Maria Callas, the world's greatest opera singer, lives out the final days of her life in 1970s Paris as she struggles with her identity and her life. Angelina Jolie and director Pablo Larraín discuss how they approach the heartbreaking true story of famed opera singer Maria Callas. The third and final film in Pablo Larraín's so-called "La dama de tacones" trilogy of female biopics, following Jackie (2016) and Spencer (2021). Maria Callas: Reserve me a table at a bar where the waiters know who I am. I'm in the mood to be pointed at... Quoted in Spotlight: Why Do We Need the Venice Film Festival? (2024). Otello Act 4: 'Ave Maria' (Desdemona) Performed by Maria Callas, Orchestre de la Société des Concerts du Conservatoire Conductor: Nicola Rescigno Written by Giuseppe Verdi, Arrigo Boito A Warner Classics release, (p)1964 Parlophone Records Limited Remastered 2014 Parlophone Records Limited Courtesy of Warner Music Group Germany Holding GmbH, a Warner Music Group Company. I'm sure this film was made with great care and love BUT what was most missed, in my opinion, is the BREATHING. Opera singers learn to control their breathing in order to capture our own. And I agree with other less favourable reviews that the opening scene was a very poor example of reproduction, particularly as I couldn't see Miss Jolie breathe! Obviously Callas lived a glamorous life, but it seemed to me that in this film the focus was more on the visuals. This is one film that made me put off watching until the very end, and for that I'm sorry. I had high hopes for these two iconic women, too. “One Hundred Years of Solitude” is one of the biggest TV and streaming releases this month. Check out our December calendar to find out more!