Maria Callas—soprano, icon, enigma. With the upcoming release of Netflix’s biopic starring Angelina Jolie, the spotlight returns to the woman whose name is synonymous with operatic legend. Known as “La Divina,” Callas was not just a singer but a force of nature, and her fiery temperament and unparalleled artistry left an indelible mark on classical music. While her voice and presence revolutionized the art form, she was far from alone on the stage. Opera, of course, thrives on rivalry, and Callas’s career was punctuated by her encounters with her extraordinary contemporaries. From the velvet-voiced Renata Tebaldi to the technically dazzling Joan Sutherland, these five sopranos challenged and complemented Callas’s legacy, offering contrasting glimpses into the world of opera.

 

The Divas who challenged Maria Callas: Opera’s most legendary rivalries

 

The Prima Donna War: Callas vs. Tebaldi

The battle between Maria Callas and Renata Tebaldi was the stuff of operatic legend—both on and off the stage. It all began with a fateful joint recital in Brazil, where the two sopranos agreed not to perform encores. But when Tebaldi defied the pact and delivered two encores, Callas, caught off guard and unprepared, was livid. This infamous moment set the stage for an intense rivalry that captivated the opera world throughout the 1950s. Callas, never one to mince words, famously likened their voices to “Champagne and Coca-Cola,” while Tebaldi retorted with a pointed remark: “I have something Callas will never have—a heart.”
Yet for all their feuding, there was grudging admiration. Callas admitted to envying Tebaldi’s smooth, soaring voice, and Tebaldi, in turn, found herself drawn to Callas’s interpretation of La Gioconda. The press played a significant role in fueling their legendary discord, but in later years, the two divas reconciled. Following a performance of Adriana Lecouvreur, Callas surprised Tebaldi backstage with warm congratulations, proving that even the fiercest of rivals could find mutual respect.

Callas vs. Zinka Milanov: Expression vs. Perfection

Zinka Milanov may not be as widely recognized as Callas today, but during her prime, she was a formidable presence on the operatic stage. A specialist in Verdi and Wagner, Milanov possessed a sumptuous voice, unwavering confidence, and an unshakable belief in her own supremacy. She famously declared herself “the most beautiful voice in the world.”
Despite her technical prowess, Milanov’s emphasis was on vocal beauty rather than dramatic intensity—an approach that sharply contrasted with Callas’s deeply expressive artistry. While Milanov’s Norma was hailed as vocally pristine, it lacked the visceral fire and emotional urgency that Callas brought to the role. Their rivalry was less personal than artistic—two opposing philosophies of opera performance.

Compare their versions of “Casta Diva” from Bellini’s Norma:

The Politics of Art: Callas vs. Elisabeth Schwarzkopf

Maria Callas and Elisabeth Schwarzkopf inhabited different musical worlds—Schwarzkopf reigning supreme in German Lieder and Mozart, while Callas mastered the bel canto repertoire. Yet their careers were equally luminous and equally touched by controversy.

For Callas, scandal struck in 1958 when she walked out mid-performance of Norma in Rome, citing illness—a move that enraged the audience and the Italian President alike. Schwarzkopf, meanwhile, faced scrutiny of a different kind. Having risen to prominence during the Nazi regime, she was later criticized for her membership in the party, which she defended as a necessity for her career. The question remains: Can artistry ever be fully separated from personal history?

Callas vs. Simionato: An Opera Friendship

Not all of Callas’s relationships were fraught with competition. Her bond with mezzo-soprano Giulietta Simionato was one of mutual admiration and artistic camaraderie. They performed together in numerous operas, beginning with Norma in 1950, and their shared commitment to dramatic expression set them apart.

Though Simionato’s voice lacked the lush beauty of Tebaldi or Milanov, her acting prowess and stage presence matched Callas’s intensity. Interestingly, both singers tackled the role of Rosina in Rossini’s The Barber of Seville, despite their differing vocal classifications.

Their difficult relationships with their mothers also paralleled each other—Callas’s mother was domineering, forcing her into a singing career, while Simionato’s mother discouraged her so strongly that she once declared, “I’d rather kill my daughter with my own hands than see her become a singer.”

Here are the two singers in Rossini’s The Barber of Seville:

La Divina vs. La Stupenda: Callas vs. Joan Sutherland

Maria Callas and Joan Sutherland—two sopranos who redefined the bel canto repertoire. With their vast vocal ranges, astonishing technical prowess, and commanding stage presences, they were a natural comparison. Yet their approaches were distinct: Callas imbued every note with theatrical urgency, while Sutherland dazzled with pure vocal fireworks.

Both singers left behind enduring legacies, not just through their performances but also through their contributions to education. Callas’s legendary Juilliard masterclasses and Sutherland’s television programs with Marilyn Horne and Luciano Pavarotti continue to inspire new generations of singers.

Whether rivalries were fueled by press speculation, artistic differences, or genuine clashes of personality, these sopranos helped define an era. Callas may have been “La Divina,” but opera is nothing without its dueling divas—and their voices, each singular in its brilliance, continue to captivate audiences today.