Maria Callas has always been a commanding figure in the world of opera. A charismatic personality on and off the stage, she is remembered for attacking her roles with vigor and her willingness to push her voice beyond its natural limits to achieve dramatic intensity.

The stage jewelry that Callas wore in many of her roles is no less impressive, as evinced in a flashy new exhibition at the Museum of Decorative Arts that features 29 display cases of luminous pendants, necklaces and tiaras that served as the focal point for the diva's onstage costumes.

Conceived and organized by Swarovski Vice President Rinaldo Albanesi, the show marks more than high points in Callas' career. It's also a mini-history in the evolution of stage jewelry — in this case, from the work of a small Italian studio to the world-famous craftsmanship of Swarovski, the Austrian crystal company.

In addition, this collection offers a window onto an important period in opera history, before the advent of television. In a large opera house, the onstage jewelry had to be sufficiently eye-catching so as to be seen by the audience. And whatever else this jewelry may or may not be, it is definitely eye-catching.

Sifting through history

Born in New York in 1923 to Greek parents and trained in Europe, Callas catapulted to international star status in the post–World War II period. Her debut came in August 1947 in Amilcare Ponchielli's La Gioconda, in which she wore a small but elaborate crown designed by the Atelier Marangoni in Milan, Italy.

Established by artist and craftsman Ennio Marangoni in 1940, the atelier was a leading name in the creation of luxury accessories for classical and modern ballet, plays, film and television. A partnership with Swarovski had long provided the Milanese atelier with the crystals that made faux stage items seem like real diamonds, rubies or emeralds onstage. From the time of her first performance, Callas demanded that her jewelry be made exclusively by Marangoni's studio and with Swarovski crystals.

Upon learning in 1999 that the atelier was weighing a buyout offer from the United States, Albanesi immediately acted to prevent its collection from leaving Italy. Swarovski acquired the studio, and Albanesi went to work sifting through 40,000 unmarked pieces of jewelry that had amassed in a warehouse over 60 years. Originally intent on identifying the jewels made for the opera, he soon found himself engrossed in deciphering the individual history of the pieces worn by the star soprano.

"When I found the jewels of Maria Callas, I forgot for the moment the other pieces," Albanesi says. "I had to focus my attention on her."

With the help of music expert Andrea Scarduelli, Albanesi spent the next three years poring over old publicity stills, show programs, personal photographs and newspaper clippings in an effort to match the jewelry with performances.

As a result, many landmark moments of Callas' career are identified and showcased in the exhibition, beginning with a small but elaborate tiara she wore in La Gioconda. Also included is the crown from Norma, performed at the Chicago Lyric Opera in 1954 as part of the singer's triumphant debut in the United States. Designed to look like a laurel wreath, it features two cloak clasps with sparkling Swarovski cabochons at their center. The crown Callas wore in a 1949 production of Nabucco in Naples is also on display.

A white crystal tiara with matching earrings and necklace puzzled Albanesi at first — it seemed impossible to identify the opera they had come from. But eventually the researcher Franca Cella and Simonetta Puccini, granddaughter of the composer Giacomo, recalled its origins: It was the bridal jewelry from Tosca, worn by Callas at the Metropolitan Opera in New York City in 1956.

The golden era of La Scala

Though focused on Callas, the pieces on display also trace the evolution of stage jewelry. The high point for singers was during the 1950s and '60s, when the most elaborate creations were destined for opera stages. "During these years the budget was very high," says Albanesi. "This is the most fascinating collaboration from my point of view, and the most beautiful pieces are from golden era of the La Scala Opera House in Milan."

In 1955 at La Scala, producer Luchino Visconti insisted on genuine period jewelry, using the original manufacturing methods from the time of the opera, to create adornments for Callas' role in La Traviata. Marangoni proceeded to create a striking, ruby-red crystalline necklace with baroque pearls manufactured by Swarovski from a design by Lila de Nobili.

In 1956, the costume designer Nicola Benois conceived the tiara of the Russian princess made of colored crystals and shimmering artificial pearls for Fedora at La Scala. The atelier also worked from sketches by director Franco Zeffirelli and stage designer Nicola Benois, as well as many other famous designers of the time.

This impressive selection of crystal has so far been shown in Monte Carlo, Parma and London, attracting more than 2.8 million visitors. "In the beginning it was our duty to offer the show to different institutions," says Albanesi. "But now we are looking at invitations from all over the world. This could go on for at least five years."