Carl, Foreman producer, came and wanted to do, wanted her to do guns and Navarre, and she didn’t want to do it. A German producer came and want, no, I didn’t think a German producer came. But many Guinea was considering an offer from a German producer, producer for her to start as the leading lady in the Prima Donna, a German film that was going to be distributed by some big distributor called Gloria FinFET. Her fee would be 200 million lira, which is around $320,000 then, so about 303,300,000 today, or something, he would tell her land, land is what matters. And she did not agree with him at the same time, yes, Onassis was flirting with her. Of course he was flirting with her. She was beautiful one. She’s a beautiful woman. He liked women. We know that. Yeah, he liked women. I don’t think he had a big plan to seduce her, to be honest, because I don’t think he really was the kind who fell desperately in love like that, at least that quickly. I. Um, he was flirting with her me. Probably he was hoping that she would she and her husband would separate, but she had no idea. And um, eventually they disembarked that cruise on the 11th of August, 1959 for two weeks, she tried to assuage many Guinea’s resentment, because he was now saying, You’re cheating on me, or she wasn’t, and he, but he was primarily really angry. What has, what has spurred his anger about that which was untrue, what had, what had strengthened his suspicion was the fact that she was saying, I want to be my own manager. I want to manage my career after she had discovered he had invested primarily her money, because he was only her manager at this point. So she was making the earnings. You know, he was a manager. She was making the money. He had abandoned his own business, which was a brick making factory that had 12 plants across Italy. He had abandoned that. He was a family business. He had left it to his brothers. He had 11 brothers, and he had abandoned that. It was 11 brothers, 11 siblings. So I’d always get it up anyway. He was one of 12, one of 12 siblings. He’d left it to his brothers to become her manager, and now she was saying, I want to be my manager. He was really pissed off at this. Really pissed off. And furthermore, he didn’t remember. He didn’t speak English, he didn’t speak Greek, he didn’t speak French, and NASA spoke all of those languages, plus some others. He didn’t know what marinas was saying. He could tell that the other guests on the ship, including Churchill and his daughter and his granddaughter, were gossiping, saying, oh, counselor NASA, you know, really getting on? Well, that really enraged him, and eventually he started a rumor that they were having an affair, and he actually created a fake diary. He took letterheaded paper from their apartment in Milan and just wrote random dates on it in pen. And, you know, as though it could be a diary writing total untruths on it. And in July, 1960 CALS wrote a letter to her legal separation lawyer Augusto Calis calcini, which I found. I should also add, the reason why I say legal separation lawyer is because Italy did not have divorce at that time, divorce would be illegal in Italy until the end of 1970 In fact, one of the very first divorces granted. In fact, I believe the first divorce granted in Brescia, in the region of Brescia, was Maria Callas divorce finally, long after she had dumped Onassis, she finally could get divorced from many Guinea up to that point, they were legally separated, which means that the assets were divided between them. She would always say, Oh, he he went. She would put it differently, so I’m not exactly sure what the arrangement was, but in one letter, she’d say, mengini got half of my money, and another one, she’d say he got two thirds of my money. So he obviously got more than he was entitled to. But yeah, I was saying in a letter, 31st of July, 1960 she writes to her legal separation lawyer Augusto Carlos, or Augusto calzi cascalchini, saying, can you tell me again? His lawyer BME to tell him to put a muzzle on and stop lying to the press with that made up story about Onassis. She underlines, made up in Italian itstoria, invent data. And she underlines invent data, meaning he is telling the press on NASA and I have were having an affair. Now by that by that time, she and analysis were in a relationship, but they hadn’t been having an affair back then, which is why she’s saying Madoff story about analysis. She says, If he doesn’t, next time I meet with him, I will take a tape recorder to the meeting to get proof that he is lying. So, you know, talk about having nothing to hide in that regard, I think that the Cal Sanas relationship was primarily founded on two very strong individuals, self made individuals of Greek descent. I don’t think that was very important for Maria, because Maria had been born in America. She ended up dying in France, and actually her her primary language changed throughout the years. So, you know, it was typically English. But then I think she found Italian easier by the time she lived in Italy for a while, and then when she was in France, French really became her first language. So she did not really relate that closely to her Greek roots. She didn’t even speak Greek well until she had been living in Atlas for a while. So I don’t think Evangelion George even spoke Greek that much to her and Jackie when they were growing up in their early years. But Onassis really admired mariekes. He loved hearing about how she had, you know, walked for miles to get cabbage leaves and tomatoes for her colleagues in wartime. He himself was a very, very tenacious, strong man. He had freed his father from a Turkish prison. I think that the year, I think, yeah, 1923 the Henri cows, was born before she was born, Onassis was a 16 year old man, uh, bribing a Turkish official so he could sneak into the prison where his father was imprisoned because Turkey had captured Smyrna, which is where Onassis was born. Smyrna is now is near in Turkey, but back then, I presume it belonged to Paris or Cyprus. Sorry, my history is not great, but anyway, his father was in Turkish prison. And he snuck him out. He freed his sisters. I don’t remember the political details, but he was a very tenacious, strong man. Um, they didn’t marry because she, first of all, was married. This isn’t really mentioned enough. She was married now in March 1966 she went to the Greek Embassy in Paris because Greece had passed a law invalidating all marriages of Greek citizens from 1945 onwards, and that would make her a single woman, According to Greek law, but if she wanted to return to Italy to perform or even for a rehearsal or for a meeting with a friend, yep, so let’s say if she’d married Onassis, she would still be charged with bigamy in Italy. So she could have married Onassis and risk and never, never turned to Italy again. That would have been very difficult, considering most of her career had taken place there. And even though she was in having a vocal decline, she was come to Italy quite frequently. Her dressmaker, Biki, lived in Italy. A lot of her friends lived in Italy. And I, and I presume she wanted and she would perform there again, actually in her concert tour, but actually only in a pub, in private little performance, because she was so scared of the Italian press. Um, but she also, she did consider marrying him. They do consider marriage, but they would have arguments, and eventually she ended up saying, well actually, during the relationship, she told a journalist, once you’re married, the man takes you for granted, and I do not want to be told what to do. My own instincts and conviction, my own instinct and convictions tell me what I should or should not do. These convictions may be right or wrong, but they are mine, and I have the courage to stand up for what I believe. So, yeah, they didn’t marry but I think that’s good. I don’t think they would have been a good married couple.

Dan LeFebvre  1:36:48

Well, it sounds like too I mean, like you were saying, since a lot of it was long distance and they were both focused on their careers, that maybe marriage just didn’t make sense. But they could still have, I mean, if she saw him as a still a good friend, then, you know, that’s what was important to her.

Sophia Lambton  1:37:10

Yeah. I mean, they were lovers for sure, during Yeah, you know, I don’t, obviously, I can’t tell you the first time I slept together, I, I don’t have that information, but I imagine it would have been about the spring of 1960 knowing how slow and and also something that I hope listeners, I hope Khalistan to understand. When menage, he dumped her, she was shocked beyond belief. She had been with him for 12 years. He had been the only really close person a lot. He had defended her when things were tough with her mother, he had defended her before all prepper house managers that were tough, you know, it’s true, but he had actually managed to soil her reputation, willingly or not, as a result of trying to drive up publicity. So the callous ticket sales would be higher prices, so callous would get a higher salary, so he would get his own car, you know. But, um, she saw him as the only person in her life, bringing with the end, close person. She was utterly horrified, and she’s wrote on the same day. She wrote that letter to Augusto goddess. Can she in search for July 1960 wrote to Herbert Weinstock, I think, yeah, who was a music critic and a friend of hers, saying, I have been, I have spent the time licking my wounds, not caused by any third party, meaning, you know, it’s not to do with on assets. I have been heard meaning by my husband. And she would write about that a lot to friends. She told her friends a lot about that. But no, they were eventually, of course, eventually, they were lovers for a time, but she dumped him, and the Jacqueline Kennedy marriage was a business thing for him, which, in return, in turn, to Jacqueline Kennedy, assured protection, obviously, financial resources, privacy, because there was a Christine of those Onassis Island, Scorpios, which she needed. So that was a business deal, basically not, I don’t know if you can call it a business deal, but it was a quid pro quo arrangement that was not founded on love.

Dan LeFebvre  1:39:09

That makes sense. I think there’s a in the movie Onassis says something like, you find yourself not doing anything one day and you get married, or something like that. When he talks about Jackie, which implied to me that it was not not for love the way it seemed to be between Maria and Onassis, like they seemed like they actually cared about each other.

Sophia Lambton  1:39:29

Oh, yeah. No, I will. I will, however, admit that Onassis had considered this marriage to Jack and Kenny for a while, probably, probably as early as during his relationship with Marie cows, but she did help dump him first. Okay, so we don’t know what would have happened if they had stayed together. I doubt he would have married Jack and Kennedy one day if they had been in a relationship. Okay? He knew what he was doing. It was very I guess it was quite arranged, pre arranged. It were premeditated things. So that’s, you know, the movie. Quote sounds like something more random. It wasn’t random. He had to further his interests his stock. I’m not a specialist in narcissist stock. I wanted to know what all of this was from Rick House’s perspective. You know what happened to his stock? I don’t know or care particularly, but I do know that obviously that marriage was a shock to her. She was hurt by it. She didn’t learn about it from the newspapers, or at least that’s not what her hairdresser, Frederic somoli later told a reporter years after her death, he said he was with her when she first heard about it on the radio. I think she may have used the term newspapers more loosely to apply to the media, or she may have heard about the newspapers before the radio, and then just burst into tears hearing it again. I don’t know, but she was the middle of, she was preparing for a photo shoot with her stylist, Frederic simoli, in Paris, when she heard about it, and, yeah, she also obviously devastated, and obviously she was being humiliated publicly because she was, you know, this is she was not living in an Instagram time. Even if she had been, I doubt she had. I doubt she would have been the kind of celebrity to post on Instagram. So, you know, Ari and I partiston, I parted ways yesterday. This is not who Mary was. So people did not know that she had dumped him, except for her friends. In fact, actually written. Burton wrote it in his diary, and his diaries have been published, and other friends knew, but the public did not know. So of course, the headline was, and unfortunately, the headline still is on NASA’s dumps callous for Jap and kemby, which was not true.

Dan LeFebvre  1:41:35

It sounds like going back to some of the media and the way they portrayed her, with her performances and her health and things like that, they were going they, I think you said it best, not clickbait back then, but same sort of, you know, titles and things like that to try to gain readership and stuff like that. And unfortunately, it seems like that was not in favor of the truth for what actually happened.

Sophia Lambton  1:41:59

I also wanted to mention I wasn’t able to find out. I’m not sure if anyone actually knows, sure if she did visit him on his deathbed. The hospital in this movie is so weird, because I know what it’s supposed to be. It’s supposed to be the American Hospital in Noyes in Paris. And the hospital, as portrayed in this movie, it looks like some weird, fancy parking lot. I don’t know anything is very empty.

Dan LeFebvre  1:42:26

It does look like a parking garage.

Sophia Lambton  1:42:30

Yeah, bizarre. But anyway, I don’t know if they spoke to each other. When he was on his best deathbed. It was a huge risk for her to appear there, given that Jack and Kennedy was often there, the press were often there. I know she received reports about his condition from Vassar javezzi, who was a pianist with whom she was working at the time, on and off, and apparently ferocha, the butler. He didn’t remember having, I mean, I, I didn’t get to interview ferocho, because Fabio jedvozonia. He was a collective callous items who was on, who was in contact with filcher told me Firoz would not speak to anybody. Now, since then, firocha has actually published his own Little Book of Memories, but it’s very specific to his own relationship with callous. It’s not a biography of callous. It’s more this. These are things you would say to me, and you know, stuff like that. I don’t know if Fabio told me from ferocio that ferocio never mentioned driving her to the hospital to see on us. He was also her driver, her chauffeur. So I don’t know if she went that CNS. I do know that the last time they spoke, at least according to what she told stevios, Carlo topolos was quite a warm occasion. There was no bitterness there. Well, if we

Dan LeFebvre  1:43:45

go back to the movie, I found it interesting that the movie’s version of Maria Callas never listened to her own records. She says something about how it’s the records are too perfect. A song should never be perfect. It should be performed in that moment on stage. But then in the movie, during her final week, during the course of the movie, we see her listening to her own records, and even having her housemate Bruno recording her practicing so she can compare her voice to her earlier recordings. Is it true that Maria didn’t like to listen to her own recordings and then started to listening to them near the end of her life? That’s

Sophia Lambton  1:44:21

pretty much true, but not for the reasons the movie alleges. So first of all, Marie Carlos would never have found her recordings perfect ever. One of my favorite recordings of hers is manually score from september 1957 and she denied the release of it. She forbade the release of it because she thought it was so it was only released in 1959 um, whenever she had herself, she was she was always picking up on things she could have done better. There’s a really loving interview of hers with David Frost on the David Frost show on CBS from 1970 in which he plays her. I think it’s custom diva. It’s definitely from normo. It’s probably the custom diva um. From her first non recording from 1954 he asked, Well, did you sense mistakes? And that? She says, No, but it could have been better. That was always the case. But when she was at the peak of her career, I don’t think she particularly listened to recordings, but I will say she developed kind of an obsessive need to listen to them. When she started to lose her voice, or not started, but later on, by 1967 she was listening to recordings, definitely, maybe not six seven, but Peter Andre, who was who worked for Umi, remembering being, remembered being at her flat, at her apartment in early 1968 and she would play her recordings in front of people trying to figure out what was there, what had been lost. She especially was obsessed in her later years with her earlier recordings, trying to get back her early, more bestial, more out of control voice. But she was terribly self loathing. She said, in every artist, there’s a critic, there are always critics and creators. There’s the one who performs the instrument, the reflexes, and then there’s the other person in you who says, Well, that wasn’t good. That could have been better. So she taught herself to pieces, listening to recording. She would never have said anything was perfect, but yeah, she was listening to them, trying to get back something, trying to understand what she had been doing and what had gone

Dan LeFebvre  1:46:28

makes sense. Makes sense. Well, when we started our chat today, I mentioned the opening scene in the movie is also how it ends. So we’ll circle back to that. Now, as we start to wrap up our discussion and then the final scenes, we see Maria singing so loudly in her apartment that thanks to an open window, people are stopping in the streets to hear it then seems to sap the last ounce of energy that she has. Bruna and fruci went to go get groceries and take the dogs for the walk as well. They come back find her on the floor, even though it’s I’m assuming it’s not historically accurate, because that’s just not the way things happen in the real world. But I thought the movie’s ending was beautifully done. It had me in tears watching it, especially when the dogs come in, they start crying as they see her lying motionless on the floor. But how well did the movie do depicting the way that Maria Callas died?

Sophia Lambton  1:47:15

Well, obviously the moment about Maria Callas singing Republic, you know, the public coming that obviously didn’t happen. Rick House wouldn’t have sung like I mean, sometimes she did sing so loudly, practicing in her flat, the people or in a hotel room, for instance, that the neighbors heard. But not, not at that point when her voice was in tatters. She actually, by that point, she felt her voice was so bad she would, for instance, she would tell ferocho to leave the room when she practiced, all the doors would be closed and ferocious. Would remember that at one point she came out and saw him, said, What are you doing here? Because he wasn’t supposed to be there, you know, near the door, listening, kind of eavesdropping on her singing. She probably, you know, as I mentioned before, bro and chirocha was there when she died. It was quite a simple day. I don’t think. No, she didn’t have, she didn’t have occasion to sing, because she woke up at about 1pm um, prepared on some coffee and eggs. She went to go to go to the bathroom to get dressed. She had a sudden headache. I mentioned earlier she had been suffering from bad pain on her left side. A doctor had said it was flu and rheumatism, but she started having a heart attack. BRUNO offered her spoonfuls of coffee, while Firoz tried to call one of her doctors. Eventually, Fi called an ambulance. I’m not sure why he didn’t call an ambulance begin with, to be honest, but he was trying to reach one of her doctors, and and and she, and she died at about 2:15pm Paris time. Her poodles. She did have poodles. They were Jeddah and pixie. Pixie was smaller than her representation in this movie. Pixie was the white one. Jenna was the black one. I don’t know if they held when she died. They loved her very much. She tried to teach them to sing. There’s a recording of her trying to teach them to sing. And there, there’s a recording of them yapping, and she’s trying to get them to Yap melodically.

Dan LeFebvre  1:49:19

I’ve had dogs. I haven’t had poodles, but it would be a feat to try to get them to sing melodically.

Sophia Lambton  1:49:28

Yeah.

Dan LeFebvre  1:49:31

Something that Maria does mention throughout the movie is how she’s writing her autobiography, although we never see it published in the movie. There’s a line of dialog from her sister near the end, where she tells Maria not to write anything about her life, but if you do, be kind to yourself. And the impression I got from the movie was that she’s mostly hallucinating her life flashing before her eyes before the end. But did Maria Callas actually end up writing an autobiography?

Sophia Lambton  1:49:58

No, Maria clouds didn’t write an auto. Biography, but she was always interested in the idea of trying to set the record straight. The first time she did anything akin to that was when she she wrote a series of articles that were kind of her memoirs. So they were known as her memoirs for Oji magazine in Italy, using a ghost writer, Anita pensoti. So, so she kind of dictated to Anita pensoti That would have been in December 57 No, wait. No, no, December, 56 No, published in January 57 in six installments in orgy magazine in Italy. But she was considering an autobiography, as that is March 1960 when she wrote to her friend herb and Weinstock, the music critic. One day, rather soon, I will decide to write my book biography, but I need someone to make some research in Greece, of pictures, declarations, true in brackets and information that my memory can fail. You know how I’m precise in everything? At least I try my best to be later on. Should pick that up again. That the idea of a biography, an autobiography. But she was so funny. She said, I can’t talk about myself that would be lacking in modesty. So she started writing to her friends and colleagues. She wrote to the daughter of conductor Victor De Sabata, Eliana, who had been her friend in Milan, saying, Can you provide me some memories, because I don’t remember or something. And and wrote to dole Soria, who had worked she had founded Angel records together with her husband Dario. Maria would say there have been so many lies she told. In October 1971 she told Joan Crawford, who was kind of a cattle friend of hers, not not a close friend, but they were on Franny chance. She told Joan Crawford she was working on a biography. And she actually had the interest of an editor at Simon and Schuster in in New York, Peter schwed. And she continued writing. You know, she actually wrote to one of her old maids, meaning one of her former maids, not an old maid, but one of her former maids, Matilda sangioli, asking her again, can you supply some memories? Because I can’t talk about myself, I would be lacking in modesty. So there were there were discussions. She was always, you know, she wore her heart on her sleeve, and her letters are very expressive. They’re very expressive and they’re very open. So she would put for instance, I hope this letter makes sense because I was distracted listening to Wagner’s music on the turntable, and in another letter, in a letter to Irving colon and another music critic, she writes, PS, I hope this letter makes sense because I was interrupted 11 times whilst writing it, so she she really wore her heart on her sleeve. I I really hope that this this episode, and for those who are interested, my book dispels the idea that she was so mysterious, because actually, she really wasn’t mysterious. There have been many performing artists who are mysterious, who continue to be mysterious. Well, cast wasn’t particularly secretive, and she didn’t write hell to biography. She wasn’t a big writer. I don’t think she would have managed writing held a book. She would have found him boring. You know, talking about herself, she actually said in an interview, I don’t like talking about myself, I found me boring. I find me boring. So that wasn’t going to happen, but she did entertain the idea that

Dan LeFebvre  1:53:02

leads right into my final question for you, because you have a biography about Maria Callas in print, a centennial biography. I’ll make sure to add a link in the show notes for everyone to get their own copy right now to learn more about the RE real Maria Callas. But before I let you go, can you share one of your favorite stories that might surprise someone who has only seen the movie.

Sophia Lambton  1:53:23

Well, the first, first and foremost, what I want to tell someone who’s only seen the movie is that above and beyond all other false characterizations of Mary callous, above and beyond all other myths, I think what would have really gutted her was the idea that she could have been rude to a fan. She was never rude to a fan. I mean, all of the colleagues that were not, maybe not all, but the vast majority of people who worked with her talked about how generous and friendly she was. She was such a team player. I mean, she, she sent a message upon him. Kiku mufonio for a Royal Opera House audition. You know, she wrote to the opera house asking for an audition for her. She, when she was at Judah giving master classes, she got the Secretary, Lona Levant, basically she wrote, she sent a singer CB to Larry Kelly, who was a general manager of Dallas civic opera, even though the singer, Mario full score, was 13, nine years old. So you’d think the 39 year old could have done himself, but no, she’s doing it for him. But her public were like has her children, she would never have been rooted them, and she was in touch with her fans. At one point, a fan Dolores rivelino, who’d later become a chef, sneaked in, sneaked into her dressing room, as in kind of illicitly, and Maria offered her a swig from a big bottle of orange age she had been drinking. So she received fans in her dressing room at 3am and another example of how loving she was to her fans was during what was basically what I call the La Scala Cold War, which is when her husband, manegini kept I think it was his awkward, misguided way of getting a higher fee for his wife for her performances. He had spoken ill of the General Manager of La Scala, Antonio giangelli, to the press and giringhe never realized how much of this was coming from manegini and not from callus. So he was trying to get Marie callous to tell him her available dates for the fall. Look following seat in 1957 to 958, Oh, no. Sorry. No wait. No, no, sorry. 1958 to 959, and she would she would give him the dates, and he would say, but I can’t make decisions until I have your dates. And she would say, but here are my dates. And you’ll say, but I can’t make decisions I have this. It is such a silly exchange because it was dramatized in the press as this big few, but when you read the messages, it’s ridiculous. So was playing, or whether he was having some periodic illiteracy going on or something. But it ended badly, because eventually Marie Keller said, I cannot sustain this in genuine relationship, and she left La Scala, meaning she said, I’m no longer going to perform at La Scala. But before that, she was singing in Anna Bolena in april 1958 at La Scala. A month before she left the theater, things were really tense with giringelli. He would eventually, I don’t think it was this performance, but later on, oh, no, wait, I’m just trying to figure this out. No, no. Sorry. We’re not in April 58 we’re in May 58 she’s doing Pirata, her last performance at La Scala. For a long time, she’d return later on in polyuto. That would be in December 1960 but for now, she’s doing il Terada, Atlas column and gongue. It was so piss off at her. He had the big iron curtain, not just the red velvet curtain, but the Iron Curtain. Stage curtain fall down quite early after the performance, so she couldn’t get an ovation. She, you know, the audience couldn’t continue applauding. That was a signal, everybody must go home. And the fire marshal came out and said, you know, okay, clear the stage. Performance is over. And when Rhea came outside, there were all these fans who were huddled to say goodbye, and police officers, police officers, or I don’t know, security girls were there to restrain them. And she said, Leave them alone. These people are my friends. They are doing no harm, because that was her relationship with her public she had been banished from her dressing room. Usually, she would receive them in her dressing room, and sometimes stay up as late as 3am in the dressing room, signing autographs. But she had been kind of the feud had happened. She had left La Scala so during Kelly had ended the performance earlier, meaning they hadn’t given time for innovation or fan engagement, and she stood outside with them and stopped them from being banished by the strange guards who’ve been recruited to stand there.

Dan LeFebvre  1:57:35

Wow, yeah, that’s, I mean, that’s a very different, very Maria Callas than we see in the movie. So I really hope that everybody listening to this will pick up a copy of your book to learn more about the real Maria Callas. Thank you again. So much for your time, Sophia.

Sophia Lambton  1:57:50

Thank you so much, Dan.