“Callas had a tremendous childhood, next to a mother who underestimated her and said ugly and fat, that her only gift was to sing. He took refuge in art as we all do and felt that we heal and save us,” Natalia Cociuffo says, who presents “María is Callas”, at the Astros Theater on Sundays July 27 and August 17 at 20. Written by Adriana Tursi, With choreography Valeria Narváezoriginal music from Rony Keselman and direction of Tatiana Santana, Cociuffo interpret a Mariain his room, losing the gift of his voice and accompanied by the choir of voices of his torment (Sol Agüero, Pedro Frías Yuber, Verónica Pacenza and Pilar Rodriguez Rey). We talked with Cociuffo
Journalist: How is this return for only two functions in a less intimate and larger room?
Natalia Cociuffo: They will be two megaeventos because it is to be on Corrientes street with all the romanticism and visibility it has. It is a format that resists several theaters, was born in the Cultural San Martín in a huge room, then at the Teatro del Pueblo, the Auditorium in Mar del Plata so each place proposes an energy that revitalizes and modifies. The greatest space is not something new but it has an extra adrenaline when one re -states.
Q.: Issues such as a desperate love are addressed by Aristotle Onassis, what can you tell of that stormy relationship?
NC: It was a stormy relationship like all current relationships. The famous today also have those torments, today something different is lived but the cliché and the bizarre of Wanda Nara and such has some of that. I do not compare but no famous in stages of romantic breaks is saved from the harassment of journalism, the public and the morbidity it implies. They had 12 years of intense and passionate friendship and romance, which left her physically and emotionally broken. In fact he reached the limit of losing his voice and letting himself die. It was very drastic for her especially because it was years when she was a lover and wife, I think she devastated her that he chose another millionaire to marry formally, humiliated her so much that she was deadly.
Q.: How does that artist hit you the gift of his voice, being a singer? How did she go?
NC: I feel a lot of empathy in terms of voice loss, being an artist and singer, it is our noblest instrument with which we communicate, for that we live. The word is not sorrow is empathy, when we are more taken by nerves or anguish, our most sensitive area is voice. I think about whether that ever happened to me. It leads me to pay attention to life issues so that it is not damaged. How incredible and tremendous how it affected her maximum gift with the domain she had, and how powerful it resulted in the outside, is moving and terrible.
Q.: How is that soaks leaving Maria?
NC: He always said that there were two personalities, one era Maria, of her house, her daily life and another was the silence on stage. She decided to not be a mother, she married the stage, that was her habitat. That coexistence between Maria and Callas makes us name the show “Maria is Callas”, that division between the mundane and the earthly, a woman who constitutes it through Callas, who nurtured who, that duality we count. Among the strong and vulnerable personality, as if Maria had eaten the Callas. We show an appearance and moment but what we know is much more impressive.
Q.: Why was nothing enough for her?
NC: Excellence was so sublime and she was so demanding that there was no conformism. Maybe it comes from how they raised her and how she felt. Aristotle was the only one who made her feel feminine and wife. He lost his head through him, he did not reach anything.
Q.: How do you see theater and culture today?
NC: They were always subdimensed areas when the media opaque. People choose Chusmerio and not deep independent or commercial theater, and it’s fine, or people who have many followers are chosen. Sometimes that harms career artists, who built a step to a step, who reaped prizes, recognition. There is resilience and resistance of artists and public that is a struggle that we will never lose. There will always be a light, intense and deep management that can rescue us. It hurts when producers or companies decide to hire people who have more followers.
Source: Ambito
I am an author and journalist who has worked in the entertainment industry for over a decade. I currently work as a news editor at a major news website, and my focus is on covering the latest trends in entertainment. I also write occasional pieces for other outlets, and have authored two books about the entertainment industry.
