We get the Onassis account through her memories as the other action on stage halts or is depicted mutely. Knowing about helpless passion, we understand why she gestures a bit lower than her gut when she tells students where their arias must come from.

The second soprano, Sharon Graham (Jacqueline Pina), steps out in an elaborate evening gown. When she escapes after Callas makes fun of her attire, we expect that she's gone for good. No, she only went away to throw up. We admire her for returning. She certainly has mut, the German word for courage, which the diva later explains is fundamental to art. This is also manifested by an arrogant tenor, Anthony Candolino (Josh Christensen), when he humbly refuses to leave the stage for not being sufficiently prepared.

Bravo, brava.

By the way, the simple but classy set design by Trevor Elliot strikes just the right notes. Callas and a baby grand piano are in their optimal setting, sleek acoustic panels above and around. Even courage needs a proper setting.

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Related: Review: Cappella Clausura in Ordo Virtutum, Love and Robots in Death and the Powers: The Robots' Opera, Get thee to the Apohadion for a masterful show, More more >
  Topics: Theater , Opera, Bob Colonna, Theater,  More more >
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