UNO SGUARDO IMPAGLIATO

Abstract

the few operas sung by Maria Callas that has not been recorded via live transmission. Examining a hitherto unpublished written document, this article focuses on the quality of the memory of this show. Special attention is paid to the richness of Giordano’s music, meticulously conceived for the stage, and to the difficulties that we now have in contextualizing this music within the Italian theatrical culture of the 1950s, which was strongly influenced by Luchino Visconti and his Traviata.