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Master Class
 | Jennifer DeDominici as Maria Callas
Photo: Amanda Tipton
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Maria Callas, "La Divina," the great bel canto soprano, was a force of nature, a term that is overused considering the power of her personality compared with the mere mortals who, we previously thought, could share this epithet. Such was her presence, as we see in this masterful performance by Jennifer DeDominici at Central City Opera, that she commands our attention to her every word and gesture for the entirety of this two-hour, two-act play (not including intermission).
Sit up straight! Don't blink! Silence! Listen up!
 | Arthur Bosarge as Emmanuel Weinstock, Accompaniest
and Jennifer DeDominici as Maria Callas
Photo: Amanda Tipton
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Callas' central message is the necessity of striving for perfection in art. She leaves no detail unexamined, admonishing her accompanist (Arthur Bosarge) and her "first victim," Sophie De Palma (Sabina Balsamo), about their "look." Do you want to be remembered? She insists that there is no room for compromises with theatrical presentations or with the intent of the music. What are the directions from the composer? What has just happened to this character? You are not just singing! You are embodying someone's emotional life and circumstances.
 | Sabina Balsamo as Sophie De Palma
and Jennifer DeDominici as Maria Callas
Photo: Amanda Tipton
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After a surfeit of interruptions for minutiae to which the master diva demands attention and which bring Sophie to tears, the student begins again, the scene freezes, and Callas steps back in time to her performance of the same aria at La Scala during the height of her powers. We are then treated to an emotive, soaring version by a fiery Balsamo, which stirs Callas' memories of the abuse she received as a child from her father and mother, and from Aristotle Onassis.
 | Jennifer DeDominici as Maria Callas
and Denique Isaac as Sharon Graham
Photo: Amanda Tipton
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After intermission. the second victim, Sharon Graham (Denique Isaac) enters in a lavish gown, which Callas admires, though remarks that it is inappropriate for a master class. Much like the first scene in which Callas insists that the singer inhabit the character, she has Sharon re-enter in character, as Lady Macbeth, not as Sharon Graham. The singer becomes physically sick and runs off.
 | Levi Adkins as Anthony Candolino
and Jennifer DeDominici as Maria Callas
Photo: Amanda Tipton
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A tenor, Anthony Candolino (Levi Adkins) enters and undergoes much the same scrutiny and criticism as his predecessors, as he doesn't know the details of the scene from which his aria is taken. He says he just came to sing and get "feedback." While the word "acerbic" had its origins long before Callas, by this point she has made it her proprietary domain. Despite her excoriation, Anthony continues to sing (Adkins' robust and powerful tenor is a revelation) while receiving direction from Callas. Again, she is momentarily transported to another time, before reminding him to study the character and the scene of his arias before dismissing him.
Sharon returns after her reactive illness passes. Once again, Callas admonishes her student for not doing research into the scene and the character of Lady Macbeth. Sharon begins again and Callas comments on each phrase, responding to the singer's questions and pushing her inward towards the emotional and physical content, which is Lady Macbeth's intent to murder the king. Isaac's far-reaching soprano and growing immersion in the scene draws grand applause from the audience. Callas asks Sharon to connect backwards in time to all the great sopranos (including Callas herself) who have sung this role, which brings back memories of her debut at eighteen in 1952, entering the La Scala stage, followed soon after by her elevation to La Divina, then on to her marriage and love affair, both ultimately unhappy.
Sharon finishes her aria, which brings Callas back from her reverie. Callas compliments her on her voice, but tells her to aim for lighter roles that do not require the gravitas of Lady Macbeth. Sharon has had enough of Callas and, before exiting, tells her that she is washed up and jealous of those who are younger and can still sing. Alone on the stage, Callas admits that she is hurt, but remains unapologetic. She wonders if she should be teaching; she is as harsh on herself as she is with her students.
The only thanks I ask is that you sing properly and honestly. If you do this, I will feel repaid.
Central City Opera's presentation of Master Class, by Terrence McNally, runs through July 31st. For tickets: centralcityopera.org/master-class.
Bob Bows
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