“I kissed her hand,” said Bernard Bennett an East Side dentist. At the end, she gave an impromptu and mostly inaudible address on the subject of stage managers, directors and composers, indicating that she would be willing to sing opera once again in New York if new productions could be created.Īfterwards, she agreed to sit a black wooden table in a cramped, stuffy room behind the stage, to greet hundreds of fans who stood in line simply to wish her well. Sitting in Carnegie Hall was one of the most celebri ty‐filled audiences ever assembled there.īefore the evening was over, however, Miss Callas was talking freqently with the audience. As she appeared before the audience she apologized for her “emotion and fatigue.” Hurok had died in the afternoon, and, at first, the news was kept from Miss Callas. What many of those in the audience did not realize was how close the concert had come once again to being canceled, this time because of the death of Sol Horok, the impresario who sponsored the evening, and because of the emotional toll his death was taking on Miss Callas, an old friend. Cheer after cheer greeted each new aria, and Miss Callas was hardly permitted to leave the stage at the conclusion. “I heard she didn't like the way he sings better than she does.”īut as Miss Callas stepped on the stage the carping tone of gossip disappeared in a torrent of emotion. “Well, I heard she'd had a fight with Di Stefano,” her friend said of Giuseppe Di Stefano, the tenor who has been singing with Miss Callas in her concert tour that began last fall in London.
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