The mother of performance art’s uncompromising opera is as dazzling as it is raw
In the opera’s second part, just 25 minutes long , Abramović plays Callas in her lusciously decorated Paris bedroom, waking from her tumultuous, deathly dreams. Abramović’s voice casts a meditation, asking Callas to consider her breath, the feeling of her Egyptian cotton sheets, the balls of her feet on the cold parquet as she feels her way around the room. Callas appears to oscillate, unsure, between life and death – just as she does each time one of her records is played.
The seven maids – the servicewomen to Callas’ legacy in the first half – listlessly clean her room and drape her furniture in black lace before one of them turns on a crackling record that, at last, plays Callas’ ultimately inimitable voice. Abramović reemerges in a gold sequinned gown to dance and glitter in the darkness – an apparition that seems to sing from heaven.
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