![]() ![]() Then look (at 5:30) at one of them tensed atop a wine glass as she realizes she’s about to commit a murder, and her hands (at 7:20) grasping desperately for cleanness after she drops the knife. Watch, in this moment, how articulate with fear they are, pressed against her pelvis, as she listens to Scarpia give orders to his underling. In fact, her hands are what I’d like to focus on. It is a performance of unbelievable freshness and commitment moments hackneyed coming from almost any other artist (like the devout Tosca’s sudden idea to put mourning candles on either side of Scarpia’s dead body) are in her hands deeply human. No singer explored the possibilities of Tosca, and “Tosca,” more seriously than Maria Callas, and one of the painfully few clips of her in staged opera is this, her face-off with the classic Scarpia of Tito Gobbi in Act II. ![]() ![]() At 2 minutes 50 seconds In Callas’s Hands ![]()
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