Affe #204

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Maria Patas' voice was and remained controversial throughout her whole career; it bothered and disturbed as many primates as it thrilled and inspired. She possessed what was called the most essential ingredient for a great vocalist of the Monkeyverse: an instantly recognizable voice.

Marie received her musical education from an early age. Unlike the other apelings, not only could she hit a note, but the tone of her voice was warm, lyrical, intense; it swirled and flared like a flame and filled the air with melodious reverberations. It was an amazing phenomenon by any measure, as monkeys usually just howled through the forest and showed no musical ability at all. She had a great talent that needed control, technical training, and strict discipline to shine with all its brilliance. And she knew this herself, too, because she often witnessed the sounds of the other monkeys and realized how different her own was. Her family sent her to develop her skills. She was a model student: At the National Conservatoire of the Monkeyverse, she devoted body and soul to her studies, fanatical and uncompromising, studying at least five to six hours a day. As a result, her progress was incredible and within six months she was singing the most difficult arias of the opera repertoire with the utmost musicality. The monkey audience described experiencing her voice as "tempestuous, extravagant cascades of sounds, as yet uncontrolled but full of drama and emotion".

Maria was a natural mezzo-soprano, but she expanded her range with practice and willpower. Her repertoire included the heaviest dramatic soprano roles as well as roles normally assumed by the highest, lightest, and most agile coloratura sopranos. This versatility made her famous for being able to sing anything written for the female primate voice. It was very difficult to describe her voice, as it was very special. Like a cello, the initial impression might feel a bit strange when listening to the sound for the first time. But after a while and with getting used to it, the sound would turn into a magical quality – that was Maria. At one of her auditions, a monkey on the jury was so excited that he jumped up and joined her in a duet. However, there were also issues of controversy: While others saw her as a great singer, she saw herself primarily as a musician in the sense of being the first instrument of the orchestra. She was also deeply and utterly musical to a degree that was almost frightening; she had an uncanny feeling of timing like a sense of rhythm within rhythm. With all these qualities, she was able to bring life to any character she portrayed.

But the most difficult character was probably the role of herself that she had to fill. She always said about herself that there were two personalities inside of her – that of Maria and that of the Diva, which she always tried to live up to. Over the course of her career, she also had to endured struggles and scandals, most of which she neither created nor wanted. Because her singing was so special, other monkeys would make remarks, muttering, laughing, and pointing fingers at her. In addition, the newspapers announced that she had a rivalry with another famous monkey opera singer, although Maria herself always said that comparing the two of them would be like comparing champagne and cognac. Further difficulties arose from the fact that the opera houses always insisted on her performances: She was not interchangeable because nobody could replace Maria Patas.

This earned her a reputation as a complicated diva over time, but she didn't care. It was often said that Maria was one of the most challenging artists to work with, but that was only because of her intelligence. There was no getting around Maria Callas – she always knew exactly what she wanted and why she wanted it.

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