WARNING: SPOILERS ahead for Maria.
Overview of Netflix’s *Maria*
The Netflix biopic *Maria*, set to release in 2024, brings to life the poignant story of legendary opera singer Maria Callas, showcasing her iconic music through classical orchestrations and opera pieces performed by the acclaimed Angelina Jolie. Known for her work in films like *Maleficent*, *Lara Croft: Tomb Raider*, and *Girl, Interrupted*, Jolie shines in her first lead role since the Marvel blockbuster *Eternals* (2021). In addition to acting, Jolie has directed impactful films, including *First They Killed My Father* (2017) and *Unbroken* (2014). During her hiatus from acting, she focused on raising her six children: Maddox, Pax, Zahara, Shiloh, and twins Knox and Vivienne.
The Story Behind *Maria*
Set against the backdrop of 1970s Paris, *Maria* captures the final days of the universally celebrated soprano Maria Callas as her health deteriorates. The narrative unfolds through the eyes of Jolie, who portrays Callas, engaging with a vivid and hallucinogenic lens alongside her devoted butler, Ferruccio, and caring maid, Bruna. Directed by Chilean filmmaker Pablo Larraín, known for critically acclaimed films such as *Spencer* (2021) and *Jackie* (2016), the film premiered at the 81st Venice Film Festival in August 2024 before being released in select theaters.
The Musical Journey in *Maria*
|
Every Song in *Maria* |
Appears At |
|---|---|
|
“Ave Maria” from Verdi’s *Otello* performed by Maria Callas |
02:15 |
|
“Casta diva” performed by Maria Callas |
10:00 |
|
“See! The Dark Night Spoils” from Verdi’s *Il Trovatore* conducted by Peter Illenyi & performed by the Anvil Chorus |
19:30 |
|
“Oh my dear baboon” from Puccini’s *Gianni Schicchi* performed by Maria Callas |
21:30 |
|
“Hail Mary (Piano Version) [feat. Károly Zentai]” conducted by Peter Illenyi |
30:00 |
|
“Intermezzo” from Verdi’s *La Traviata* conducted by Peter Illenyi |
35:15 |
|
“Moonlight Promenade” by Ib Glindemann |
40:00 |
|
“Well? I’ll go far away” by Catalani performed by Maria Callas |
42:30 |
|
“Introduzione” from Cherubini’s *Medea* conducted by Peter Illenyi |
45:30 |
|
“What? I am Medea” by Cherubini performed by Maria Callas |
45:50 |
|
Angelina Papadopoulou – Why I Snort Cocaine (feat. Erofili Panagiotarea & Lydia Koniordou) |
48:10 |
|
“Habanera” from Bizet’s *Carmen* performed by Angelina Papadopoulou |
50:10 |
|
“Coro a bocca chiusa (Humming Chorus)” from Puccini’s *Madama Butterfly* conducted by Peter Illenyi |
56:00 |
|
“Here is his sweet voice” from Bellini’s *I Puritani* performed by Maria Callas |
59:45 |
|
“Prelude” from Wagner’s *Parsifal* conducted by Peter Illenyi |
1:03:45 |
|
“Sempre libera” performed by Maria Callas |
1:09:00 |
|
“Hail Mary (Piano Version) [feat. Károly Zentai]” conducted by Peter Illenyi |
1:11:30 |
|
“Habanera (Jazz Version)” performed by Nikolaos Georgedakis feat. Dimitris Kyriakopoulos, John Voulgaris & Spyridon Aineias Nikas |
1:14:30 |
|
“Happy Birthday, Mr. President” by Marilyn Monroe |
1:16:35 |
|
“Farewell, from the Past” from Verdi’s *La Traviata* conducted by Károly Zentai |
1:17:30 |
|
“Ave Maria (Fully Orchestrated Version)” conducted by Peter Illenyi |
1:23:00 |
|
“Are you crying?” from Donizetti’s *Anna Bolena* performed by Maria Callas |
1:31:00 |
|
“E lucevan le stelle” from Puccini’s *Tosca* conducted by Peter Illenyi |
1:37:10 |
|
“Vissi d’arte” from Puccini’s *Tosca* performed by Maria Callas |
1:47:00 |
|
“An Ending (Ascent)” by Brian Eno |
1:54:00 |
|
“Va, pensiero sull’ali dorate” from Verdi’s *Nabucco* conducted by Peter Illenyi |
1:57:00 |
Detailed Soundtrack Timing in *Maria*
Here’s a breakdown of when each musical piece features in *Maria*, providing a guide to the emotional and narrative weight they carry:
- “Ave Maria” from Verdi’s *Otello* (2:15): Opens with haunting melodies as characters gather around Maria’s lifeless body, showcasing her storied past through a poignant montage.
- “Casta diva” (10:00): Maria shares a touching moment with her maid, Bruna, while reminiscing about her vibrant career in a supportive, intimate setting.
- “Vedi! Le fosche notturne spoglie” (19:30): Set on a reflective walk through Paris as Maria contemplates her legacy, accompanied by a male choir that exemplifies her past fame.
- “O mio babuino caro” (21:30): A rehearsal scene that captures Maria’s vulnerability as she seeks to reclaim her artistry.
- “Ave Maria (Piano Version)” (30:00): A moment where Ferruccio brings concerning realities to light as Maria’s health issues surface.
- “Intermezzo” from Verdi’s *La Traviata* (35:15): The introduction of Aristotle Onassis marks a pivotal point in Maria’s life, intertwined with memories of their first meeting.
- “Moonlight Promenade” (40:00): This delicate piece accentuates a moment of romance at the conclusion of their flashback.
- “Ebben? Ne andrò lontana” (42:30): Nostalgic connections are made in a café scene where Maria grapples with her legacy.
- “Introduzione” from Cherubini’s *Medea* (45:30): Exhibits Maria’s struggle with reality as Ferruccio reminds her of their current situation.
- “E che? Io son Medea” (45:50): Maria reflects on her past glory through her recordings, showcasing a poignant moment of nostalgia.
- “Why I Snort Cocaine” (48:10): This flashback provides insight into Maria’s upbringing against a backdrop of conflict.
- “Habanera” from Bizet’s *Carmen* (50:10): A young Maria leaves a lasting impression during a private performance, invoking emotional reactions.
- “Coro a bocca chiusa” (56:00): Performance juxtaposes the beauty of music against the harshness of her current struggles.
- “Qui la voce sua soave” (59:45): Reflects Maria’s attempts to reconnect with her artistic roots amidst struggles.
- “Prelude” from Wagner’s *Parsifal* (1:03:45): Captures Maria’s complex emotions as she navigates life aboard Onassis’s lavish yacht.
- “Sempre libera” (1:09:00): Echoes Maria’s defiance against her circumstances, impacting those around her.
- “Ave Maria (Piano Version)” (1:11:30): Emphasizes her emotional unraveling during a chaotic moment with Mandrax and Onassis.
- “Habanera (Jazz Version)” (1:14:30): A modern twist underscores the significance of past encounters with influential figures.
- “Happy Birthday, Mr. President” (1:16:35): The glamour and weight of history intertwine with Maria’s own narrative.
- “Addio, del passato” (1:17:30): Sets the stage for an intimate meeting with JFK, revealing Maria’s ongoing impact.
- “Ave Maria (Fully Orchestrated Version)” (1:23:00): Marks a turning point as a doctor delivers heartbreaking news about Maria’s health.
- “Piangete voi?” (1:31:00): A powerful moment of vulnerability as she confronts the harsh realities of performance.
- “E lucevan le stelle” (1:37:10): Serves as a poignant backdrop to Maria’s introspection and her heartfelt exchange with Mandrax.
- “Vissi d’arte” (1:47:00): In a moving “swan song,”Maria encapsulates her life’s dedication to music, moments before her death.
- “An Ending (Ascent)” (1:54:00): Provides a somber closure as her loyal companions reflect on her legacy.
- “Va, pensiero sull’ali dorate” (1:57:00): Plays over the emotional end credits, leaving viewers reflecting on Maria Callas’s extraordinary life.
Where to Access the *Maria* Soundtrack
The official soundtrack for Netflix’s *Maria* is now streaming on various platforms, including Apple Music, Amazon Music, YouTube, and Spotify. However, note that specific tracks like “Moonlight Promenade,” “Happy Birthday, Mr. President,” and “An Ending (Ascent)” are featured in the film but do not appear on the official soundtrack. The collection primarily highlights Maria Callas’s illustrious recordings, complemented by orchestral arrangements conducted by Peter Illenyi, making it a must-listen for both opera enthusiasts and fans of Jolie’s portrayal.
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