Opera Diva Maria Callas Museum Opens in Athens on Centenary

Maria Callas at a recital in Paris on her farewell tour in 1973. AFP
Maria Callas at a recital in Paris on her farewell tour in 1973. AFP
TT

Opera Diva Maria Callas Museum Opens in Athens on Centenary

Maria Callas at a recital in Paris on her farewell tour in 1973. AFP
Maria Callas at a recital in Paris on her farewell tour in 1973. AFP

A quarter of a century in the making, Greece's capital Athens on Thursday opens a museum honoring legendary soprano Maria Callas, billed as the first of its kind in the world.

Designed to mark the centenary of her birth, the museum showcases over 1,300 exhibits including Callas's school scrapbook, inscribed books and sheet music, opera dresses and photographs, organizers said.

"The great diva, Maria Callas, returns home," Athens mayor Kostas Bakoyannis said Wednesday at a media tour of the venue, reported AFP.

"We are very proud of this first museum that combines technology and lived experience," he said.

A listed four-storey building from the 1920s that previously housed a hotel, the custard-coloured museum near central Syntagma Square took over a decade to complete at a cost of 1.5 million euros ($1.6 million).

The collection began 24 years ago, when the city acquired some Callas items at a Paris auction.

"This is a museum for all the senses," said Konstantinos Dedes, one of the project supervisors.

The tour begins on the second floor, where visitors step onto a forest scene as Callas -- silhouetted on a stage at the back wall -- sings an aria from Bellini's opera Norma.

It was one of the defining performances of an illustrious career spanning more than three decades which saw Callas dubbed "La Divina" -- the divine.

Another room recreates the night view from the diva's balcony in Paris, complete with flowing curtains.

There is also a recording of Callas giving a masterclass at the Juilliard School of music in New York in the early 1970s.

'Don't overact'
"You don't have to overact," she sternly tells students, urging them to make use of their face and eyes.

Among the collection's top exhibits are the soprano's personal photo album, her backstage mirror and her prescription glasses, which she almost never wore in public.

There are also monogrammed matchbooks given to her by airlines and hotels on her final world tour in 1973-74, and the menu of the fateful Venice party in 1957 where Callas met Greek tycoon Aristotle Onassis.

She ended up divorcing her Italian industrialist husband Giovanni Meneghini for Onassis, who later left her to marry former US first lady Jackie Kennedy.

Dozens of Greek institutions and private collectors, among them the late artists Alekos Fassianos, Dimitris Mytaras and Panayiotis Tetsis, have made contributions to the new museum, the city said.

Some of the items have been donated by Milan's La Scala, the Metropolitan Opera, the Teatro La Fenice in Venice and the Arena di Verona, where Callas made her Italian debut in 1947, it said.

"We aimed to charm those who don't know (Callas) and don't listen to opera... and help them understand what made her stand out," the museum's exhibition designer Erato Koutsoudaki told AFP.

Tickets cost 10 euros.

Born in New York to Greek emigre parents in 1923, Sophia Cecilia Anna Maria Kalogeropoulos lived in Athens from 1937 to 1945 after her parents separated.

"As soon as my mother realized my vocal qualities, she decided to turn me into a child prodigy," Callas later wrote. "But child prodigies never have a real, genuine childhood."

The building in Athens where Callas briefly lived with her mother and sister is to become a music academy, Bakoyannis said Wednesday.

After attending singing classes at the National Conservatory, she made her professional debut with the Royal Opera of Athens in 1941.

Callas retired after a final stage appearance in Sapporo, Japan in 1974. She died in Paris of a heart attack in 1977, aged 53.

Her ashes were scattered in the Aegean Sea two years later.

A biopic of Callas starring Angelina Jolie, titled Maria, is due to be released next year.



Libyans Savor Shared Heritage at Reopened National Museum

Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
TT

Libyans Savor Shared Heritage at Reopened National Museum

Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)

In a historic building in central Tripoli, Libyans wander past ancient statues and artifacts, rediscovering a heritage that transcends political divides at their national museum which reopened this month after a 2011 uprising.

"I got here barely 15 minutes ago but I already feel like I've been transported somewhere. It's a different world," said architecture student Nirmine Miladi, 22.

In the waterfront building known as the red citadel -- once the seat of power -- visitors journey through a history that includes ancient art, Greek and Roman antiquities and Ottoman-era weapons and jewellery.

Miladi's sister Aya, 26, an interior design student, said she liked the bright new museum's layout, "the careful lighting, the screens and interactive tools" that all help make the museum accessible to all.

Libya plunged into chaos after a NATO-backed uprising toppled and killed longtime leader Moammar al-Gadhafi in 2011, and the country has struggled to regain stability.

Since then, the North African country has been divided, with two rival executives vying for power: a Tripoli-based Government of National Unity and an administration based in Benghazi in the country's east.

Mohamed Fakroun, head of international cooperation at the antiquities department, said the museum went through "a dark period during its 14-year closure".

Fearing looting and vandalism after Gadhafi's overthrow, the antiquities department removed "all the artifacts until the country re-stabilized", said Fakroun, 63, who has worked at the French archaeological mission to Libya for almost four decades.

- 'National symbol' -

Curator Fathiya Abdallah Ahmad is among a handful of people who knew the location of secret, sealed rooms where the museum's treasures were taken into hiding for more than a decade.

She said the antiquities department and staff worked to "preserve a historic and cultural heritage that belongs to all Libyans".

This allowed the works to be safeguarded until the museum could reopen "in a modern format that conforms to international standards", she added.

The bright new facility includes digital projections and interactive screens as well as videos, audio guides and QR codes enabling visitors to delve further.

Fakroun noted the museum has a room dedicated to Roman emperor Septimius Severus, who was born in the ancient city of Leptis Magna -- now a UNESCO World Heritage site east of Tripoli.

Another room is dedicated to stolen items that have since been returned, including from the United States and the United Kingdom, he added.

Interior design student Aya Miladi said many Libyans saw the museum's inauguration as the "return of a national symbol".

It is also "a step towards reconciliation between Libyans and with their often little-known past", after years of war, as well as a sign of stability, she added.

- 'Not without past' -

Teacher Fatima al-Faqi, 48, said there was "a world of difference" between the reopened museum and the dark, dusty facility she visited 30 years ago on a school trip.

This time, she was leading a group of high-school students to help them "discover Libya's history and nourish their sense of patriotism", she said, as pupils goggled at items from Roman statues to stuffed animals in the natural history section.

The Tripoli government has invested more than five million dollars in rehabilitating the museum and its surrounding area, despite the oil-rich country's economic woes including frequent cash and fuel shortages.

Fakroun said the six-year renovations were carried out in cooperation with the French mission and the ALIPH foundation -- the International Alliance for the Protection of Heritage.

The museum seeks to convey a hope-filled message about Libya's identity to its visitors, most of whom "were not born when it was last open before 2011", he added.

Visitor Sarah al-Motamid, 34, said that "many people don't know about our country's ancient history and look at us as if we were worthless".

She said she was visiting with her six-year-old daughter Mariam because she wanted her to "understand that we are not without a past or civilization".


Cultural Camp at King Abdulaziz Camel Festival Showcases Saudi Heritage

The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
TT

Cultural Camp at King Abdulaziz Camel Festival Showcases Saudi Heritage

The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA

The cultural camp is a key feature of the 10th King Abdulaziz Camel Festival, held in Al-Sayahid desert. The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity, according to SPA.

It offers a range of programs, including live performances and interactive events, that highlight camels' historical significance in Arab culture and illustrate the values of patience, strength, and belonging.

The camp has attracted over 2,000 guests from 71 nationalities, emphasizing its global appeal as a cultural platform for diversity and tradition.

Visitors engage with cultural content through innovative methods that merge authenticity with modern technology, enhancing awareness of the camel's cultural legacy. This initiative aligns with Saudi Vision 2030 by preserving heritage and connecting younger generations with their roots.


Tuwaiq Sculpture 2026 Announces 25 Participating Artists for Seventh Edition

The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
TT

Tuwaiq Sculpture 2026 Announces 25 Participating Artists for Seventh Edition

The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA

Under the Royal Commission for Riyadh City and Riyadh Art, Tuwaiq Sculpture has announced the selection of 25 artists for the seventh edition of the annual sculpture symposium and exhibition, taking place from January 10 to February 22, 2026.

This year’s edition unfolds under the curatorial theme “Traces of What Will Be,” inviting artists to reflect on how sculptural form can express the physical, cultural and conceptual traces that shape the future of cities and communities, SPA reported.

A total of 25 artists from 18 countries, including Saudi artists, have been selected for the seventh edition. Their proposals reflect a diverse range of artistic approaches, responding to the theme through explorations of transformation, place, and materiality.

Director of the Tuwaiq Sculpture Symposium Sarah Alruwayti said: "The seventh edition of Tuwaiq Sculpture received more than 590 applications, reflecting the cultural diversity and global interest in the symposium. The selection of the 25 participating artists was carried out by a jury of industry experts and specialists. Their proposals show meaningful engagement with the theme and reflect the strength and diversity of contemporary sculptural practice. We look forward to welcoming them to Riyadh for the creation of new works that will become lasting additions to the city.”

Building on the evolving material practice of the symposium, Tuwaiq Sculpture 2026 introduces two sculpting categories: granite with optional stainless-steel integration and reclaimed metal. Twenty artists will work in granite, while five will create new works in reclaimed metal. Over four weeks, they will produce large-scale sculptures that will later be added to Riyadh Art’s permanent public art collection.

The 2026 edition features a month-long live sculpting phase alongside a community engagement program, inviting visitors to witness the creation of artworks and take part in panel discussions and workshops. The symposium will conclude with a public exhibition showcasing the completed sculptures from its seventh edition.