Rigoletto is an opera in three acts by Giuseppe Verdi. The Italian libretto was written by Francesco Maria Piave based on the play Le roi s'amuse by Victor Hugo. It was first performed at La Fenice in Venice on March 11, 1851. It is considered by many to be the first of the operatic masterpieces of Verdi's middle-to-late career.

Composition history

Verdi was commissioned to write a new opera by the La Fenice opera house in Venice in 1850, at a time when he was already a well-known composer with a degree of freedom in choosing the works he would prefer to set to music. He then asked Piave (with whom he had already created Ernani, I due Foscari, Macbeth, Il Corsaro and Stiffelio) to examine the play Kean by Alexandre Dumas, père, but he felt he needed a more energetic subject to work on.

Verdi soon stumbled upon Victor Hugo's Le roi s'amuse. He later explained that "It contains extremely powerful positions ... The subject is great, immense, and has a character that is one of the most important creations of the theatre of all countries and all Ages". It was a highly controversial subject and Hugo himself had already had trouble with censorship in France, which had banned productions of his play after its first performance nearly twenty years earlier (and would continue to ban it for another thirty years). As Austria at that time directly controlled much of Northern Italy, it came before the Austrian Board of Censors. Hugo's play depicted a king (Francis I of France) as an immoral and cynical womanizer, something that was not accepted in Europe during the Restoration period.

From the beginning, Verdi was aware of the risks, as was Piave. In a letter which Verdi wrote to Piave: "Use four legs, run through the town and find me an influential person who can obtain the permission for making Le Roi s'amuse." Correspondence between a prudent Piave and an already committed Verdi followed, and the two remained at risk and underestimated the power and the intentions of Austrians. Even the friendly Guglielmo Brenna, secretary of La Fenice, who had promised them that they would not have problems with the censors, was wrong.

At the beginning of the summer of 1850, rumors started to spread that Austrian censorship was going to forbid the production. They considered the Hugo work to verge on lèse majesté, and would never permit such a scandalous work to be performed in Venice. In August, Verdi and Piave prudently retired to Busseto, Verdi's hometown, to continue the composition and prepare a defensive scheme. They wrote to the theatre, assuring them that the censor's doubts about the morality of the work were not justified but since very little time was left, very little could be done. The work was secretly called by the composers The Malediction (or The Curse), and this unofficial title was used by Austrian censor De Gorzkowski (who evidently had known of it from spies) to enforce, if needed, the violent letter by which he definitively denied consent to its production.

In order not to waste all their work, Piave tried to revise the libretto and was even able to pull from it another opera Il Duca di Vendome, in which the sovereign was substituted with a duke and both the hunchback and the curse disappeared. Verdi was completely against this proposed solution and preferred instead to have direct negotiations with censors, arguing over each and every point of the work.

At this point Brenna, La Fenice's secretary, showed the Austrians some letters and articles depicting the bad character but the great value of the artist, helping to mediate the dispute. In the end the parties were able to agree that the action of the opera had to be moved from the royal court of France to a duchy of France or Italy, as well as a renaming of the characters. In the Italian version the Duke reigns over Mantova and belongs to the Gonzaga family: the Gonzaga had long been extinct by the mid-19th Century, and the Dukedom of Mantova did not exist anymore, so nobody could be offended. The scene in which the sovereign retires in Gilda's bedroom would be deleted and the visit of the Duke to the Taverna (inn) was not intentional anymore, but provoked by a trick. The hunchback (originally Triboulet) became Rigoletto (from French rigolo = funny). The name of the work too was changed.

For the première, Verdi had Felice Varesi as Rigoletto, the young tenor Raffaele Mirate as the Duke, and Teresina Brambilla as Gilda (though Verdi would have preferred Teresa De Giuli Borsi). Teresina Brambilla was a well-known soprano coming from a family of singers and musicians; one of her nieces, Teresa Brambilla, was the wife of Amilcare Ponchielli.

The opening was a complete triumph, especially the scena drammatica, and the Duke's cynical aria, "La donna è mobile", was sung in the streets the next morning.

Due to the high risk of unauthorised copying, Verdi had demanded the maximum secrecy from all his singers and musicians. Mirate had use of his score only a few evenings before the première and was forced to swear he would not sing or even whistle the tune of "La donna è mobile".

Many years later, Giulia Cori, Varesi's daughter, described her father's performance at the premiere. Playing the original Rigoletto, her father was really uncomfortable with the false hump he had to wear; he was so uncertain that, even though he was quite an experienced singer, he had a panic attack when it was his turn to enter the stage. Verdi immediately realised he was paralysed and roughly pushed him on the stage, so he appeared with a clumsy tumble. The audience, thinking it was a gag, was very amused. (1828-1906)]]

Performance history

The UK premiere took place on 14 May 1853 at what is now the Royal Opera House, Covent Garden in London. In the US, the opera was first seen on 19 February 1855 at New York's Academy of Music.

In modern times, it has become a staple of the standard operatic repertoire and it appears as number nine on Opera America's list of the 20 most-performed operas in North America.

Roles

Synopsis

:Place: Mantua :Time: the Sixteenth century

Act 1

Scene 1: A room in the palace

At a ball in his palace, the Duke sings of a life of pleasure with as many women as possible (Questa o quella - "This woman or that"). He has seen an unknown beauty in church and desires to possess her, but he also wishes to seduce the Countess of Ceprano. Rigoletto, the Duke's hunchbacked court jester, mocks the husbands of the ladies to whom the Duke is paying attention, and advises the Duke to get rid of them by prison or death. Marullo informs the noblemen that Rigoletto has a "lover", and the noblemen cannot believe it. The noblemen resolve to take vengeance on Rigoletto. Subsequently Rigoletto mocks Count Monterone, whose daughter the Duke had seduced. Count Monterone is arrested at the Duke's order and curses the Duke and Rigoletto. The curse genuinely terrifies Rigoletto.

Scene 2: A street, with the courtyard of Rigoletto's house

Thinking of the curse, Rigoletto approaches his house and is accosted by the assassin Sparafucile, who offers his services. Rigoletto contemplates the similarities between the two of them (Pari siamo! - "We are alike!"); Sparafucile kills men with his sword, and Rigoletto uses "a tongue of malice" to stab his victims. Rigoletto opens a door in the wall and returns home to his daughter Gilda. They greet each other warmly (Figlia!" "Mio padre! - "Daughter!" "My father!"). Rigoletto has been concealing his daughter from the Duke and the rest of the city, and she does not know her father's occupation. Since he has forbidden her to appear in public, she has been nowhere except to church and does not even know her own father's name.

When Rigoletto has gone, the Duke appears and overhears Gilda confess to her nurse Giovanna that she feels guilty for not having told her father about a student she had met at the church, but that she would love him even more if he were poor. Just as she declares her love, the Duke enters, overjoyed. Gilda, alarmed, calls for Giovanna, but the Duke has sent her away. He convinces Gilda of his love (E il sol dell'anima - "Love is the sunshine of the soul"), and she responds. When she asks for his name, he hesitantly calls himself Gualtier Maldè. Hearing sounds and fearing that her father has returned, Gilda sends the Duke away after they quickly repeat their vows of love to each other (Addio, addio - "Farewell, farewell"). Alone, Gilda meditates on her love for the student (Gualtier Maldè! ... Caro nome - "Dearest name").

Later, the hostile noblemen outside the walled garden (believing Gilda to be the jester's mistress) get ready to abduct the helpless girl. Convincing Rigoletto that they are actually abducting the Countess Ceprano, they blindfold him and use him to help with the abduction. He assists them, and Gilda is carried away by the noblemen. Upon realizing that it was in fact Gilda who was carried away, Rigoletto collapses, remembering the curse.

as the Duke of Mantua, a role he performed and recorded several times.]]

Act 2

The Duke's Palace

The Duke is concerned that Gilda has disappeared (Ella mi fu rapita! - "She was stolen from me!" and Parmi veder le lagrime - "I seem to see tears"). The noblemen then enter and inform him that they have captured Rigoletto's mistress. By their description, he recognizes it to be Gilda, and he rushes off to the room where she is held (Possente amor mi chiama - "Mighty love beckons me"). Pleased by the Duke's strange excitement, the courtiers now make sport with Rigoletto, who enters singing. He tries to find Gilda by pretending to be uncaring, as he fears she may fall into the hands of the Duke. Finally, he admits that he is in fact seeking his daughter and asks the courtiers to return her to him (Cortigiani, vil razza dannata - "Accursed race of courtiers"). The men beat up Rigoletto after his attempt to run into the room Gilda is being held in. Gilda rushes in and begs her father to send the people away. The men leave the room believing Rigoletto has gone mad. Gilda describes to her father what has happened to her in the palace (Tutte le feste al tempio - "On all the blessed days"). Rigoletto demands vengeance against the Duke, while Gilda pleads for him (Duet: Sì! Vendetta, tremenda vendetta! - "Yes! Revenge, terrible revenge!").

Act 3

A street outside Sparafucile's house

A portion of Sparafucile's house is seen, with two rooms open to the view of the audience. Rigoletto and Gilda, who still loves the Duke, arrive outside. The Duke's voice can be heard (La donna è mobile- "Woman is fickle") laying out the infidelity and fickle nature of women. Rigoletto makes Gilda realize that it is the Duke who is in the assassin's house and that he is attempting to seduce Sparafucile's sister, Maddalena.(Bella figlia dell'amore - "Sweet daughter of love")

Rigoletto bargains with the assassin, who is ready to murder his guest for money, and offers him 20 scudi for killing the Duke. He orders his daughter to put on a man's clothes in order to prepare to go to Verona and states that he plans to follow later. With falling darkness, a thunderstorm approaches and the Duke determines to remain in the house. Sparafucile assigns to him the ground floor sleeping quarters.

Gilda, who still loves the Duke despite knowing him to be unfaithful, returns dressed as a man. She overhears Maddalena begging for the Duke's life, and Sparafucile promises her that if by midnight another can be found in place of the Duke, he will spare the Duke's life. Gilda resolves to sacrifice herself for the Duke and enters the house. She is immediately mortally wounded and collapses.

At midnight, when Rigoletto arrives with money, he receives a corpse wrapped in a sack, and rejoices in his triumph. Weighting it with stones, he is about to cast the sack into the river when he hears the voice of the Duke singing a reprise of his "La donna è mobile" aria. Bewildered, Rigoletto opens the sack and, to his despair, discovers his mortally wounded daughter. For a moment, she revives and declares she is glad to die for her beloved (V'ho ingannato - "Father, I deceived you"). She dies in his arms. Rigoletto's wildest fear materializes when he cries out in horror: "The curse!"

Piano transcription

Franz Liszt produced a piano reduction of the famous quartet from Act 3 of Rigoletto called Rigoletto Paraphrase.

Recordings

See Rigoletto discography.

Notes

References

The Opera Goer's Complete Guide by Leo Melitz, 1921 version.

External links

Rigoletto piano vocal score from Indiana University's Online Opera Scores Database

Rigoletto synopsis from the Metropolitan Opera

Rigoletto DVD from the Piazza del Campo, Siena

Rick, a 2003 film written by Daniel Handler (of the Lemony Snicket series), directed by Curtiss Clayton. Based on the opera, the film chronicles the tragic fall of a cursed Wall Street second banana cursed by a job applicant, Rick O'Lette, who tries to get rid of his vile boss, "Duke," through the services of an assassin, Buck, but instead loses his daughter, Eve.

Libretto

San Diego OperaTalk! with Nick Reveles: Verdi's Rigoletto

Category:1851 operas Category:Italian-language operas Category:Operas Category:Operas by Giuseppe Verdi Category:Operas set in Italy

Name	Luciano Pavarotti
Caption	Luciano Pavarotti performing at the opening of the Constantine Palace in Strelna, 31 May 2003. The concert was part of the celebrations for the 300th anniversary of St. Petersburg.
Birth date	October 12, 1935
Birth place	Modena, Italy
Death date	September 06, 2007
Death place	Modena, Italy
Nationality	Italian
Occupation	Opera singer (tenor)
Years active	1961–2006
Signature	Luciano Pavarotti Signature.svg
Website	www.lucianopavarotti.com

Luciano Pavarotti, Cavaliere di Gran Croce OMRI (12 October 19356 September 2007) was an Italian operatic tenor, who also crossed over into popular music, eventually becoming one of the most commercially successful tenors of all time. He made numerous recordings of complete operas and individual arias, and established himself as one of the finest tenors of the 20th century. He was one of "The Three Tenors" and became well-known for his televised concerts and media appearances. Pavarotti was also noted for his charity work on behalf of refugees and the Red Cross, amongst others.

Pavarotti began his professional career as a tenor in 1961 in Italy. In 1961, he made his first international appearance in La traviata in Belgrade, Yugoslavia. He sang in opera houses in addition to Italy, in the Netherlands, Vienna, London, Ankara, Budapest and Barcelona. The young tenor earned valuable experience and recognition while touring Australia at the invitation of soprano Joan Sutherland in 1965. He made his United States debut in Miami soon afterwards, also on Sutherland's recommendation. His position as a leading lyric tenor was consolidated in the years between 1966 and 1972, during which time he first appeared at Milan's La Scala and other major European houses. In 1968, he debuted at New York City's Metropolitan Opera as Rudolfo in Puccini's La bohème. At the Met in 1972, in the role of Tonio in Donizetti's La fille du régiment he earned the title "King of the high Cs" when he sang the aria "Ah mes amis ... pour mon âme". He gained worldwide fame for the brilliance and beauty of his tone, especially into the upper register. He was at his best in bel canto operas, pre-Aida Verdi roles and Puccini works such as La bohème, Tosca and Madama Butterfly. The late 1970s and 1980s saw Pavarotti continue to make significant appearances in the world's foremost opera houses.

Celebrity beyond the world of opera came to Pavarotti at the 1990 World Cup in Italy with performances of Puccini's "Nessun dorma", from Turandot, and as one of "The Three Tenors" in their famed first concert held on the eve of the tournament's final match. He sang on that occasion with fellow star tenors Plácido Domingo and José Carreras, bringing opera highlights to a wider audience. Appearances in advertisements and with pop icons in concerts furthered his international celebrity.

His final performance in an opera was at the Metropolitan Opera in March 2004. Later that year, the National Italian American Foundation (NIAF) inducted him into its Italian American Hall of Fame in recognition of his lifetime of work. During a ceremony held at the Foundation's Anniversary Gala just four days after his 69th birthday, singer Faith Hill presented Pavarotti with a birthday cake and sang "Happy Birthday" to the opera legend.

The 2006 Winter Olympics in Turin, Italy, saw Pavarotti on stage for the last time, where he performed "Nessun dorma", with the crowd serving as the aria's chorus, and he received a thunderous standing ovation.

On 6 September 2007, he died at home in Modena from pancreatic cancer, aged 71.

Earlier life and musical training

Luciano Pavarotti was born in 1935 on the outskirts of Modena in Northern Italy, the son of Fernando Pavarotti, a baker and amateur tenor, and Adele Venturi, a cigar factory worker. Although he spoke fondly of his childhood, the family had little money; its four members were crowded into a two-room apartment. According to Pavarotti, his father had a fine tenor voice but rejected the possibility of a singing career because of nervousness. World War II forced the family out of the city in 1943. For the following year they rented a single room from a farmer in the neighbouring countryside, where the young Pavarotti developed an interest in farming.

After abandoning the dream of becoming a football goalkeeper, Pavarotti spent seven years in vocal training. Pavarotti's earliest musical influences were his father's recordings, most of them featuring the popular tenors of the day - Beniamino Gigli, Giovanni Martinelli, Tito Schipa and Enrico Caruso. Pavarotti's favourite tenor and idol was Giuseppe Di Stefano. He was also deeply influenced by Mario Lanza, saying, "In my teens I used to go to Mario Lanza movies and then come home and imitate him in the mirror". At around the age of nine he began singing with his father in a small local church choir.

After what appears to have been a normal childhood with a typical interest in sports — in Pavarotti's case football above all, he graduated from the Scuola Magistrale and faced the dilemma of a career choice. He was interested in pursuing a career as a professional football goalkeeper, but his mother convinced him to train as a teacher. He subsequently taught in an elementary school for two years but finally allowed his interest in music to win out. Recognising the risk involved, his father gave his consent only reluctantly.

Pavarotti began the serious study of music in 1954 at the age of 19 with Arrigo Pola, a respected teacher and professional tenor in Modena who offered to teach him without remuneration. Not until he began these studies was Pavarotti aware that he had perfect pitch.

In 1955, he experienced his first singing success when he was a member of the Corale Rossini, a male voice choir from Modena that also included his father, which won first prize at the International Eisteddfod in Llangollen, Wales. He later said that this was the most important experience of his life, and that it inspired him to become a professional singer. At about this time Pavarotti first met Adua Veroni. They married in 1961.

When his teacher Arrigo Pola moved to Japan, Pavarotti became a student of Ettore Campogalliani, who at that time was also teaching Pavarotti's childhood friend, Mirella Freni, whose mother worked with Luciano's mother in the cigar factory. Like Pavarotti, Freni was destined to operatic greatness; they were to share the stage many times and make memorable recordings together.

During his years of musical study, Pavarotti held part time jobs in order to sustain himself - first as an elementary school teacher and then as an insurance salesman. The first six years of study resulted in only a few recitals, all in small towns and without pay. When a nodule developed on his vocal cords, causing a "disastrous" concert in Ferrara, he decided to give up singing. Pavarotti attributed his immediate improvement to the psychological release connected with this decision. Whatever the reason, the nodule not only disappeared but, as he related in his autobiography, "Everything I had learned came together with my natural voice to make the sound I had been struggling so hard to achieve".

Career

1960s–1970s

Pavarotti began his career as a tenor in smaller regional Italian opera houses, making his debut as Rodolfo in La Bohème at the Teatro Municipale in Reggio Emilia in April 1961.

Very early in his career, on 23 February 1963, he debuted at the Vienna State Opera with the same role. In March and April 1963 Vienna saw Pavarotti again as Rodolfo and as Duca di Mantova in Rigoletto. The same year saw his Royal Opera House debut, where he replaced an indisposed Giuseppe di Stefano as Rodolfo.

While generally successful, Pavarotti's early roles did not immediately propel him into the stardom that he would later enjoy. An early coup involved his connection with Joan Sutherland (and her conductor husband, Richard Bonynge), who in 1963 had sought a young tenor taller than herself to take along on her tour to Australia. At well over 6 feet tall and with his commanding physical presence, Pavarotti proved ideal. The two sang some forty performances over two months, and Pavarotti later credited Sutherland for the breathing technique that would sustain him over his career.

Pavarotti made his American début with the Greater Miami Opera in February 1965, singing in Donizetti's Lucia di Lammermoor opposite Joan Sutherland on the stage of the Miami-Dade County Auditorium in Miami. The tenor scheduled to perform that night became ill with no understudy. As Sutherland was traveling with him on tour, she recommended the young Pavarotti as he was well acquainted with the role.

Shortly after, on 28 April, Pavarotti made his La Scala debut in the revival of the famous Franco Zeffirelli production of La Bohème, with his childhood friend Mirella Freni singing Mimi and Herbert von Karajan conducting. Karajan had requested the singer's engagement. After an extended Australian tour, he returned to La Scala, where he added Tebaldo from I Capuleti e i Montecchi to his repertoire on 26 March 1966, with Giacomo Aragall as Romeo. His first appearance as Tonio in Donizetti's La Fille du Régiment took place at the Royal Opera House, Covent Garden on 2 June of that year. It was his performances of this role that would earn him the title of "King of the High Cs".

He scored another major triumph in Rome on 20 November 1969 when he sang in I Lombardi opposite Renata Scotto. This was recorded on a private label and widely distributed, as were various recordings of his I Capuleti e i Montecchi, usually with Aragall. Early commercial recordings included a recital of Donizetti (the aria from Don Sebastiano was particularly highly regarded) and Verdi arias, as well as a complete L'Elisir d'Amore with Sutherland.

His major breakthrough in the United States came on 17 February 1972, in a production of La Fille du Régiment at New York's Metropolitan Opera, in which he drove the crowd into a frenzy with his nine effortless high Cs in the signature aria. He achieved a record seventeen curtain calls.

Pavarotti sang his international recital début at William Jewell College in Liberty, Missouri, on 1 February 1973, as part of the college's Fine Arts Program, now known as the Harriman-Jewell Series. Perspiring due to nerves and a lingering cold, the tenor clutched a handkerchief throughout the début. The prop became a signature part of his solo performances.

He began to give frequent television performances, starting with his performances as Rodolfo (La Bohème) in the first Live from the Met telecast in March 1977, which attracted one of the largest audiences ever for a televised opera. He won many Grammy awards and platinum and gold discs for his performances. In addition to the previously listed titles, his La Favorita with Fiorenza Cossotto and his I Puritani (1975) with Sutherland stand out.

In 1976, Pavarotti debuted at the Salzburg Festival, appearing in a solo recital on 31 July, accompanied by pianist Leone Magiera. Pavarotti returned to the festival in 1978 with a recital and as the Italian singer in Der Rosenkavalier, in 1983 with Idomeneo, and both in 1985 and 1988 with solo recitals.

In 1979, he was profiled in a cover story in the weekly magazine Time. That same year saw Pavarotti's return to the Vienna State Opera after an absence of fourteen years. With Herbert von Karajan conducting, Pavarotti sang Manrico in Il Trovatore. In 1978, he appeared in a solo recital on Live from Lincoln Center.

1980s–1990s

At the beginning of the 1980s, he set up The Pavarotti International Voice Competition for young singers, performing with the winners in 1982 in excerpts of La Bohème and L'Elisir d'Amore. The second competition, in 1986, staged excerpts of La Bohème and Un Ballo in Maschera. To celebrate the 25th anniversary of his career, he brought the winners of the competition to Italy for gala performances of La Bohème in Modena and Genoa, and then to China where they staged performances of La Bohème in Beijing (Peking). To conclude the visit, Pavarotti performed the first ever concert in the Great Hall of the People before 10,000 people, receiving a standing ovation for nine effortless high Cs. The third competition in 1989 again staged performances of L'Elisir d'Amore and Un ballo in Maschera. The winners of the fifth competition accompanied Pavarotti in performances in Philadelphia in 1997.

In the mid-1980s, Pavarotti returned to two opera houses that had provided him with important breakthroughs, the Vienna State Opera and La Scala. Vienna saw Pavarotti as Rodolfo in La Bohème with Carlos Kleiber conducting and again Mirella Freni was Mimi; as Nemorino in L'Elisir d'Amore; as Radames in Aïda conducted by Lorin Maazel; as Rodolfo in Luisa Miller; and as Gustavo in Un Ballo in Maschera conducted by Claudio Abbado. In 1996, Pavarotti appeared for the last time at the Staatsoper in Andrea Chenier.

In 1985, Pavarotti sang Radames at La Scala opposite Maria Chiara in a Luca Ronconi production conducted by Maazel, recorded on video. His performance of the aria "Celeste Aïda" received a two-minute ovation on the opening night. He was reunited with Mirella Freni for the San Francisco Opera production of La Bohème in 1988, also recorded on video. In 1992, La Scala saw Pavarotti in a new Zeffirelli production of Don Carlo, conducted by Riccardo Muti. Pavarotti's performance was heavily criticized by some observers and booed by parts of the audience.

Pavarotti became even better known throughout the world in 1990 when his rendition of Giacomo Puccini's aria, "Nessun Dorma" from Turandot was taken as the theme song of BBC's TV coverage of the 1990 FIFA World Cup in Italy. The aria achieved pop status and remained his trademark song. This was followed by the hugely successful Three Tenors concert, held on the eve of the World Cup final at the ancient Baths of Caracalla in Rome with fellow tenors Plácido Domingo and José Carreras and conductor Zubin Mehta, which became the biggest selling classical record of all time. A highlight of the concert, in which Pavarotti hammed up a famous portion of di Capua's "O Sole Mio" and was mimicked by Domingo and Carreras to the delight of the audience, became one of the most memorable moments in contemporary operatic history. Throughout the 1990s, Pavarotti appeared in many well-attended outdoor concerts, including his televised concert in London's Hyde Park, which drew a record attendance of 150,000. In June 1993, more than 500,000 listeners gathered for his free performance on the Great Lawn of New York's Central Park, while millions more around the world watched on television. The following September, in the shadow of the Eiffel Tower in Paris, he sang for an estimated crowd of 300,000. Following on from the original 1990 concert, the Three Tenors concerts were held during the Football World Cups: in Los Angeles in 1994, in Paris in 1998, and in Yokohama in 2002.

In 1995, Pavarotti's friends, the singer Lara Saint Paul (as Lara Cariaggi) and her husband showman Pier Quinto Cariaggi, who had produced and organised Pavarotti's 1990 FIFA World Cup Celebration Concert at the PalaTrussardi in Milan, produced and wrote the television documentary The Best is Yet to Come, an extensive biography about the life of Pavarotti. Lara Saint Paul was the interviewer for the documentary with Pavarotti, who spoke candidly about his life and career.

Pavarotti's rise to stardom was not without occasional difficulties, however. He earned a reputation as "The King of Cancellations" by frequently backing out of performances, and his unreliable nature led to poor relationships with some opera houses. This was brought into focus in 1989 when Ardis Krainik of the Lyric Opera of Chicago severed the house's 15-year relationship with the tenor. Over an eight-year period, Pavarotti had cancelled 26 out of 41 scheduled appearances at the Lyric, and the decisive move by Krainik to ban him for life was well-noted throughout the opera world, after the performer walked away from a season premiere less than two weeks before rehearsals began, saying pain from a sciatic nerve required two months of treatment.

On 12 December 1998, he became the first (and, to date, only) opera singer to perform on Saturday Night Live, singing alongside Vanessa L. Williams. He also sang with U2, in the band's 1995 song "Miss Sarajevo", and with Mercedes Sosa in a big concert at the Boca Juniors arena La Bombonera in Buenos Aires, Argentina in 1999.

In 1998, Pavarotti was presented with the Grammy Legend Award. Given only on special occasions, as of 2007 it has only been awarded 15 times since its first presentation in 1990.

2000s

in Marseille]] In 2004, one of Pavarotti's former managers, Herbert Breslin, published a book, The King & I. and another for the best-selling classical album (In Concert by The Three Tenors). (The latter record is thus shared by fellow tenors Plácido Domingo and José Carreras.)

In late 2003, he released his final compilation - and his first and only "crossover" album, Ti Adoro. Most of the 13 songs were written and produced by the Michele Centonze who had already helped produce the "Pavarotti and Friends" concerts between 1998 and 2000. The tenor described the album as a wedding gift to Nicoletta Mantovani.

Pavarotti began his farewell tour in 2004, at the age of 69, performing one last time in old and new locations, after more than four decades on the stage. Pavarotti gave his last performance in an opera at the New York Metropolitan Opera on 13 March 2004, for which he received a long standing ovation for his role as the painter Mario Cavaradossi in Giacomo Puccini's Tosca. On 1 December 2004, he announced a 40-city farewell tour. Pavarotti and his manager, Terri Robson, commissioned impresario Harvey Goldsmith to produce the Worldwide Farewell Tour. His last full-scale performance was at the end of a two-month Australasian tour in Taiwan, in December 2005.

In March 2005, Pavarotti underwent neck surgery to repair two vertebrae. In early 2006, he underwent further back surgery and contracted an infection while in the hospital in New York, forcing cancellation of concerts in the U.S., Canada and the UK.

On 10 February 2006, Pavarotti sang "Nessun Dorma" at the 2006 Winter Olympics opening ceremony in Turin, Italy at his final performance. In the last act of the opening ceremony, his performance received the longest and loudest ovation of the night from the international crowd. Leone Magiera, who directed the performance, revealed in his 2008 memoirs, Pavarotti Visto da Vicino, that the performance was prerecorded weeks earlier. "The orchestra pretended to play for the audience, I pretended to conduct and Luciano pretended to sing. The effect was wonderful," he wrote. Pavarotti's manager, Terri Robson, said that the tenor had turned the Winter Olympic Committee's invitation down several times because it would have been impossible to sing late at night in the sub-zero conditions of Turin in February. The committee eventually persuaded him to take part by pre-recording the song.

Other work

Film and television

Pavarotti's one venture into film, a romantic comedy called Yes, Giorgio (1982), was roundly panned by the critics. He can be seen to better advantage in Jean-Pierre Ponnelle's adaptation of Rigoletto for television, released that same year, or in his more than 20 live opera performances taped for television between 1978 and 1994, most of them with the Metropolitan Opera, and most available on DVD.

Humanitarianism

Pavarotti annually hosted the "Pavarotti and Friends" charity concerts in his home town of Modena in Italy, joining with singers from all parts of the music industry, including Bryan Adams, Bono, Mariah Carey, Eric Clapton, Sheryl Crow, Céline Dion, Elton John, Deep Purple, Queen, Sting, the Spice Girls, and Jon Bon Jovi, to raise money for several UN causes. Concerts were held for War Child, and victims of war and civil unrest in Bosnia, Guatemala, Kosovo and Iraq. After the war in Bosnia, he financed and established the Pavarotti Music Centre in the southern city of Mostar to offer Bosnia's artists the opportunity to develop their skills. For these contributions, the city of Sarajevo named him an honorary citizen in 2006.

He performed at benefit concerts to raise money for victims of tragedies such as the Spitak earthquake that killed 25,000 people in northern Armenia in December 1988, and sang Gounod's Ave Maria with legendary French pop music star and ethnic Armenian Charles Aznavour.

He was a close friend of Diana, Princess of Wales. They raised money for the elimination of land mines worldwide. He was invited to sing at her funeral service, but declined to sing, as he felt he could not sing well "with his grief in his throat". Nonetheless, he attended the service.

In 1998, he was appointed the United Nations Messenger of Peace, using his fame to raise awareness of UN issues, including the Millennium Development Goals, HIV/AIDS, child rights, urban slums and poverty.

In 1999, Pavarotti performed a charity benefit concert in Beirut, to mark Lebanon's reemergence on the world stage after a brutal 15 year civil war. The largest concert held in Beirut since the end of the war, it was attended by 20,000 people who travelled from countries as distant as Saudi Arabia and Bulgaria.

In 2001, Pavarotti received the Nansen Medal from the UN High Commission for Refugees for his efforts raising money on behalf of refugees worldwide. Through benefit concerts and volunteer work, he has raised more than any other individual.

Other honours he received include the "Freedom of London Award" and The Red Cross "Award for Services to Humanity", for his work in raising money for that organization, and the 1998 "MusiCares Person of the Year", given to humanitarian heroes by the National Academy of Recording Arts and Sciences.

He was a National Patron of Delta Omicron, an international professional music fraternity.

Death

While undertaking an international "farewell tour", Pavarotti was diagnosed with pancreatic cancer in July 2006. The tenor fought back against the implications of this diagnosis, undergoing major abdominal surgery and making plans for the resumption and conclusion of his singing commitments. On Thursday 6 September 2007, he died at home in Modena, aged 71. Within hours of his death his manager, Terri Robson, noted in an e-mail statement, "The Maestro fought a long, tough battle against the pancreatic cancer which eventually took his life. In fitting with the approach that characterized his life and work, he remained positive until finally succumbing to the last stages of his illness".

According to several reports, just before he died, the singer had received both the sacraments of Penance and Anointing of the Sick from the Roman Catholic Church.

Pavarotti's funeral was held in Modena Cathedral. Romano Prodi and Kofi Annan attended. The Frecce Tricolori, the aerobatic demonstration team of the Italian Air Force, flew overhead, leaving green-white-red smoke trails. After a funeral procession through the centre of Modena, Pavarotti's coffin was taken the final ten kilometres to Montale Rangone, a village part of Castelnuovo Rangone, and interred in his parents' grave. The funeral, in its entirety, was also telecast live on CNN. The Vienna State Opera and the Salzburg Festival Hall flew black flags in mourning. Tributes were published by many opera houses, such as London's Royal Opera House. The Italian football giant Juventus F.C., of which Pavarotti was a lifelong fan, was represented at the funeral and posted a farewell message on its website which said: "Ciao Luciano, black-and-white heart" referring to the team's famous stripes when they play on their home ground.

Tributes

On 12 October 2007, on what would have been Pavarotti's 72nd birthday, Google exhibited a logo using a cartoon of Pavarotti as the letter "L" in its name.

A tribute concert featuring many performers trained by Pavarotti himself was held on February 14, 2008 at New York City's Avery Fisher Hall.

Personal life

On 13 December 2003 he married his former personal assistant, Nicoletta Mantovani, with whom he already had a daughter, Alice. A second child, Riccardo, did not survive, because of complications at the time of birth in January 2003. Pavarotti is also survived by three other daughters by his first wife Adua, to whom he was married for 34 years: Lorenza, Cristina and Giuliana. At the time of his death, he had one granddaughter.

Settlement of estate

His first will was opened the day after his death and a second will, within the same month of September. He left an estate outside his native Modena, a villa in Pesaro, a flat in Monte Carlo and three flats in New York City.

Pavarotti's widow's lawyers Giorgio Bernini, Anna Maria Bernini and manager Terri Robson announced on 30 June 2008 that his family amicably settled his estate – 300 million euros ($ 474.2 million, including $15 million in U.S. assets). Pavarotti drafted two wills before his death: one divided his assets by Italian law, giving half to his second wife, Nicoletta Mantovani, and half to his four daughters; the second gave his U.S. holdings to Mantovani. The judge confirmed the compromise by the end of July 2008. However, a Pesaro public prosecutor, Massimo di Patria, investigated allegations that Pavarotti was not of sound mind when he signed the will. Pavarotti's estate has been settled "fairly", a lawyer for Pavarotti's widow, Nicoletta Mantovani, said in statements after reports of a dispute between Ms. Mantovani and his three daughters from his first marriage.

Quote

Pavarotti himself summarised his life as follows:

"Penso che una vita per la musica sia una vita spesa bene ed è a questo che mi sono dedicato."

English translation: "I think a life for music is a well-spent one, and that's what I have dedicated mine to."

See also

Best selling music artists

Notes and references

External links

Official website

Discography at Discogs.com

Discography (Capon's Lists of Opera Recordings)

The Times obituary

Review of The King and I at theage.com.au

Luciano Pavarotti, Opera Tenor Site

Luciano Pavarotti- Obituary and Public Tribute

The Pavarotti Story

Pavarotti Video Biography by National Italian American Foundation NIAF

One of the absolutely last recordings of Luciano Pavarotti

Torino 2006 Olympic Winter Games Finale

History of the Tenor - Sound Clips and Narration

Category:1935 births Category:2007 deaths Category:Cancer deaths in Italy Category:Deaths from pancreatic cancer Category:Grammy Award winners Category:Italian opera singers Category:Italian Roman Catholics Category:Italian tenors Category:Kennedy Center honorees Category:Operatic tenors Category:People from Modena

Name	Andrea Bocelli
Background	solo_singer
Born	September 22, 1958Lajatico, Tuscany, Italy
Instrument	Vocals, keyboards, flute, saxophone, trumpet, trombone, harp, harmonica, guitar, drums, melodica
Voice type	Tenor
Genre	Adult contemporary, classical, easy listening, Latin pop, opera, operatic pop, pop, vocal
Occupation	Musician, songwriter, producer, multi-instrumentalist
Years active	1992–present
Label	Universal, Philips, PolyGram, Decca, Sugar
Url	Andrea Bocelli

Andrea Bocelli, Born with poor eyesight, he became totally blind at the age of twelve following a soccer accident.

Since winning the Newcomers section of the Sanremo Music Festival in 1994, Thus, he is the biggest-selling solo artist in the history of classical music.

In 1998, he was named one of People Magazine's 50 Most Beautiful People. In 1999, his nomination for Best New Artist at the Grammy Awards marked the first time a classical artist had been nominated in the category, since Leontyne Price, in 1961. The Prayer, his duet with Celine Dion for the animated film, The Quest for Camelot, won the Golden Globe for Best Original Song and was nominated for an Academy Award in the same category.

With over 5 million units sold worldwide, Sacred Arias became the biggest-selling classical album by a solo artist of all time, and a number of other countries in Europe and Latin America.

In 2006, Bocelli was made a Grand Officer of the Order of Merit of the Italian Republic,

Early life

at Lajatico, Tuscany]]

Childhood and Education

Bocelli was born in 1958 to Alessandro and Edi Bocelli. They lived on the family farm, selling farm machinery and making wine in the small village of La Sterza, a frazione of Lajatico, Tuscany, Italy, which is about 40 km south of Pisa. Bocelli's mother and younger brother Alberto still live in the family home. Bocelli's father died in 2000.

As a young boy, Bocelli showed a great passion for music. His mother has said that music was the only thing that would comfort him. At the age of six he started piano lessons, and later also learned to play the flute, saxophone, trumpet, trombone, harp, guitar and drums.

Bocelli would also spend time singing during his childhood. At the age of 14 he won his first song competition, the Margherita d'Oro in Viareggio with O sole mio. Bocelli signed with the Sugar Music label in Milan after the group's president heard Bocelli sing Miserere and "Nessun Dorma" at a birthday party for Zucchero.

In December Bocelli entered the preliminary round of the Sanremo Music Festival in the category of Giovani, performing both parts of the duet Miserere. He won the preliminary competition with the highest marks ever recorded in the Newcomers section. On 28 December, he debuted in the classical world in a concert at the Teatro Romolo Valli in Reggio Emilia. Bocelli had been an agnostic, but around 1994, partly as a result of immersing himself in the works of Tolstoy, he returned to the practice of the Catholic faith. He performed the hymn, Adeste Fideles in Rome before Pope John Paul II in St. Peter's Basilica at Christmas.

The song was included on his album Bocelli which was produced by Mauro Malavasi and released in spring. His third album, Viaggio Italiano, was released in autumn.

In 1996, Bocelli was invited to sing a duet with English soprano Sarah Brightman at the final bout of German IBF World Light-Heavyweight boxing champion Henry Maske. Brightman, a friend of Maske, approached Bocelli after she heard him singing "Con te partirò" whilst she was dining in a restaurant. Changing the title lyric of the song to "Time to Say Goodbye", they re-recorded it as a duet with members of the London Symphony Orchestra and sang it as a farewell for Maske. The single debuted atop the German charts, where it stayed for fourteen weeks. With sales nearing three million copies, and a sextuple platinum award, "Time to Say Goodbye" eclipsed the previous best-selling single by more than one million copies.

Back in Italy in Bologna on 27 September, he yet again sang before the Pope at the International Eucharistic Congress. On 19 October, he sang at the TeleFood benefit concert held in the Vatican City, and organised by the Food and Agriculture Organization to raise awareness about world hunger. On 25 October he received a Bambi award, an annual television and media prize awarded by the German media company Hubert Burda Media, in the Klassik category in Cologne, Germany. On 19 April Bocelli entered the United States (USA) market with a concert at the John F. Kennedy Center for the Performing Arts in Washington, D.C. followed the next day by a reception at the White House with then US President Bill Clinton. He was also named one of People magazine's 50 most beautiful people of 1998. At the 41st Grammy Awards ceremony held at the Shrine Auditorium in Los Angeles on 24 February, Bocelli was nominated in the Best New Artist category which was won by Lauryn Hill. Bocelli and Dion received a standing ovation after singing The Prayer.

In January 2001, Bocelli portrayed the main character in Pietro Mascagni's opera L'amico Fritz at the Teatro Filarmonico in Verona and again performed the tenor part in Verdi's Requiem. On 19 March the Requiem album was released with Bocelli as tenor. From 22 March to 6 April he toured North America accompanied by Cecilia Gasdia and the Hartford Symphony Orchestra. On 17 June he performed at the re-opening of the Leaning Tower of Pisa. In July he performed two concerts in Dublin with Ana María Martínez and the New Symphony Orchestra. At the Scuola Grande di San Rocco in Venice on 4 October he presented his new album Cieli di Toscana and was recognised for having sold more than 40 million albums worldwide. In October he opened the celebrations of the 200th anniversary of the birth of Sicilian opera composer Vincenzo Bellini in Catania. On 28 October, he sang Franz Schubert's Ellens dritter Gesang as a representative of the Roman Catholic faith, during a memorial concert at Ground Zero in New York City for the victims of the September 11 attacks there. In November he received the Platinum Europe Award for one million sales of the album Cieli di Toscana, and at the Italian Music Awards he was given a special award from the Federation of the Italian Music Industry for his merits as an "Ambassador of Italian music in the world". He performed seven more concerts in the US accompanied by Ana María Martínez, and on 23 December, in front of the President of Italy and other guests of honour, he sang the Italian national anthem as well as works of Bellini and Verdi at the traditional Christmas concert in the Italian Senate, which was broadcast live on television for the first time.

2002–05: Sentimento and Andrea

In Berlin on 5 February he received a Goldene Kamera award in the "Music & Entertainment" category. On 6 March he received two World Music Awards in Monte Carlo: "World best selling classical artist" and "Best selling Italian artist". On 11 March, he gave a concert for peace at the Basilica di San Marco a Venezia in Venice, accompanied by the orchestra of the Teatro La Fenice and conducted by Lorin Maazel. On 15 March he took part in the opening of Walt Disney Studios Park in Marne-la-Vallée France. On 7 May Bocelli and Tony Renis received a Telegatto Italian Television award for the soundtrack of the series Cuore. On 23 May he received the 2002 Classical BRIT Award for "Outstanding Contribution to Music". On 27 May he performed at the Villa Madama in Rome in front of USA president George W. Bush and Italian president Silvio Berlusconi. On 28 May he took part in "Pavarotti & Friends" charity concert in Modena in aid of Angola. In June he again toured the USA, then on 26 July and 3 August he portrayed Lieutenant B.F. Pinkerton in Madama Butterfly at the 48th Puccini Festival in Torre del Lago. On 14 October he and Lorin Maazel presented his new album Sentimento to a worldwide audience. Further presentations took place in Milan and New York, and the album was released on 4 November, selling over two million copies in 40 days. On 24 October he started his Sentimento tour in Zürich which took in large arenas in several European and North American cities.

In February 2003, Bocelli performed Madama Butterfly in an exclusive Monte Carlo concert, which was attended by Caroline, Princess of Hanover. In March for the first time he appeared as a producer, at the Sanremo Festival, where the young artists Allunati and Jacqueline Ferry sang for his new record label, Clacksong. In May his second complete opera, Tosca, was released. At a private benefit gala for the Royal National Institute of Blind People Bocelli sang in front of the British Royal Family. On 24 May he performed in a benefit concert for the Arpa Foundation for Film, Music and Art in the Piazza del Campo in Siena, with sopranos Maria Luigia Borsi and Lucia Dessanti, baritone Soo Kyung Ahn, and violinist Ruth Rogers, accompanied by Marcello Rota and the Orchestra Città di Pisa. Three days later he was again invited to perform at "Pavarotti & Friends" in Modena and sang a medley of Neapolitan songs together with Pavarotti. In June he continued his Sentimento tour in Athens and Cyprus. In September he took part in a concert for the Justice ministers and Interior ministers of the European Union at the Parco della Musica in Rome. He then resumed his tour, accompanied by Maria Luigia Borsi, Ruth Rogers and Marcello Rota. In November he once again toured in the United States, this time accompanied by Ana Maria Martinez, Kallen Esperian and Steven Mercurio. In December he gave his first concert in China and at the end of the month sang Gounod's Ave Maria at Pavarotti's wedding in Modena.

In September he performed his "Once in a Lifetime" tour in Australia with concerts in Sydney and Melbourne and one concert in Christchurch, New Zealand, where he was joined on stage by New Zealand soprano Hayley Westenra. concert in Paris, in 2005.]] On 15 October he performed at the People Conference Hall in Beijing, China, and on 17 October at the Great Hall in Shanghai.

During early 2005 Bocelli was on tour including performances in Madeira, Hungary, Norway, USA, UK, Italy and Germany. He also appeared in Sesame Street singing "Time to Say Goodnight" a parody of Time to Say Goodbye as a lullaby to Elmo. On 21 March he performed on the Music for Asia benefit concert in Rome, televised on Italia 1, in aid of the 2004 Indian Ocean earthquake appeal.

In June he performed at the Deutsche Opera in Berlin. On 2 July he performed at the Paris concert as part of the Live 8 event. Also during the second part of the year, he performed in Croatia, Serbia, Italy, the US, Dubai, Switzerland and finally in Scandinavia.

On 26 February Bocelli sang "Because We Believe" from his Amore album in the Carnevale section of the closing ceremony of the Torino Olympics with a worldwide television audience. He also began another tour with a concert at the Piazza di Castello in Turin. In March he was honoured by the Italian state with a Grande Ufficiale Italian Order of Merit (Grand Officer of the Italian Republic), given to him by then President of the Italian Republic, Carlo Azeglio Ciampi for his worldwide work for his country as a singer. The award was presented to him at the Sanremo Festival where he performed a duet with American singer Christina Aguilera on 4 March. and the tenor part from Gioachino Rossini's Messa di Gloria and in Naples where he took part in Rossini's Petite Messe Solennelle. American Idol runner-up Katharine McPhee performed at three of Bocelli's concerts in California from 9 June to 11 June singing duets of Somos Novios and The Prayer with Bocelli. They also performed on 'J. C. Penney Jam: The Concert for America's Kids and recorded duet versions of Somos Novios for the resulting album, and also Can't Help Falling in Love on the CD of the Under the Desert Sky DVD.

In June he sang the Italian duet version of "Because We Believe", "Ama, credi e vai", with Gianna Nannini at the "großen Fan Party" at the opening of the 2006 FIFA World Cup, in Berlin in front of billions of worldwide television viewers.

On 1 July 2007, Bocelli performed "The Music of the Night" from Andrew Lloyd Webber's The Phantom of the Opera, in a special musicals medley during the Concert for Diana at Wembley Stadium in London, England. Bocelli returned to his home town for a triumphant concert at the newly created Teatro del Silenzio in Lajatico on 5 July 2007, with guest appearance by Kenny G, Heather Headley, Lang Lang, Elisa, Sarah Brightman and Laura Pausini. The concert was later released as Vivere Live in Tuscany. In September he debuted at the Avery Fisher Hall, in New York, with four concerts. October saw the release of the opera album of Ruggero Leoncavallo's Pagliacci with Bocelli singing the role of Canio. In November he won the "Best Italian Artist" and "World's Best-selling Classical Artist" awards at the World Music Awards. In December he finished his 2006 tour with more concerts in North America and Europe. , Japan, during his 2008 Asian Tour.]] To promote the album, he performed "Canto della Terra" at The Alan Titchmarsh Show on the BBC in London on 1 February; was interviewed by Fabio Fazio on the Italian talk show Che tempo che fa on RAI 3 in Italy; and performed "Canto della terra", "A te" and "Besame mucho" from the album, as well as "My way" on 2 February; and made an appearance on The South Bank Show in London, where he sang the French aria "Pour mon âme" on 3 February. Then on 10 February, he performed "The Prayer" at the 50th Grammy Awards, held in Los Angeles, with Josh Groban in a tribute to Luciano Pavarotti, and sang "Dare to live" with Heather Headley the following day on The Tonight Show with Jay Leno.

On 7 May 2008, he sang at Steel Aréna in Košice, Slovakia, in front of 8,000 people. Then 13 May he sang at the "Teatro delle Muse" in Ancona, Italy, for a charity concert for "Francesca Rava – N.P.H. Italia Onlus", a foundation that helps poor and disabled children around the world.

On 2 June 2008 he performed at the Piazza del Duomo, Milan in front of 80,000 people during a concert celebrating the anniversary of the Republic of Italy's formation. Bocelli released the complete opera recording of Carmen in Italy in the same year, which he recorded in 2005. Myung-whun Chung conducted the Orchestre Philharmonique de Radio France and the Chœur de Radio France for the recording, and Welsh Bass-baritone Bryn Terfel, was part of the Ensemble. The recording was not released internationally, until March 2010. , a single-disc collection of some of the arias and duets of the recording, was also released in 2010.

On 20 July, Bocelli held his third concert at the Teatro del Silenzio in Lajatico, his hometown. The concert was a tribute to the cinema of Italy. Its performers included Italian composer and musician Nicola Piovani, Italian ballet dancer Roberto Bolle, Israeli singer Noa, and Charice. Then on 31 July, he performed at a concert in Vingis Park in Vilnius, Lithuania, in front of more than 18,000 people. Australian singer Tina Arena performed two duets with Bocelli -- "Canto Della Terra" and "The Prayer" -- at the closing stages of the concert.

On 7 August 2008, he held a benefit concert at Medjugorje, Bosnia Herzegovina, and was accompanied by Czech National Symphony Orchestra.

On 26 September 2008, during the 2008 Veneto Festival, he held a concert in the Church of the Eremitani in Padova, Italy, in front of about 1000 people. He was accompanied by the I Solisti Veneti orchestra, celebrating its 50th birthday and conducted by Claudio Scimone, and by the Wiener Singakademie choir. The concert was a celebration of Giacomo Puccini's 150th birthday.

On 10 October and 11 he performed at Petra, singing "Dare to live" with Laura Pausini, as well as performing E Lucevan le Stelle from Tosca. On 19 October he sang "O Surdato 'Nnamurato" and a duet of "Non Ti Scordar Di Me" with Cecilia Bartoli, both from the Incanto album, during the ECHO Awards in Germany; and later presented the soprano with an ECHO award. On 24 October, he performed at Piazza del Plebiscito in Naples, as a tribute to the city, where he celebrated the Italian release of Incanto. Performing with him were flautist Andrea Griminelli, Italian pop singer Massimo Ranieri and soprano Cecilia Bartoli, with Steven Mercurio conducting the Czech National Symphony Orchestra. On 31 October, he performed a solo version of "The Prayer", as well as "Because", a song from Incanto, live on The Oprah Winfrey Show.

On 21 November and 22, Bocelli was amongst a quartet of soloists (soprano Sabina Cvilak, mezzo-soprano Kate Aldrich and bass Alexander Vinogradov) to sing Rossini's Petite Messe Solennelle, conducted by Plácido Domingo, at the Washington National Opera in Washington, DC. Bocelli sang twice in the piece and later the two famous tenors sang The Pearl Fishers duet which would be the first aria they had ever sang together. On 25 November and 26 he starred alongside soprano Verónica Villarroel in an opera in concert of Mascagni's Cavalleria Rusticana at the "Municipal Auditorium" in San Antonio, Texas. He returned to the United Kingdom, December 16, for an appearance on The One Show, broadcast live by BBC One, and on The Alan Titchmarsh Show which aired December 18, on ITV1.

On November 21, a segment of Leute Heute, a German tabloid-program on ZDF, was about My Christmas and Bocelli's meeting in Rome with Pope Benedict XVI and 250 other artists, an event which was broadcasted live earlier that day in Italy, by Rai Uno. Bocelli was also joined by the Piccolo Coro dell'Antoniano, in his home in Forte dei Marmi, where they sang "Caro Gesù Bambino", a song from My Christmas which was originally recorded by the choir in 1960. Rai Uno also broadcast the performance later that day, during the Zecchino d'Oro Festival. The following day, Bocelli was among Fabio Fazio's guests, on his popular Italian talk-show, Che tempo che fa, broadcast on Rai Tre. During the program Bocelli talked about his album and performed "The Lord's Prayer", "White Christmas", and "Silent Night". It was also announced that Bocelli would return to the show on December 20 and give a live concert of My Christmas. Bocelli also took part in the annual 2009 José Carreras Gala, on December 17, where he sang Adeste Fideles, before singing "White Christmas" with José Carreras for the very first time; this was broadcast live, by Das Erste, in Germany. He then returning to Italy, for a concert in the Upper Basilica of San Francesco d'Assisi, on December 19, which was broadcast directly after the Urbi et Orbi blessing of Pope Benedict XVI, December 25, on Rai Uno.

In North America, Bocelli gave 6 concerts. On November 28, he performed in the Bank Atlantic Center, in Ft. Lauderdale, Florida. He later performed in the Air Canada Centre, in Toronto, Canada, in the Izod Center, in East Rutherford, New Jersey, in the William Saroyan Theatre, in Fresno, California (changed from the much larger Save Mart Center due to scheduling conflicts), in the MGM Grand, in Las Vegas, and finally in the Honda Center, in Anaheim, California, on December 3, 5, 8, 12, and 13. His last three arena concerts alone grossed a total of over 5,6 million dollars, placing him third on Billboard Magazine's week's Hot Tours ranking, behind the Trans-Siberian Orchestra and Il Divo, who both held over 5 times more concerts worldwide, compared to Bocelli's three in the U.S., explaining their better showings.

In the United States, Bocelli made a number of high profile TV appearances. He first performed "White Christmas" at the 83rd annual Macy's Thanksgiving Day Parade, broadcast live on NBC, November 26. He performed the song again on November 30 during The Today Show also live. His appearance on The Oprah Winfrey Show during her Holiday Music Extravaganza, where he sang "What Child Is This", with Mary J. Blige, and later closed the show with Adeste Fideles, was also aired the same day, and was later rebroadcast on December 23. Bocelli also sang "Adeste Fideles" and was interviewed by Barbara Walters and Joy Behar on The View, which aired Decembe 2, on ABC. On December 8, he performed "Jingle Bells" with The Muppets on NBC's The Jay Leno Show. He also performed a number of songs from the album, including "The Christmas Song" with Natalie Cole, during a dinner at David Foster's mansion in Malibu, which was featured on The Dr. Phil Show, on December 10. Bocelli also performed "White Christmas" and "Silent Night", on the Larry King Live and Fox & Friends holiday-specials, broadcast December 23, on CNN, and December 19, 24 and 25, on Fox News.

In Brasil, following the success of the South American leg of the Incanto tour, were over 100,000 people attended his free concert at the São Paulo's "Parque Indipendencia", earlier in the year, it was announced that Bocelli would hold another Open-Air, entrance free, concert in Florianópolis, on December 28, where a crowd of about a million people was expected to attend. However, due to financial and political reasons, the concert was later canceled on short notice, along with all the other events scheduled for Christmas in the city.

2010: Hollywood Walk of Fame and FIFA World Cup

On January 31, 2010, during the 52nd Grammy Awards, Bocelli, Mary J. Blige and David Foster joined forces again, singing "Bridge over Troubled Water" to raise awareness for the victims of the Haiti earthquake. The three had previously made an appearance on CNN's Larry King Live, January 28, 2010, to announce the performance.

On March 2, he was honoured with a star on the Hollywood Walk of Fame for his contribution to Live Theater, at 7000 Hollywood Boulevard, in front of the Roosevelt Hotel.

On March 12, Bocelli made an appearance on Skavlan, in Oslo, Norway, to promote his upcoming Scandinavian tour, giving a rare interview to the show's host Fredrik Skavlan, and later performing "Voglio Vivere Cosi", from his 2008 album Incanto, with Norwegian Boys' choir, Sølvguttene.

In April, he returned to Scandinavia, for a concert in Telenor Arena, in Oslo, Norway, on April 8, a concert in Forum Copenhagen, in Copenhagen, Denmark, on April 9, and finally a concert in the Ericsson Globe, in Stockholm, Sweden, on April 11. He was joined by Tony Award winner Heather Headley and 120 musicians from the Stockholm Concert Orchestra, in all three concerts, and by Swedish mezzo-soprano Malena Ernman in his Swedish concert.

On April 30, Bocelli sang "Nessun Dorma" during the opening ceremony of the Expo 2010, in Shanghai, China, in front of twenty heads of state and government, including Chinese President Hu Jintao, French President Nicolas Sarkozy, South Korean President Lee Myung-bak, and European Commission President Jose Manuel Barroso. The following day, on May 1, he held a concert, titled Charming China, at Shanghai Stadium, in front of an audience of 80,000 people, along with Chinese singers Song Zuying and Jay Chou, and Chinese concert pianist Lang Lang; the China Philharmonic Orchestra accompanied them under the direction of its artistic director Yu Long. The concert was later broadcasted by Shanghai TV, and by CCTV channels throughout mainland China.

The two appearances coincided with Bocelli's Asian tour, consisting of a concert in Budokan, Tokyo, Japan, on April 28, a concert in Jamsil Gymnasium, Seoul, South Korea, on May 2, a concert in Hong Kong Convention and Exhibition Centre, in Hong Kong, on May 4, a concert in Taipei Arena, Taipei, Taiwan, on May 6, The concert was later broadcasted, in its entirety, by Channel NewsAsia, on May 28 and 29, and by Okto, on May 30, in Singapore. An orchid in the Botanic Gardens' National Orchid Garden was also named after Bocelli in response to the concert. Australian pop singer Delta Goodrem performed again with Bocelli in all five concerts, after suporing him in his U.S. My Chritmas 2009 winter tour.

On May 18, during the 2010 World Music Awards, Bocelli performed ""Un Amore Cosi Grande" from his 2008 album, Incanto, and received his seventh World Music Award, for "Best Classical Artist".

On July 5, Bocelli gave a concert at the opening of the Khan Shatyry Entertainment Center, in Astana, on the occasion of Kazakhstan's president, Nursultan Nazarbayev's 70th birthday. Among the guests were, the President of Russia, Dmitry Medvedev, the President of Ukraine, Viktor Yanukovych, the President of Turkey, Abdullah Gül, the President of Belarus, Alexander Lukashenko, the President of Armenia, Serzh Sargsyan, the President of Tajikistan, Emomalii Rahmon, the President of Kyrgyzstan, Roza Otunbayeva, the Crown prince of Abu Dhabi, Mohammed bin Zayed Al Nahyan, and the King of Jordan, Abdullah II.

On July 9, Bocelli headlined the "Celebrate Africa: The Grand Finale" Concert of the 2010 FIFA World Cup, at the Coca-Cola Dome, in Johannesburg, South Africa, to mark the end of the World Cup, two days before the World Cup final. During the concert, Bocelli was joined by Canadian rock star, Bryan Adams, Italian flautist, Andrea Griminelli, and South African singers, Nianell and Pretty Yende. FIFA president, Sepp Blatter, South Africain president, Jacob Zuma, and Brazilian president Luiz Inácio Lula da Silva, were among the 12,000 in attendance.

On July 13, Montenegrin Statehood Day, Bocelli gave a concert at the seaside resort of Sveti Stefan, in western Montenegro, to mark the Golden Jubilee of the Sveti Stefan Hotel. During the hour-long show, on a stage right in front of the island-hotel’s perimeter wall, Bocelli sang well-known arias, as well as some of his more popular hits, to the assembled dignitaries, including Montenegro’s top officials, representatives of the diplomatic corps and many faces from cultural, political and public life, as well as many current and former tourist entrepreneurs who had contributed to the development of Montenegrin tourism. A screening of the film Homage to Rome, directed by Franco Zeffirelli, who was present during the event, and starring Bocelli, in his cinematographic debut, and Italian fashion model, Monica Bellucci, was shown prior to the special concert. The event was also attended by the President of the European Parliament, MEP, Jerzy Buzek, European Commissioner for Industry and Entrepreneurship, Antonio Tajani, the Mayor of Rome, Gianni Alemanno, the President of Lazio, Renata Polverini.

On July 25, Bocelli held the fifth and final edition of the Teatro del Silenzio, in his hometown of Lajatico, Tuscany, to an audience of 10,000, double the amount of the first edition of the annual Festival, held in 2006. After performing with Spanish tenor, Plácido Domingo and Welsh Mezzo-soprano, Katherine Jenkins on the previous edition of the Festival, in 2009, Bocelli's guests included the only other surviving member of The Three Tenors, Spanish Catalan tenor, José Carreras, and Italian rock singer, Zucchero. Sculptures by Swiss artist Kurt Laurenz Metzler, who attended the concert, were exhibited during this year's edition. The Teatro del Silenzio has in past incorporated sculptures by artists such as Arnaldo Pomodoro and Igor Mitoraj. Italian actress Gina Lollobrigida, who was also in attendance, donated a Bronze statue she had made of Bocelli, to the city of Lajatico, in the afternoon just before the concert. Bocelli was also awarded the Pisano Doc, during the dress rehearsal for the concert, on July 24, "in recognition for a great citizen, who with his extraordinary art and his humanity brings great prestige, honor and respect to the city of Pisa," and received, the 2010 Premio Lunezia nel mondo, during a private ceremony held on July 21, for "the musical-literary quality of his songs."

In September 2010, Bocelli held a concert at the Odeon of Herodes Atticus, in Athens, Greece. The concert was attended by George Papandreou, the prime minister of Greece and Archbishop Ieronymos II of Athens, among others. All proceeds were donated to help cure cancer. Bocelli also gave concerts in Cairo, Egypt, in front of the pyramids and the Great Sphinx of Giza, as well as a fundraising concert inside the famous Duomo di Milano to benefit victims of the 2010 Haiti Earthquake.

As part of the 2010 leg of the My Christmas Tour, Bocelli gave two concerts in the two largest indoor arenas of the United Kingdom, The O2 Arena, in London, and The M.E.N Arena, in Manchester, in late November 2010. In early December, Bocelli gave 6 concerts in the United States. He will perform in Madison Square Garden, in New York City, Prudential Center, in Newark, New Jersey, TD Garden, in Boston, Toyota Center, in Houston, Staples Center, in Los Angeles, and the MGM Grand's Garden Arena, in the Las Vegas Strip. The Toyota Center concert, in Houston, was attended by former president George Bush, Sr. and first lady Barbara Bush.

Bocelli also toke part in the Christmas in Washington special on December 12, in the presence of president Barack Obama and the first lady. On December 19, Bocelli gave a concert, conducted by Claudio Scimone, in the Italian Senate. The concert was attended by Italy's top officials including Italy's president Giorgio Napolitano, Renato Schifani, the president of the Italian Senate, Gianfranco Fini, the president of the Italian Chamber of Deputies and Tarcisio Bertone, Cardinal Secretary of State of the Holy See.

Voice

With the exception of the negative views of some Classical music critics, Bocelli is widely celebrated as a singer and is admired around the world.

Franco Corelli, one of the greatest Spinto tenors of the twentieth century, praised Bocelli's voice after hearing it for the first time during a Master class in 1986, in Turin, and would later give him private lessons. Another great Italian tenor who championed Bocelli's singing from the very beginning was Luciano Pavarotti. Pavarotti publicly admired Bocelli's voice and played an early part in the younger man's career. Bocelli would later sing during both his wedding ceremony, in 2003, and his funeral, in 2007.

After conducting Bocelli in the Verdi album, in 2000, Zubin Mehta commented that "Andrea's voice is special in many ways. First of all, he has a complete control from forte to pianissimo on any note. The end of 'Celeste Aida,' he attacks the high B flat full voice and then pulls it down to nothing — hardly anybody can do that, it's also very risky on the stage at the opera. But it's not that we tried it 15 times and he got it once; he can do it every time. He can also, in the middle of a phrase, without breathing, change the color of a note, so it's a conductor's dream to ask and to get it because most people can't do that." The interview where Mehta made those comments was featured in a BBC documentary about Bocelli, entitled the "Story Behind the Voice". Mehta also compared Bocelli's voice to the old Italian style of singers, such as Tito Schipa.

The same documentary also featured an interview with Spanish Catalan tenor, José Carreras. He commented that "The first time I had the possibility to listen to Andrea, he was apart of the Sanremo Festival. And I thought wow, that's a nice voice, very beautiful color, very tenor like." He proceeded by saying, "I always thought that he has a wonderful instrument, that he knows very much how to use it."

Similarly, during a 1999 interview on The Charlie Rose show, American soprano Renée Fleming praised Bocelli's voice, by saying "first of all the sound is beautiful. There is something very soulful about the way he sings and it's captured the hearts of something like, the last I've heard eleven million fans." Grammy winning Puerto Rican soprano, Ana María Martínez, who performed with Bocelli on many occasions, also said that "More than anything, Andrea has something that is unique in that he brings this light that is always around him. And this purity of heart and beauty of sound just touches the listener. It can’t be described."

French Canadian singer Celine Dion famously said while introducing him during her Christmas Special for These Are Special Times, in 1998, that "if God would have a singing voice, he must sound a lot like Andrea Bocelli," Taylor has been a passionate fan of Bocelli's since the beginning of his music career in the mid-90's. Other fans include, Prince Albert of Monaco, Sarah, The Duchess of York, and actress Isabella Rossellini. and Pope John Paul II,

Other world class artists from both the Pop and Opera worlds have also publicly expressed their admiration, including opera singers Plácido Domingo, and Cecilia Bartoli, who collaborated with Bocelli, and conductor Myung-whun Chung, who conducted Bocelli's 1999 allbum, Sacred Arias. Some point to his "poor phrasing, uneven tone and lack of technique."

In 1999, The New York Times chief music critic Anthony Tommasini in his review of Bocelli's North American opera debut at the Detroit Opera House in the title role of Massenet's Werther commented, "The basic color of Mr. Bocelli's voice is warm and pleasant, but he lacks the technique to support and project his sound. His sustained notes wobble. His soft high notes are painfully weak. Inadequate breath control often forces him to clip off notes prematurely at the end of phrases." In December 2000 Tommasini again criticised Bocelli, this time for his La bohème album when he claimed that Bocelli "still has trouble with basic things, like breath support" and his voice had been "carefully recorded", "to help it match the trained voices of the other cast members in fullness and presence."

In describing Bocelli's singing, New York Times music critic Bernard Holland noted, "the tone is rasping, thin and, in general, poorly supported. Even the most modest upward movement thins it even more, signalling what appears to be the onset of strangulation. To his credit, Mr Bocelli sings mostly in tune. But his phrasing tends toward carelessness and rhythmic jumble... The diction is not clear." Similarly, classical music critic Andrew Clement found Bocelli's studio opera recordings consistently disappointing in quality: "Bocelli's profoundly unmusical contribution, with its unvaryingly coarse tone, wayward intonation and never a phrase properly shaped, fatally undermines all their contributions." Anne Midgette of The New York Times agreed, noting "a thinness of voice, oddly anemic phrasing (including shortchanging upper notes of phrases in a most untenorial manner), a curious lack of expression."

During a 2009 performance in New York, the music critic Steve Smith wrote "For cognoscenti of vocal artistry the risks involved in Mr. Bocelli’s undertakings, both then and now, need no explanation. Substantial technical shortcomings masked by amplification are laid bare in a more conventional classical setting. Mr. Bocelli’s tone can be pleasant, and his pitch is generally secure. But his voice is small and not well supported; his phrasing, wayward and oddly inexpressive."

Recognition

.

Honoured with a star on the Hollywood Walk of Fame, for his contribution to live theater, at 7000 Hollywood Boulevard, in 2010.

ECHO music award for "Best Single of the Year", for Time to Say Goodbye, in 1997.

World Music Awards for "World's Best-selling Classical Artist" in 2010.

Personal life

Bocelli met his first wife, Enrica Cenzatti, while singing at piano bars early in his career. Bocelli lives with his girlfriend and manager, Veronica Berti. They met in 2002.

The couple live in a spacious villa, which used to be a hotel, in Forte dei Marmi on the Mediterranean, complete with recording studio. Meanwhile, Bocelli's estranged wife and two sons live in the couple's previous residence in the same comune, in Versilia.

On 30 April 2000, Bocelli's father, Sandro Bocelli, died. His mother encouraged him to honour his commitments, and so he sang for the Pope, in Rome, on May 1, and immediately returned home for the funeral. At his July 5 performance, filmed for PBS as American Dream—Andrea Bocelli's Statue of Liberty Concert, Bocelli dedicated the encore Sogno (Dream), from his 1999 album Sogno, to the memory of his father. Bocelli serves as its honorary president and performs for one night only, every July, the rest of the year, the theatre remains silent.

Since the opening in 2006, Bocelli has held 5 concerts, in every July, with guests ranging from opera singers Plácido Domingo and José Carreras to classical crossover artists Sarah Brightman and Katherine Jenkins, as well as Italian rock and pop stars Zucchero, Laura Pausini, and Elisa. Bocelli's guests have also included instrumentalists Lang Lang, Chris Botti, and Kenny G. The 2007 edition of the "Teatro del Silenzio" was released on DVD in 2008.

Discography

Albums

Studio albums

1994: Il Mare Calmo della Sera

1995: Bocelli

1996/1997: Viaggio Italiano

1997: Aria – the opera album

1999: Sogno

1999: Sacred Arias

2000: Verdi

2001: Cieli di Toscana

2002: Sentimento

2004: Andrea

2006: Amore

2008: Incanto

2009: My Christmas

Compilation albums

1997: Romanza

2007:

Collaborative albums

1997: A Hymn for the World

1998: A Hymn for the World 2 (Voices From Heaven)

2000: Verdi's Requiem

2010:

Complete opera recordings

2000: La Bohème

2003: Tosca

2004: Il Trovatore

2005: Werther

2006: Pagliacci

2007: Cavalleria Rusticana

2008/2010: Carmen

2010: Andrea Chénier

Singles

Duet singles

1995: "Vivo per lei" (with Giorgia)

1996: "Vivo por ella" (with Marta Sánchez)

1996: "Time to Say Goodbye" (with Sarah Brightman)

1997: "Ich lebe für sie" (with Judy Weiss)

1997: "Je vis pour elle" (with Helene Segara)

1999: "The Prayer" (with Celine Dion)

2001: "L'Abitudine" (with Helena Hellwig)

2006: "Somos Novios (It's Impossible)" (with Christina Aguilera)

2006: "Because we believe" (with Marco Borsato)

2006: "Ama credi e vai" (with Gianna Nannini)

2007: "Dare to live" (with Laura Pausini)

2008: "Vive Ya" (with Laura Pausini)

2009: "What Child Is This" (with Mary J. Blige)

2010: "Bridge over Troubled Water" (with Mary J. Blige)

Solo singles

1994: "Il mare calmo della sera"

1995: "Con te partirò"/"Vivere"

1995: "Macchine da guerra"

1995: "Per amore"

1999: "Ave Maria"

1999: "Canto della Terra"

2001: "Melodramma"

2001: "Mille Lune Mille Onde"

2004: "Dell'amore non si sa"

2004: "Un nuovo giorno"

2009: "White Christmas/Bianco Natale"

Live albums & videos

1998: A Night in Tuscany

2000:

2002: Tuscan Skies (Cieli di Toscana)

2006:

2006: Under the Desert Sky

2008: Vivere Live in Tuscany

2008: Incanto The Documentary

2009: My Christmas Special

Bibliography

2000: The Music of Silence: A Memoir (La musica del silenzio) - Autobiography

2010: The Music of Silence: A Memoir - Reworked autobiography

See also

Teatro del Silenzio

Andrea Bocelli discography

List of Popera artists

List of Easy Listening artists

List of Adult Contemporary atists

List of awards and nominations received by Andrea Bocelli

List of best-selling music artists

References

External links

Bocelli's official site

Official German fan site (English version)

Bocelli Community

Official forum

Bocelli on Myspace.com

Bocelli on Facebook.com

Bocelli on Youtube.com

Bocelli on discogs.com

Biography of Andrea Bocelli, from RAI International

Bocelli pages at Music City

Andrea Bocelli on Universal Classics and Jazz Website

Andrea Bocelli section on classicalx.com

C Music TV Profile of Andrea Bocelli

Bocelli lyrics

Category:1958 births Category:1990s singers Category:2000s singers Category:2010s singers Category:Blind musicians Category:BRIT Award winners Category:Converts to Roman Catholicism from atheism or agnosticism Category:Crooners Category:Decca Records artists Category:French-language singers Category:English-language singers Category:German-language singers Category:Italian drummers Category:Italian flautists Category:Italian guitarists Category:Italian harpists Category:Italian keyboardists Category:Italian lawyers Category:Italian-language singers Category:Italian male singers Category:Italian opera singers Category:Italian philanthropists Category:Italian pianists Category:Italian pop singers Category:Italian Roman Catholics Category:Italian saxophonists Category:Italian singers Category:Italian singer-songwriters Category:Italian tenors Category:Italian trombonists Category:Italian trumpeters Category:Living people Category:Multi-instrumentalists Category:Opera crossover singers Category:Operatic tenors Category:People from the Province of Pisa Category:Portuguese-language singers Category:Sanremo Music Festival winners Category:Spanish-language singers Category:Torch singers Category:Traditional pop music singers Category:Universal Music Group artists Category:University of Pisa alumni Category:World Music Awards winners Category:World record holders

Name	Yundi Li
Birth date	October 07, 1982
Birth place	Chongqing, China
Occupation	classical pianist
Signature	YunDiLi.png
Parents	Li ChuanZhang Xiaolu
Awards	International Frédéric Chopin Piano Competition2000 1st in place2000 The Fryderyk Chopin Society and Warsaw City Council ex aequo prize for the best performance of a polonaise

Li Yundi () (born October 7, 1982) is a classical pianist. He is also popularly known as Yundi and formerly Yundi Li. Born in Chongqing, China, Li is most well known for being the youngest pianist to win the International Frédéric Chopin Piano Competition at the age of eighteen years in the year 2000. Li now resides in Hong Kong.

Childhood

His father, Li Chuan, and his mother, Zhang Xiaolu, both worked for the Sichuan Chongqing Steel and Iron Company. Although coming from a family of non-musicians, Li Yundi took to music early. When he was three years old, his parents bought him an accordion after he was so entranced by an accordion player in a shopping mall that he refused to leave. He mastered the instrument by the age of four, studying with Tan Jianmin, a music professor in China. Only one year later, he won the top prize at the Chongqing Children's Accordion Competition. Li began studying piano at the age of seven years. Two years later, his teacher introduced him to Dan Zhaoyi, one of China's most renowned piano teachers, with whom he would study for nine years. Li's ambition was to become a professional pianist. In 1994, he entered the Shenzhen Arts School, Shenzhen, China.

Awards

Li has received top awards at various competitions. He won the Children's Piano Competition in Beijing in 1994.

In October 2000, at the urging of the Chinese Culture Ministry, Li participated in the 14th International Frédéric Chopin Piano Competition in Warsaw. He was the first participant to be awarded First Prize in 15 years. At 18 years of age, he was the youngest winner — and the first Chinese — in the competition's history. Li was given the "Polonaise award" by the Chopin Society for his performance at the competition.

Li is the subject of a 2008 feature-length documentary, The Young Romantic: Yundi Li, directed by Barbara Willis Sweete.

Li performed a solo recital at the Royal Festival Hall in London on the 16th March 2010. He played a repertoire of Chopin pieces to a sell-out crowd.

Recordings

Chopin

Complete Nocturnes (EMI Classics)

Chopin Recital

Piano Sonata in B minor No. 3 op. 58

Andante spianato et Grande Polonaise brillante op. 22

Études op. 10 Nos. 2 + 5 op. 25 No. 11 »Winter Wind«

Nocturnes op. 9 Nos. 1 + 2 op. 15 No. 2

Impromptu op. 66

CD |D|D|D| 4714792

Franz Liszt

Piano Sonata in B minor

La Campanella

Widmung after Schumann: Liebeslied

Liebestraum No. 3

Tarantella from Venezia e Napoli

Rigoletto-Paraphrase

CD |D|D|D| 471 585-2 SACD |D|D|D| 474 2972 Awards: Echo Award 2003

Chopin: Scherzo & Impromptus

4 Scherzo:

No. 1 op. 20 · No. 2 op. 31

No. 3 op. 39 · No. 4 op. 54

3 Impromptus

No. 1 op. 29 · No. 2 op. 36

No. 3 op. 51

SACD |D|D|D| 474 8782 CD |D|D|D| 474 5162

Vienna Recital

Liszt: Rhapsodie espagnole

Mozart: Piano Sonata KV 330

D. Scarlatti: Sonatas K. 380 + K. 13

Schumann: Carnaval op. 9

CD |D|D|D| 477 557-1 |G|H|

Chopin & Liszt Piano Concerto No.1

Liszt: Concerto for piano no.1 in E-Flat,S.124

Chopin: Concerto for piano no.1 in E-minor,op.11

CD |D|D|D| 00289 477 6402 |G|H|

Prokofiev/Ravel: Piano Concertos

Prokofiev: Piano Concerto No. 2 in G minor

Ravel: Piano Concerto in G major

CD |D|D|D| 477 659-3 |G|H|

Yundi - The Young Romantic

Frédéric Chopin: Scherzo in B minor, op.20 Scherzo in B flat minor, op.31 Scherzo in C sharp minor, op.39 Scherzo in E major, op.54; Franz Liszt: Grandes Études de Paganini: La Campanella

Bonus: Yundi Li plays at La Roque d’Anthéron

DVD 3079058 EuroArts/Ideale Audience

References

External links

Li Yundi at Deutsche Grammophon

Li plays Chopin Scherzo No. 1 Op. 30

Biography of Li Yundi (written by Richard Dyer, Globe Newspaper Company, 4/10/2004)

'The young romantic: A portrait of Yundi Li'

Category:1982 births Category:Living people Category:Chinese classical pianists Category:Chopin Competition winners Category:People with acquired residency of Hong Kong Category:People from Chongqing

Ramón Vargas (born 11 September 1960) is an award-winning Mexican operatic tenor. Since his debut in the early '90s, he has developed to become one of the most acclaimed tenors of the 21st century. Known for his most expressive and agile lyric tenor voice, he is especially successful in the bel canto repertoire.

Biography

Born in Mexico City, the seventh of nine children. Ramón Vargas began singing at the age of 9, joining the boys' choir of the Basilica of Guadalupe in his home town. He then studied at the Cardenal Miranda Institute in México City, with Antonio Lopez and Ricardo Sanchez.

In 1982, after winning the Carlo Morelli National Vocal Competition, he made his debut in Haydn's Lo Speziale, in Monterrey, Mexico. His breakthrough came in 1983, when the Mexican conductor Eduardo Mata hired him to sing Fenton in Verdi's Falstaff, and then Don Ottavio in Mozart's Don Giovanni. Upon winning the Enrico Caruso Tenor Competition in Milan, Italy, in 1986, he moved to Austria where he completed his vocal studies at the school of the Vienna State Opera, under the guidance of Leo Müller.

After deciding to become a freelancer in 1990, he met the renowned teacher, Rodolfo Celletti, in Milan, who since then remains his vocal coach.

Ramón Vargas' international debut took place in 1992, when the New York Metropolitan Opera asked him to sing Edgardo opposite June Anderson, substituting Luciano Pavarotti. This was soon followed by a debut on the stage of La Scala, in 1993, where he sung Fenton in Strehler's new production celebrating the centenary of Falstaff, conducted by Riccardo Muti. He now regularly performs at all the major opera houses all over the world to great acclaim:

Buenos Aires Teatro Colón (La Favorita), London Royal Opera House (Un ballo in maschera, La bohème, Rigoletto, La traviata), Milan La Scala (Falstaff, Rigoletto, La traviata), New York Metropolitan Opera (Attila, La bohème, Il barbiere di Siviglia, La Cenerentola, L'elisir d'amore, Lucia di Lammermoor, Rigoletto, Der Rosenkavalier), Madrid Teatro Real (Werther), Paris Opéra-Bastille (Rigoletto, La traviata), San Francisco Opera (Un ballo in maschera, L'elisir d'amore, Lucia di Lammermoor), Vienna State Opera (La bohème, L'elisir d'amore, La Favorita, Lucia di Lammermoor, Manon, Maria Stuarda, Rigoletto, Roberto Devereux, Werther), Verona Arena (Il barbiere di Siviglia, Rigoletto), and others.

In addition to his operatic career, he is also an accomplished concert singer, with an extensive repertoire ranging from Italian classical songs to romantic German Lieder and melodies by French, Mexican and Spanish composers from the 19th and 20th centuries. In 1998, he offered a memorable recital at La Scala and his renditions of popular Mexican songs have been met with enthusiasm at massive concerts across Europe and Mexico.

He was awarded the Lauri-Volpi Award for the Best Opera Singer of the 1993 Italian season, and in 1995 Italian critics were unanimous in awarding him the Gino Tani Award for the Arts. In 2000, British Opera Now declared Ramón Vargas Artist of the Year. Each year, since 1999, Austrian Festpiele magazine has given him the first place among the best tenors in the world. In 2001, he received the ECHO Klassik - Singer of the Year Award from the German Phono Academy.

He lives with his wife Amalia, and his son Fernando in Lucerne, Switzerland.

Charity work

In 1993, Eduardo, the first son of Ramón Vargas and his wife, was born in a hospital in Italy. Unfortunately, due to the negligence of the doctors attending the childbirth, the baby suffered a hypoxic encephalopathy, causing a nonreversible injury to his brain. During the following few months doctors in Europe and the United States confirmed a hopeless prognosis of brain paralysis, in the degree of quadriplegia. In the beginning of January 2000, Eduardo's life reached its end.

Nonetheless, his parents decided that they did not wish to isolate themselves from their experience, on the contrary, they chose to perpetuate the memory and the example of Eduardo to help other special children like him, by setting up the Eduardo Vargas Memorial Fund.

The creation and basic aims of the memorial fund were publicly announced by means of a gala concert with Ramón Vargas and the young American soprano Noëlle Richardson, accompanied on the piano by Mzia Bachtouridze, at the villa of the Rothschild Foundation in Saint-Jean-Cap-Ferrat, on the 1st of July, 2000.

The initial proceeds were channeled through Vamos, a foundation with large experience in social development activities amongst the most vulnerable population in Mexico, towards some programmes of support that cover the following aspects:

Training promoters and community therapists

Providing information and support to the parents of children with special needs

Giving direct attention to disabled children and young people.

In addition to contributions made by friends and generous anonymous donors, the Eduardo Vargas Memorial Fund is supported by the proceeds from concerts performed by Ramón Vargas.

Repertoire

;Vincenzo Bellini

''I Capuleti e i Montecchi (Tebaldo)

''La sonnambula (Elvino)

''Zaira (Corasmino)

;Hector Berlioz

''La Damnation de Faust (Faust)

;Luigi Cherubini

''Médée (Jason)

;Gaetano Donizetti

''L'elisir d'amore (Nemorino)

''Lucia di Lammermoor (Edgardo)

''La Favorita (Fernando)

''Maria Stuarda (Leicester)

''Roberto Devereux (Roberto Devereux)

;Charles Gounod

''Faust (Faust)

;Joseph Haydn

''Lo Speziale (Sempronio)

;Jules Massenet

''Manon (Le Chevalier des Grieux)

''Werther (Werther)

;Simon Mayr

''Medea in Corinto (Giasone)

;Claudio Monteverdi

''L'incoronazione di Poppea (Nerone)

;Wolfgang Amadeus Mozart

''La clemenza di Tito (Tito)

''Don Giovanni (Don Ottavio)

''Idomeneo (Idiamante, Idomeneo)

''Die Zauberflöte (Tamino)

;Jacques Offenbach

''Les contes d'Hoffmann (Hoffmann)

;Giacomo Puccini

''La bohème (Rodolfo)

;Gioachino Rossini

''Adina (Selimo)

''Il barbiere di Siviglia (Il Conte d'Almaviva)

''La Cenerentola (Don Ramiro)

''Maometto secondo (Paolo Eriso)

''Mosè in Egitto (Amènofi)

''Tancredi (Agirio)

''Il Turco in Italia (Don Narciso)

''Il viaggio a Reims (Belfiore)

;Antonio Salieri

''Axur, re d'Ormus (Atar)

;Richard Strauss

''Der Rosenkavalier (The Italian Singer)

;Igor Stravinsky

''The Rake's Progress (Tom Rakewell)

;Pyotr Ilyich Tchaikovsky

''Eugene Onegin (Lensky)

;Giuseppe Verdi

''Attila (Foresto)

''Don Carlos (Don Carlos)

''I due Foscari (Jacopo)

''Falstaff (Fenton)

''I Lombardi (Oronte)

''Messa da Requiem (Tenor)

''La traviata (Alfredo)

''Luisa Miller (Rodolfo)

''Rigoletto (Il Duca di Mantova)

''Simon Boccanegra (Gabriele Adorno)

''Un ballo in maschera (Riccardo)

Discography

;Opera

Manon Lescaut, Puccini. Decca, 1993 (Edmondo)

Zaira, Bellini. Nuova Era, 1993

Falstaff, Verdi. Sony, 1994

Il barbiere di Siviglia, Naxos, 1994

Otello, Verdi. Deutsche Grammophon, 1994 (Cassio)

Goyescas, Granados. Auvidis, 1996

La Scala di Seta, Rossini. Claves, 1996

Tancredi, Rossini. RCA, 1996

I Capuleti e i Montecchi, Bellini. RCA Red Seal, 1998

Il Turco in Italia, Rossini. Decca, 1998

Maometto II, Rossini. BMG Ricordi, 1999

Werther, Massenet. RCA, 1999

La Favorite, Donizetti. RCA, 2000

Alzira, Verdi. Philips, 2001

;Oratario and Sacred Music

Christmas with Ramón Vargas. Claves Records, 1996

Messa da Requiem. Verdi, 2007

;Recital

Navidad desde México. Sony Music, 1996 (Popular Mexican songs)

Suite Española De Águstin Lara. PolyGram, 1996 (Popular Mexican songs)

Corazón Mexicano. Gobierno de la Ciudad de México, 1998 (Popular Mexican songs)

''L'amour, l'amour. RCA, 1999

Rossini & Donizetti Opera Arias. Claves Records, 2000

Canzoni. Delta, 2000 (Italian Art songs)

México Lindo. BMG Classics, 2000 (Popular Mexican songs)

Verdi Arias. RCA, 2001

Nel Mio Cuore. RCA, 2003 (Arie Antiche)

Between Friends. RCA, 2004

The Opera Gala Live from Baden-Baden. Deutsche Grammophon, 2008

(Novecento Segreto, Novecento Popolare)

;Various

Lesley Garrett - I Will Wait For You. RCA, 2000

Possession. RCA, 2002 (Soundtrack)

RCA Red Seal Century: The Vocalists. RCA, 2002

Catch a Shining Star. Narm Recordings, 2003

Inspirations. Trauma, 2004

Puccini Festival-die Grossen Opern Highlights. Decca, 2008

;DVD

Opera Stars Sing Broadway. St Clair Vision, 2004

Don Carlo, Verdi. TDK, 2007

Eugene Onegin Tchaikovsky. Decca, 2007

Idomeneo, Mozart. Decca, 2007

Messa da Requiem, Verdi. TDK, 2007

La Bohème, Puccini. EMI Classics, 2008

La Traviata, Verdi. Arthaus Musik, 2008 (Also on Blu-ray)

The Opera Gala: Live from Baden-Baden. Deutsche Grammophon, 2008 (Also on Blu-ray)

Don Giovanni, Mozart. Opus Arte, 2009 (Also on Blu-ray)

External links

Ramón Vargas' Official website

Schedule on Operabase

Interview with BBC NEWS

Interview with Bruce Duffie

Interview with Dominic McHugh (MusicalCriticism.com)

YouTube clips

Wigmore Hall Recital (Video)

References

Category:1960 births Category:Living people Category:Mexican opera singers Category:Mexican male singers Category:Operatic tenors

, circa 1860–1877]] Franz Liszt (, from 1859 to 1867 officially Franz Ritter von Liszt) (October 22, 1811July 31, 1886) was a 19th century Hungarian composer, virtuoso pianist and teacher.

Liszt became renowned throughout Europe during the 19th century for his great skill as a performer. He was said by his contemporaries to have been the most technically advanced pianist of his age and perhaps the greatest pianist of all time. He was also an important and influential composer, a notable piano teacher, a conductor who contributed significantly to the modern development of the art, and a benefactor to other composers and performers, notably Richard Wagner, Hector Berlioz, Camille Saint-Saëns, Edvard Grieg and Alexander Borodin.

As a composer, Liszt was one of the most prominent representatives of the "Neudeutsche Schule" ("New German School"). He left behind an extensive and diverse body of work, in which he influenced his forward-looking contemporaries and anticipated some 20th-century ideas and trends. Some of his most notable contributions were the invention of the symphonic poem, developing the concept of thematic transformation as part of his experiments in musical form and making radical departures in harmony.

Life

commemorating Liszt's concert there in 1820, aged 9]]

Early life

The earliest known male ancestor of Franz Liszt is his great-grandfather, Sebastian List, who as one of the thousands of German migrant serfs locally migrating within the Austrian Empire's territories (around the area nowadays constituting Lower Austria and Hungary), in the first half of the 18th century, and died in 1793 in Rajka, Moson County. Liszt's grandfather was an overseer on several Esterházy estates; he could play the piano, violin and organ. The Liszt clan dispersed throughout Austria and Hungary and gradually lost touch with one another.

Franz Liszt was born to German-speaking Marie Anna Lager and Adam Liszt on October 22, 1811, in the village of Raiding () in Sopron County. His father would only use Hungarian when dealing, as steward, with the folk of the village in which the family settled. Nonetheless, a source credits Franz Liszt as Hungarian.

Liszt's father played the piano, violin, cello, and guitar. He had been in the service of Prince Nikolaus II Esterházy and knew Haydn, Hummel and Beethoven personally. At age six, Franz began listening attentively to his father's piano playing as well as to show an interest in both sacred and Romani music. Adam began teaching him the piano at age seven, and Franz began composing in an elementary manner when he was eight. He appeared in concerts at Sopron and Bratislava in October and November 1820 at age 9. After the concerts, a group of wealthy sponsors offered to finance Franz's musical education abroad.

In Vienna, Liszt received piano lessons from Carl Czerny, who in his own youth had been a student of Beethoven and Hummel. He also received lessons in composition from Antonio Salieri, who was then music director of the Viennese court. His public debut in Vienna on December 1, 1822, at a concert at the "Landständischer Saal," was a great success. He was greeted in Austrian and Hungarian aristocratic circles and also met Beethoven and Schubert. In spring 1823, when the one year's leave of absence came to an end, Adam Liszt asked Prince Esterházy in vain for two more years. Adam Liszt therefore took his leave of the Prince's services. At the end of April 1823, the family returned to Hungary for the last time. At end of May 1823, the family went to Vienna again.

Towards the end of 1823 or early 1824, Liszt's first published composition appeared in print, a Variation on a Waltz by Diabelli (now S. 147), which was Variation 24 in Part II of Vaterländischer Künstlerverein. This anthology, commissioned by Diabelli, included 50 variations on his waltz by 50 different composers (Part II), Part I being taken up by Beethoven's 33 variations on the same theme, which are now better known as the Diabelli Variations, Op. 120.

Adolescence in Paris

After his father's death Liszt moved to Paris; for the next five years he was to live with his mother in a small apartment. He gave up touring. To earn money, Liszt gave lessons in piano playing and composition, often from early morning until late at night. His students were scattered across the city and he often had to cross long distances. Because of this, Liszt kept uncertain hours and also took up smoking and drinking—all habits he would continue throughout his life.

The following year he fell in love with one of his pupils, Caroline de Saint-Cricq, the daughter of Charles X's minister of commerce. However, her father insisted that the affair be broken off. Liszt again fell ill (there was even an obituary notice of him printed in a Paris newspaper), and he underwent a long period of religious doubts and pessimism. He again stated a wish to join the Church but was dissuaded this time by his mother. He had many discussions with the Abbé de Lamennais, who acted as his spiritual father, and also with Chrétien Urhan, a German-born violinist who introduced him to the Saint-Simonists.

During this period Liszt read widely to overcome his lack of a general education, and he soon came into contact with many of the leading authors and artists of his day, including Victor Hugo, Alphonse de Lamartine and Heinrich Heine. He composed practically nothing in these years. Nevertheless, the July Revolution of 1830 inspired him to sketch a Revolutionary Symphony based on the events of the "three glorious days," and he took a greater interest in events surrounding him. He met Hector Berlioz on December 4, 1830, the day before the premiere of the Symphonie fantastique. Berlioz's music made a strong impression on Liszt, especially later when he was writing for orchestra. He also inherited from Berlioz the diabolic quality of many of his works. Liszt became determined to become as great a virtuoso on the piano as Paganini was on the violin. Paris in the 1830s had become the nexus for pianistic activities, with dozens of pianists dedicated to perfection at the keyboard. Some, such as Sigismond Thalberg and Alexander Dreyschock, focused on specific aspects of technique (e.g. the "three-hand effect" and octaves, respectively). While it was called the "flying trapeze" school of piano playing, this generation also solved some of the most intractable problems of piano technique, raising the general level of performance to previously unimagined heights. Liszt's strength and ability to stand out in this company was in mastering all the aspects of piano technique cultivated singly and assiduously by his rivals.

In 1833 he made transcriptions of several works by Berlioz, including the Symphonie fantastique. His chief motive in doing so, especially with the Symphonie, was to help the poverty-stricken Berlioz, whose symphony remained unknown and unpublished. Liszt bore the expense of publishing the transcription himself and played it many times to help popularise the original score. He was also forming a friendship with a third composer who influenced him, Frédéric Chopin; under his influence Liszt's poetic and romantic side began to develop. , 1847]] In 1835 the countess left her husband and family to join Liszt in Geneva; their daughter Blandine was born there on December 18. Liszt taught at the newly founded Geneva Conservatory, wrote a manual of piano technique (later lost) and contributed essays for the Paris Revue et gazette musicale. In these essays, he argued for the raising of the artist from the status of a servant to a respected member of the community.

After 1842 "Lisztomania" swept across Europe. The reception Liszt enjoyed as a result can only be described as hysterical. Women fought over his silk handkerchiefs and velvet gloves, which they ripped to shreds as souvenirs. Helping fuel this atmosphere was the artist's mesmeric personality and stage presence. Many witnesses later testified that Liszt's playing raised the mood of audiences to a level of mystical ecstasy.

Adding to his reputation was the fact that Liszt gave away much of his proceeds to charity and humanitarian causes. In fact, Liszt had made so much money by his mid-forties that virtually all his performing fees after 1857 went to charity. While his work for the Beethoven monument and the Hungarian National School of Music are well known, he also gave generously to the building fund of Cologne Cathedral, the establishment of a Gymnasium at Dortmund, and the construction of the Leopold Church in Pest. There were also private donations to hospitals, schools and charitable organizations such as the Leipzig Musicians Pension Fund. When he found out about the Great Fire of Hamburg, which raged for three weeks during May 1842 and destroyed much of the city, he gave concerts in aid of the thousands of homeless there.

Liszt in Weimar

In February 1847, Liszt played in Kiev. There he met the Princess Carolyne zu Sayn-Wittgenstein, who dominated most of the rest of his life. She persuaded him to concentrate on composition, which meant giving up his career as a travelling virtuoso. After a tour of the Balkans, Turkey and Russia that summer, Liszt gave his final concert for pay at Elisavetgrad in September. He spent the winter with the princess at her estate in Woronince. By retiring from the concert platform at 35, while still at the height of his powers, Liszt succeeded in keeping the legend of his playing untarnished.

The following year, Liszt took up a long-standing invitation of Grand Duchess Maria Pavlovna of Russia to settle at Weimar, where he had been appointed Kapellmeister Extraordinaire in 1842, remaining there until 1861. During this period he acted as conductor at court concerts and on special occasions at the theatre. He gave lessons to a number of pianists, including the great virtuoso Hans von Bülow, who married Liszt's daughter Cosima in 1857 (years later, she would marry Richard Wagner). He also wrote articles championing Berlioz and Wagner. Finally, Liszt had ample time to compose and during the next 12 years revised or produced those orchestral and choral pieces upon which his reputation as a composer mainly rests. His efforts on behalf of Wagner, who was then an exile in Switzerland, culminated in the first performance of Lohengrin in 1850.

Princess Carolyne lived with Liszt during his years in Weimar. She eventually wished to marry Liszt, but since she had been previously married and her husband, Russian military officer Prince Nikolaus zu Sayn-Wittgenstein-Ludwigsburg (1812–1864), was still alive, she had to convince the Roman Catholic authorities that her marriage to him had been invalid. After huge efforts and a monstrously intricate process, she was temporarily successful (September 1860). It was planned that the couple would marry in Rome, on October 22, 1861, Liszt's 50th birthday. Liszt having arrived in Rome on October 21, 1861, the Princess nevertheless declined, by the late evening, to marry him. It appears that both her husband and the Tsar of Russia had managed to quash permission for the marriage at the Vatican. The Russian government also impounded her several estates in the Polish Ukraine, which made her later marriage to anybody unfeasible.

Liszt in Rome

The 1860s were a period of great sadness in Liszt's private life. On December 13, 1859, he lost his son Daniel, and on September 11, 1862, his daughter Blandine also died. In letters to friends, Liszt afterwards announced that he would retreat to a solitary living. He found it at the monastery Madonna del Rosario, just outside Rome, where on June 20, 1863, he took up quarters in a small, Spartan apartment. He had on June 23, 1857, already joined a Franciscan order.

On April 25, 1865, he received the tonsure at the hands of Cardinal Hohenlohe. Following this he was sometimes called the Abbé Liszt. On July 31, 1865 he received the four minor orders of porter, lector, exorcist, and acolyte. On August 14, 1879 he was made an honorary canon of Albano. The title 'Abbé', the French equivalent of 'Father', is a courtesy title often given in the 18th Century to men in minor orders; Liszt was never a priest. (Abbé can also mean abbot, but that definition does not apply here at all.)

On some occasions, Liszt took part in Rome's musical life. On March 26, 1863, at a concert at the Palazzo Altieri, he directed a programme of sacred music. The "Seligkeiten" of his "Christus-Oratorio" and his "Cantico del Sol di Francesco d'Assisi", as well as Haydn's "Die Schöpfung" and works by J. S. Bach, Beethoven, Jommelli, Mendelssohn and Palestrina were performed. On January 4, 1866, Liszt directed the "Stabat mater" of his "Christus-Oratorio", and on February 26, 1866, his "Dante Symphony". There were several further occasions of similar kind, but in comparison with the duration of Liszt's stay in Rome, they were exceptions. Bódog Pichler, who visited Liszt in 1864 and asked him for his future plans, had the impression that Rome's musical life was not satisfying for Liszt.

Threefold life

Liszt was invited back to Weimar in 1869 to give master classes in piano playing. Two years later he was asked to do the same in Budapest at the Hungarian Music Academy. From then until the end of his life he made regular journeys between Rome, Weimar and Budapest, continuing what he called his "vie trifurquée" or threefold existence. It is estimated that Liszt travelled at least 4000 miles a year during this period in his life—an exceptional figure given his advancing age and the rigours of road and rail in the 1870s.

Last years

On July 2, 1881, Liszt fell down the stairs of the Hotel in Weimar. Though friends and colleagues had noted swelling in Liszt's feet and legs when he had arrived in Weimar the previous month, Liszt had up to this point been in reasonably good health, and his body had retained the slimness and suppleness of earlier years. The accident, which immobilised him for eight weeks, changed this. A number of ailments manifested—dropsy, asthma, insomnia, a cataract of the left eye and chronic heart disease. The last-mentioned eventually contributed to Liszt's death. He became increasingly plagued with feelings of desolation, despair and death—feelings which he expressed in his works from this period. As he told Lina Ramann, "I carry a deep sadness of the heart which must now and then break out in sound."

He died in Bayreuth, Germany, on July 31, 1886, at age 74, officially as a result of pneumonia which he may have contracted during the Bayreuth Festival hosted by his daughter Cosima. Questions have been posed as to whether medical malpractice played a direct part in Liszt's demise.

Composer Camille Saint-Saëns, an old friend, whom Liszt had once called "the greatest organist in the world" dedicated his Symphony No. 3 "Organ Symphony" to Liszt; it had premiered in London only a few weeks before his death.

Liszt as pianist

Performing style

There are few, if any, good sources that give an impression of how Liszt really sounded from the 1820s. Carl Czerny claimed Liszt was a natural who played according to feeling, and reviews of his concerts especially praise the brilliance, strength and precision in his playing. At least one also mentions his ability to absolutely never change tempo, which may be due to his father's insistence that he practice with a metronome. His repertoire at this time consisted primarily of pieces in the style of the brilliant Viennese school, such as concertos by Hummel and works by his former teacher Czerny, and his concerts often included a chance for the boy to display his prowess in improvisation.

, commissioned by Conrad Graf. The imagined gathering shows seated Alfred de Musset or Alexandre Dumas, père, George Sand, Franz Liszt, Marie d'Agoult; standing Hector Berlioz or Victor Hugo, Niccolò Paganini, Gioachino Rossini; a bust of Beethoven on the grand piano (a "Graf"), a portrait of Byron on the wall, a statue of Joan of Arc on the far left.]] Following the death of Liszt's father in 1827 and his hiatus from the life as a touring virtuoso, it is likely Liszt's playing gradually developed a more personal style. One of the most detailed descriptions of his playing from this time comes from the winter of 1831/1832, during which he was earning a living primarily as a teacher in Paris. Among his pupils were Valerie Boissier, whose mother Caroline kept a careful diary of the lessons. From her we learn that:

"M. Liszt's playing contains abandonment, a liberated feeling, but even when it becomes impetuous and energetic in his fortissimo, it is still without harshness and dryness. [...] [He] draws from the piano tones that are purer, mellower and stronger than anyone has been able to do; his touch has an indescribable charm. [...] He is the enemy of affected, stilted, contorted expressions. Most of all, he wants truth in musical sentiment, and so he makes a psychological study of his emotions to convey them as they are. Thus, a strong expression is often followed by a sense of fatigue and dejection, a kind of coldness, because this is the way nature works."

Possibly influenced by Paganini's showmanship, once Liszt began focusing on his career as a pianist again his emotionally vivid presentations of the music were rarely limited to mere sound. His facial expression and gestures at the piano would reflect what he played, for which he was sometimes mocked in the press. Also noted was the extravagant liberties he could take with the text of a score at this time. Berlioz tells us how Liszt would add cadenzas, tremolos and trills when playing the first movement of Beethoven's Moonlight Sonata, and created a dramatic scene by changing the tempo between Largo and Presto. In his Baccalaureus letter to George Sand from the beginning of 1837, Liszt admitted that he had done so for the purpose of gaining applause, and promised to follow both the letter and the spirit of a score from then on. It has been debated to what extent he realized his promise, however. By July 1840 the British newspaper The Times could still report

"His performance commenced with Händel's Fugue in E minor, which was played by Liszt with an avoidance of everything approaching to meretricious ornament, and indeed scarcely any additions, except a multitude of ingeniously contrived and appropriate harmonies, casting a glow of colour over the beauties of the composition, and infusing into it a spirit which from no other hand it ever received."

Repertoire

During his years as a travelling virtuoso Liszt performed an enormous amount of music throughout Europe, but his core repertoire always centered around his own compositions, paraphrases and transcriptions. Studying Liszt's German concerts between 1840 and 1845, the five most frequently played pieces were the Grand Galop chromatique, Schubert's Erlkönig (in Liszt's transcription), Réminiscences de Don Juan, Réminiscences de Robert le Diable, and Réminiscences de Lucia de Lammermoor. Among the works by other composers we find compositions like Weber's Invitation to the Dance, Chopin mazurkas, études by composers like Ignaz Moscheles, Chopin and Ferdinand Hiller, but also major works by Beethoven, Weber and Hummel, and from time to time even selections from Bach, Handel and Scarlatti.

Most of the concerts at this time were shared with other artists, and as a result Liszt also often accompanied singers, participated in chamber music, or performed works with an orchestra in addition to his own solo part. Frequently played works include Weber's Konzertstück, Beethoven's Emperor Concerto and Choral Fantasy, and Liszt's reworking of the Hexameron for piano and orchestra. His chamber music repertoire included Hummel's Septet, Beethoven's Archduke Trio and Kreutzer Sonata, and a large selection of songs by composers like Rossini, Donizetti, Beethoven and especially Schubert. At some concerts Liszt could not find musicians to share the program with, and consequently was among the first to give solo piano recitals in the modern sense of the word. The term was coined by the publisher Frederick Beale, who suggested it for Liszt's concert at the Hanover Square Rooms in London on June 9, 1840, even though Liszt had given concerts all by himself already by March 1839.

Musical works

inspired Liszt to write a piano piece called "Jeux d'eau à la Villa d'Este". The villa and the portrait of the composer can be seen in the same image made by István Orosz.]]

Liszt was a prolific composer. His composition career has a clear arch that follows his changing professional and personal life. Liszt is best known for his piano music, but he wrote extensively for many media. Because of his background as a forefront technical piano virtuoso, Liszt's piano works are often marked by their difficulty. Liszt is very well known as a programmatic composer, or an individual who bases his compositional ideas in extra-musical things such as a poetry or painting. Liszt is credited with the creation of the Symphonic Poem which is a programmatic orchestral work that generally consists of a single movement.

Liszt's compositional style delved deeply into issues of unity both within and across movements. For this reason, in his most famous and virtuosic works, he is an archetypal Romantic composer. Liszt pioneered the technique of thematic transformation, a method of development which was related to both the existing variation technique and to the new use of the Leitmotif by Richard Wagner.

Piano music

The largest and best-known portion of Liszt's music is his original piano work. His thoroughly revised masterwork, "Années de pèlerinage" ("Years of Pilgrimage") includes arguably his most provocative and stirring pieces. This set of three suites ranges from the virtuosity of the Suisse Orage (Storm) to the subtle and imaginative visualizations of artworks by Michelangelo and Raphael in the second set. Années contains some pieces which are loose transcriptions of Liszt's own earlier compositions; the first "year" recreates his early pieces of "Album d'un voyageur", while the second book includes a resetting of his own song transcriptions once separately published as "Tre sonetti di Petrarca" ("Three sonnets of Petrarch"). The relative obscurity of the vast majority of his works may be explained by the immense number of pieces he composed, and the level of technical difficulty which was present in much of his composition.

Liszt's piano works are usually divided into two classes. On the one hand, there are "original works", and on the other hand "transcriptions", "paraphrases" or "fantasies" on works by other composers. Examples for the first class are works such as the piece Harmonies poétiques et religieuses of May 1833 and the Piano Sonata in B minor (1853). Liszt's transcriptions of Schubert songs, his fantasies on operatic melodies, and his piano arrangements of symphonies by Berlioz and Beethoven are examples for the second class. As special case, Liszt also made piano arrangements of his own instrumental and vocal works. Examples of this kind are the arrangement of the second movement "Gretchen" of his Faust Symphony and the first "Mephisto Waltz" as well as the "Liebesträume No. 3" and the two volumes of his "Buch der Lieder".

Transcriptions

Liszt's composing music on music, being taken as such, was nothing new. Nevertheless, Liszt invested a particular kind of creativity. Instead of just overtaking original melodies and harmonies, he ameliorated them. In case of his fantasies and transcriptions in Italian style, there was a problem which was by Wagner addressed as "Klappern im Geschirr der Perioden". Composers such as Bellini and Donizetti knew that certain forms, usually periods of eight measures, were to be filled with music. Occasionally, while the first half of a period was composed with inspiration, the second half was added with mechanical routine. Liszt corrected this by modifying the melody, the bass and—in cases—the harmonies.

Many of Liszt's results were remarkable. The Sonnambula-fantasy for example, a concert piece full of charming melodies, could certainly not have been composed either by Bellini or by Liszt alone. Outstanding examples are also the Rigoletto-Paraphrase and the Faust-Walzer. The most delicate harmonies in parts of those pieces were not invented by Verdi and Gounod, but by Liszt. Hans von Bülow admitted, that Liszt's transcription of his Dante Sonett "Tanto gentile" was much more refined than the original he himself had composed. Liszt's transcriptions of Schubert songs, his fantasies on operatic melodies, and his piano arrangements of symphonies by Berlioz and Beethoven are other well known examples of piano transcriptions.

Liszt was the second pianist (after Kalkbrenner) to transcribe Beethoven's symphonies for the piano. He usually performed them for audiences that would probably never have an opportunity to hear the orchestral version.

Original songs

Franz Liszt composed about six dozen original songs with piano accompaniment. In most cases the lyrics were in German or French, but there are also some songs in Italian and Hungarian and one song in English. Liszt began with the song "Angiolin dal biondo crin" in 1839, and by 1844 had composed about two dozen songs. Some of them had been published as single pieces. In addition, there was an 1843–1844 series "Buch der Lieder". The series had been projected for three volumes, consisting of six songs each, but only two volumes appeared.

Although Liszt's early songs are seldom sung, they show him in much better light than works such as the paraphrase "Gaudeamus igitur" and the Galop after Bulhakow, both composed in 1843. The transcriptions of the two volumes of the "Buch der Lieder" can be counted among Liszt's finest piano works. However, the contemporaries had much to criticise with regard to the style of the songs. Further critical remarks can be found in Peter Raabe's Liszts Schaffen.

Today, Liszt's songs are nearly entirely forgotten. As an exception, most frequently the song "Ich möchte hingehen" is cited. It is because of a single bar, most resembling the opening motif of Wagner's Tristan und Isolde. While it is commonly claimed that Liszt wrote that motif ten years before Wagner started work on his masterpiece, it has turned out that this is not true: the original version of "Ich möchte hingehn" was composed in 1844 or 1845. There are four manuscripts, and only a single one, a copy by August Conradi, contains the said bar with the Tristan motif. It is on a paste-over in Liszt's hand. Since in the second half of 1858 Liszt was preparing his songs for publication, and he just at that time received the first act of Wagner's Tristan, it is most likely that the version on the paste-over was a quotation from Wagner. This is not to say, the motif was originally invented by Wagner. An earlier example can be found in bar 100 of Liszt's Ballade No. 2 in B minor for piano, composed in 1853.

Programme music

Liszt, in some of his works, supported the idea of programme music – that is, music intended to evoke extra-musical ideas. By contrast, absolute music (a radical new idea in the 19th century world of music) stands for itself and is intended to be appreciated without any particular reference to the outside world.

Liszt's own point of view regarding programme music can for the time of his youth be taken from the preface of the Album d'un voyageur (1837). According to this, a landscape could evoke a certain kind of mood. Since a piece of music could also evoke a mood, a mysterious resemblance with the landscape could be imagined. In this sense the music would not paint the landscape, but it would match the landscape in a third category, the mood.

In July 1854 Liszt wrote his essay about Berlioz and Harold in Italy that stated that not all music was programme music. If, in the heat of a debate, a person would go so far as to claim the contrary, it would be better to put all ideas of programme music aside. But it would be possible to take means like harmony, modulation, rhythm, instrumentation and others to let a musical motif endure a fate.In any case, a programme should only be added to a piece of music if it was necessarily needed for an adequate understanding of that piece.

Still later, in a letter to Marie d'Agoult of November 15, 1864, Liszt wrote: :"Without any reserve I completely subscribe to the rule of which you so kindly want to remind me, that those musical works which are in a general sense following a programme must take effect on imagination and emotion, independent of any programme. In other words: All beautiful music must be first rate and always satisfy the absolute rules of music which are not to be violated or prescribed".

Symphonic poems

, which in turn inspired one of Liszt's symphonic poems]] A symphonic poem or tone poem is a piece of orchestral music in one movement in which some extramusical program provides a narrative or illustrative element. This program may come from a poem, a story or novel, a painting, or another source. The term was first applied by Liszt to his 13 one-movement orchestral works in this vein. They were not pure symphonic movements in the classical sense because they dealt with descriptive subjects taken from mythology, Romantic literature, recent history or imaginative fantasy. In other words, these works were programmatic rather than abstract. The form was a direct product of Romanticism which encouraged literary, pictorial and dramatic associations in music. It developed into an important form of program music in the second half of the 19th century.

The first 12 symphonic poems were composed in the decade 1848–58 (though some use material conceived earlier); one other, Von der Wiege bis zum Grabe (From the Cradle to the Grave), followed in 1882. Liszt's intent, according to Hugh MacDonald in the New Grove Dictionary of Music and Musicians (1980), was for these single-movement works "to display the traditional logic of symphonic thought." That logic, embodied in sonata form as musical development, was traditionally the unfolding of latent possibilities in given themes in rhythm, melody and harmony, either in part or in their entirety, as they were allowed to combine, separate and contrast with one another. To the resulting sense of struggle Beethoven had added an intensity of feeling and the involvement of his audiences in that feeling, beginning from the Eroica Symphony to use the elements of the craft of music—melody, bass, counterpoint, rhythm and harmony—in a new synthesis of elements toward this end.

Liszt attempted in the symphonic poem to extend this revitalization of the nature of musical discourse and add to it the Romantic ideal of reconciling classical formal principles to external literary concepts. To this end, he combined elements of overture and symphony with descriptive elements, approaching symphonic first movements in form and scale. Their composition proved daunting, requiring a continual process of creative experimentation that included many stages of composition, rehearsal and revision to reach a version where different parts of the musical form seemed balanced.

Late works

's 'Spy']] With some works from the end of the Weimar years Liszt drifted more and more away from the musical taste of his time. An early example is the melodrama "Der traurige Mönch" ("The sad monk") after a poem by Nikolaus Lenau, composed in the beginning of October 1860. While in the 19th century harmonies were usually considered as major or minor triads to which dissonances could be added, Liszt took the augmented triad as central chord.

More examples can be found in the third volume of Liszt's Années de Pèlerinage. "Les Jeux d'Eaux à la Villa d'Este" ("The Fountains of the Villa d'Este"), composed in September 1877, foreshadows the impressionism of pieces on similar subjects by Debussy and Ravel. However, other pieces such as the "Marche funèbre, En mémoire de Maximilian I, Empereur du Mexique" ("Funeral march, In memory of Maximilian I, Emperor of Mexico") composed in 1867 are without stylistic parallel in the 19th and 20th centuries.

At a later stage Liszt experimented with "forbidden" things such as parallel 5ths in the "Csárdás macabre" and atonality in the Bagatelle sans tonalité ("Bagatelle without Tonality"). In the last part of his "2de Valse oubliée" ("2nd Forgotten waltz") Liszt composed that he could not find a lyrical melody. Pieces like the "2nd Mephisto-Waltz" are shocking with nearly endless repetitions of short motives. Also characteristic are the "Via crucis" of 1878, as well as Unstern!, Nuages gris, and the two works entitled La lugubre gondola of the 1880s.

Literary works

Besides his musical works, Liszt wrote essays about many subjects. Most important for an understanding of his development is the article series "De la situation des artistes" ("On the situation of the artists") which was published in the Parisian Gazette musicale in 1835. In winter 1835–36, during Liszt's stay in Geneva, about half a dozen further essays followed. One of them was slated to be published under the pseudonym, "Emm Prym", was about Liszt's own works. It was sent to Maurice Schlesinger, editor of the Gazette musicale. Schlesinger, however, following the advice of Berlioz, did not publish it. In the beginning of 1837, Liszt published a review of some piano works of Sigismond Thalberg. The review provoked a huge scandal. Liszt also published a series of writings titled "Baccalaureus letters", ending in 1841.

During the Weimar years, Liszt wrote a series of essays about operas, leading from Gluck to Wagner. Liszt also wrote essays about Berlioz and the symphony Harold in Italy, Robert and Clara Schumann, John Field's nocturnes, songs of Robert Franz, a planned Goethe foundation at Weimar, and other subjects. In addition to essays, Liszt wrote a book about Chopin as well as a book about the Romanis (Gypsies) and their music in Hungary.

While all of those literary works were published under Liszt's name, it is not quite clear which parts of them he had written himself. It is known from his letters that during the time of his youth there had been collaboration with Marie d'Agoult. During the Weimar years it was the Princess Wittgenstein who helped him. In most cases the manuscripts have disappeared so that it is difficult to determine which of Liszt's literary works actually were works of his own. However, until the end of his life it was Liszt's point of view that it was he who was responsible for the contents of those literary works.

Liszt also worked until at least 1885 on a treatise for modern harmony. Pianist Arthur Friedheim, who also served as Liszt's personal secretary, remembered seeing it among Liszt's papers at Weimar. Liszt told Friedheim that the time was not yet ripe to publish the manuscript, titled Sketches for a Harmony of the Future. Unfortunately, this treatise has been lost.

Legacy

Although there was a period in which many considered Liszt's works "flashy" or superficial, it is now held that many of Liszt's compositions such as Nuages gris, Les jeux d'eaux a la vill d'Este, etc., which contain parallel fifths, the whole-tone scale, parallel diminished and augmented triads, and unresolved dissonances, anticipated and influenced twentieth century music like that of Debussy, Ravel and Bartok.

Liszt's students

Early students

Liszt was one of the most noted teachers of the 19th century. This part of his career commenced after his father's death in August 1827. For the purpose of earning his own and his mother's living, Liszt gave lessons in composition and piano playing. According to a letter to Monsieur de Mancy on December 23, 1829, he was so full of lessons that each day, from half-past eight in the morning till 10 at night, he had scarcely breathing time. Most of Liszt's students of this period were amateurs, but there were also some who made a professional career. An example of the first kind is Valerie Boissier, the later Comtesse de Gasparin. Examples of the second kind are Pierre Wolff and Hermann Cohen. During winter 1835–36 they were Liszt's colleagues at the Conservatoire at Geneva. Wolff then went to Saint Petersburg.

Cohen, who from George Sand received the nickname "Puzzi", developed into a very successful pianist. Of Jewish origin, he was baptized on August 28, 1847. On this day he experienced what he called an "apparition" of Christ, Mary and the saints in an "ecstasy of love". A year later he became novice of a Carmelite convent. When on October 7, 1850, he was professed, he took the name Père Augstin-Marie du Très Saint Sacrament ("Pater Augustin-Mary of the Holiest Sacrament"). On April 19, 1851, he was ordained as priest. In spring 1862 he met Liszt in Rome. After colloquies with Pater Augustin, Liszt decided that he would himself become ecclesiastic.

During the years of his tours Liszt gave only few lessons. Examples of students from this period are Johann Nepumuk Dunkl and Wilhelm von Lenz. Dunkl received lessons from Liszt during winter 1839–40. He had introduced himself by playing Thalberg's Fantasy Op. 6 on melodies from Meyerbeer's opera "Robert le diable". Liszt later called him a "Halbschüler" ("half-student"). Lenz, from St. Petersburg, had met Liszt already at the end of 1828. In summer 1842 he was in Paris again where he received further lessons from Liszt. He was merely an amateur with a repertoire of pieces such as Chopin's Nocturne Op. 9/2. In spring 1844, in Dresden, Liszt met the young Hans von Bülow, his later son in law. Bülow's repertoire included Thalberg's Fantasy "La Donna del Lago" Op. 40 and Liszt's Sonnambula-Fantasy.

Later students

Since Liszt had settled in Weimar, the number of those who received lessons from him was steadily increasing. Until his death in 1886 there would have been several hundred people who in some sense may have been regarded as his students. August Göllerich published a voluminous catalogue of them. In a note he added the remark that he had taken the connotation "student" in its widest sense. As consequence, his catalogue includes names of pianists, violinists, cellists, harpists, organists, composers, conductors, singers and even writers. Another catalogue was prepared by Carl Lachmund. In Lachmund's catalogue his own wife's name, missing in Göllerich's catalogue, is included. She had successfully persuaded Liszt to listen to her playing the harp. After she had played a single piece, without Liszt saying a word about it, she was nominated as Liszt's student by her husband.

The following catalogue by Ludwig Nohl, headed with "Die Hauptschüler Liszts" ("Liszt's main students"), was approved in September 1881 and, with regard to the order of the names, corrected, by Liszt. {|cellpadding="3" |Hans von Bülow||Carl Tausig||Franz Bendel |- |Hans von Bronsart||Karl Klindworth||Alexander Winterberger |- |Julius Reubke||Theodor Ratzenberger||Robert Pflughaupt |- |Friedrich Altschul||Nicolaus Neilissoff||Carl Baermann|| |- |Dionys Pruckner||Ferdinand Schreiber||Louis Rothfeld |- |Antal Siposs||George Leitert||Julius Richter |- |Louis Jungmann||William Mason||Max Pinner |- |Juliusz Zarębski||Giovanni Sgambati||Carlo Lippi |- |Siegfried Langaard||Karl Pohlig||Arthur Friedheim |- |Louis Marek||Eduard Reuss||Bertrand Roth |- |Berthold Kellermann||Carl Stasny||Josef Wieniawsky |- |Ingeborg Starck-Bronsart||Sophie Menter-Popper||Sophie Pflughaupt |- |Aline Hundt||Pauline Fichtner-Erdmannsdörfer||Ahrenda Blume |- |Anna Mehlig||Vera Timanova||Martha Remmert |- |Sara Magnus-Heinze||Dora Petersen||Ilonka Ravacz |- |Cäcilia Gaul||Marie Breidenstein||Amy Fay |}

In 1886 a similar catalogue would have been much longer, including names such as Eugen d'Albert, Walter Bache, Carl Lachmund, Moriz Rosenthal, Emil Sauer, Alexander Siloti, Conrad Ansorge, William Dayas, August Göllerich, Bernhard Stavenhagen, August Stradal, István Thomán and others.

Nohl's catalogue was by far not complete, and this even when the restriction to the period since the Weimar years is neglected. Of Liszt's Hungarian students, for example, only Antal Siposs and Ilonka Ravasz were mentioned. Siposs had become Liszt's student in 1858 in Weimar, after Liszt had heard him playing at a concert and invited him. In 1861 Siposs returned to Budapest, where in 1875 he founded a music school. Ilonka Ravasz was since winter 1875–76 one of Liszt's most gifted students at the newly founded Royal Academy for Music at Budapest. Astonishingly, the names of Aladár Juhász and Károly Aggházy are missing in Nohl's catalogue, although both had been among Liszt's favourite students at the Hungarian Academy.

Also missing are the names of Agnes Street-Klindworth and Olga Janina. Agnes Street-Klindworth had in 1853 arrived in Weimar, where she received lessons in piano playing from Liszt and lessons in composition from Peter Cornelius. Until 1861 she was Liszt's secret mistress. Olga Janina had joined the circle around Liszt in 1869 in Rome. According to Liszt's impression, she had rare and admirable musical talents. In his presence, she performed his piano concertos in E-flat and A Major as well as further examples of his works.

Unfortunately, Olga Janina fell in love with Liszt. They had a short affair, until in spring 1871—on Liszt's initiative—they separated. Olga went to America, but in spring 1873 returned to Budapest. In a telegram to Liszt she had announced that she would kill him. After three adventurous days together with Liszt in an apartment in Budapest she left. Together with Liszt's student Franz Servais she first went to Belgium where she gave concerts which were brilliant successes. She then, together with Servais, went to Italy.

During the 1870s Olga Janina wrote several scandalous books about Liszt, among them the novel Souvenirs d'une Cosaque, published under the pseudonym "Robert Franz". In Göllerich's catalogue of Liszt's students she is registered as "Janina, Olga, Gräfin (Marquise Cezano) (Genf)". Thus she may have changed her name and moved to Geneva. Taking the preface of her Souvenirs d'une Cosaque literally, she had first moved from Italy to Paris where she had lived in poverty. The last paragraph of the preface can be read as a dedication to Liszt.

Besides Liszt's master students there was a crowd of those who could at best reach only moderate abilities. In such cases, Liszt's lessons changed nothing. However, also several of Liszt's master students were disappointed about him. An example is Eugen d'Albert, who in the end was on nearly hostile terms with Liszt. The same must be said of Felix Draeseke who had joined the circle around Liszt at Weimar in 1857, and who during the first half of the 1860s had been one of the most prominent representatives of the New German School. In Nohl's catalogue he is not even mentioned. Also Hans von Bülow, since the 1860s, had more and more drifted towards a direction which was not only different from Liszt's, but opposite to it

According to August Stradal, some of Liszt's master students had claimed that Anton Rubinstein was a better teacher than Liszt. It might have been meant as allusion to Emil Sauer, who had in Moscow studied with Nikolai Rubinstein. During a couple of months in summers 1884 and 1885 he studied with Liszt at Weimar. When he arrived for the first time, he already was a virtuoso of strongest calibre who shortly before had made a concert tour through Spain. The question of whether there was any change in his playing after he had studied with Liszt remains open. According to his autobiography Meine Welt, he had found it imposing when Arthur Friedheim was thundering Liszt's Lucrezia-Fantasy. Regarding Liszt's playing a Beethoven Sonata, however, he wrote, Liszt had at least given a good performance as actor. As his opinion, Sauer had told his fellow students that Anton Rubinstein was a greater composer than Liszt. In Sauer's own compositions, a piano concerto, two sonatas, about two and a half dozen Etudes and several concert pieces, no influence of Liszt as composer of the 1880s can be recognized.

Liszt's teaching approach

Liszt offered his students little technical advice, expecting them to "wash their dirty linen at home," as he phrased it. Instead, he focused on musical interpretation with a combination of anecdote, metaphor and wit. He advised one student tapping out the opening chords of Beethoven's Waldstein Sonata, "Do not chop beefsteak for us." To another who blurred the rhythm in Liszt's Gnomenreigen (usually done by playing the piece too fast in the composer's presence): "There you go, mixing salad again." Liszt also wanted to avoid creating carbon copies of himself; rather, he believed in preserving artistic individuality.

There were some pieces which Liszt famously refused to hear at his masterclasses. Among them were Carl Tausig's transcription of J. S. Bach's organ Toccata and Fugue in D minor, and Chopin's Scherzo No. 2 in B-flat minor. Liszt also did not like to hear his own Polonaise No. 2 in E Major, as it was overplayed and frequently badly played.

Liszt did not charge for lessons. He was troubled when German newspapers published details of pedagogue Theodor Kullak's will, revealing that Kullak had generated more than one million marks from teaching. "As an artist, you do not rake in a million marks without performing some sacrifice on the altar of Art," Liszt told his biographer Lina Ramann. However, Carl Czerny charged an expensive fee for lessons and even dismissed Stephen Heller when he was unable to afford to pay for his lessons. Interestingly, Liszt spoke very fondly of his former teacher, to whom he dedicated his Transcendental Etudes. He wrote the Allgemeine musikalische Zeitung, urging Kullak's sons to create an endowment for needy musicians, as Liszt himself frequently did.

Royal Academy of Music at Budapest

Since the early 1860s there were attempts of some of Liszt's Hungarian contemporaries to have him settled with a position in Hungary. In January 1862, in Rome, Liszt received a letter by Baron Gábor Prónay, since 1850 President of a Conservatory in Pest. Baron Prónay offered Liszt the position as President. When in 1867 the Conservatory became "Ungarisches National Konservatorium" ("Hungarian National Conservatory"), Baron Prónay still tried to persuade Liszt to take the leadership. Liszt, however, in letters to Baron Prónay and further ones of his Hungarian contemporaries explained that his career as virtuoso and as conductor had finally ended. If he took a position in Hungary, it would be solely for the purpose of spreading his own compositions, his Oratorios and his symphonic works. Besides, as soon as he left Rome, it was his duty to spend some months of the year in Weimar. The Grand Duc had for several times asked for it.

In 1871 the Hungarian Prime Minister Gyula Andrássy made a new attempt. In a writing of June 4, 1871, to the Hungarian King he demanded an annual rent of 4,000 Gulden and the rank of a "Königlicher Rat" ("Councellor of the King") for Liszt, who in return would permanently settle in Budapest, directing the orchestra of the National Theatre as well as music schools and further musical institutions. With decision of June 13, 1871, the King agreed. By that time there were also plans of the foundation of a Royal Academy for Music at Budapest, of which the Hungarian state should be in charge. The Royal Academy is not to be confused with the National Conservatory which still existed. The National Conservatory, of which the city Budapest was in charge, was until his death in 1875 directed by Baron Prónay. His successor was Count Géza Zichy.

The plan of the foundation of the Royal Academy was in 1871 refused by the Hungarian Parliament, but a year later the Parliament agreed. Liszt was ordered to take part in the foundation. In March 1875 he was nominated as President. According to his wishes, the Academy should have been opened not earlier than in late autumn 1876. However, the Academy was officially opened already on November 14, 1875. Since it was Liszt's opinion that his colleagues Franz Erkel, the director, Kornél Ábrányi and Robert Volkmann could quite well do this job without him, he was absent. He arrived on February 15, 1876, in Budapest. On March 2 he started giving lessons, and on March 30 he left. The main purpose of his coming to Budapest had been a charity concert on March 20 in favour of the victims of a flood.

In November 1875, 38 students had passed the entrance examinations. 21 of them wanted to study piano playing, the others composition. Details of the entrance examinations are known from an account by Károly Swoboda (Szabados), one of Liszt's first students at the Royal Academy. According to this, candidates for a piano class had to play a single piano piece of their own choice. It could be a sonata movement by Mozart, Clementi or Beethoven. The candidates then had to sight read an easy further piece. Candidates for a composition class had to reproduce and continue a given melody of 4, 5 or 8 bars, after Volkmann had played it for about half a dozen times to them. Besides, they had to put harmonies to a given bass which was written on a table.

After Liszt had arrived, he selected 8 students for his class for advanced piano playing. To these came Áladár Juhász as the most outstanding one. As exception, he was to study piano playing only with Liszt. The others were matriculated as students of Erkel, since it was him from whom they would receive their lessons during Liszt's absence. Erkel also gave lessons in specific matters of Hungarian music. Volkmann gave lessons in composition and instrumentation. Ábrányi gave lessons in music aesthetics and harmony theory. Liszt had wished that there should have been a class for sacral music, led by Franz Xaver Witt. He had also wished that Hans von Bülow should take a position as piano professor. However, neither Witt nor Bülow agreed.

In spite of the conditions under which Liszt had in June 1871 been appointed as "Königlicher Rat", he neither directed the orchestra of the National Theatre, nor did he permanently settle in Hungary. As usual case, he arrived in mid-winter in Budapest. After one or two concerts of his students by the beginning of spring he left. He never took part in the final examinations, which were in summer of every year. Most of his students were still matriculated as students of either Erkel or later Henrik Gobbi. Some of them joined the lessons which he gave in summer in Weimar. In winter, when he was in Budapest, some students of his Weimar circle joined him there.

Judging from the concert programs of Liszt's students at Budapest, the standard resembled that of an advanced masterclass of our days. There was a difference, however, with regard to the repertoire. Most works as played at the concerts were works of composers of the 19th century, and many of the composers are now forgotten. As rare exceptions, occasionally a piece of J. S. Bach or Händel was played. Mozart and Haydn, but also Schubert and Weber, were missing. Of Beethoven only a comparatively small selection of his works was played. In typical cases Liszt himself was merely represented with his transcriptions.

The actual abilities Liszt's students at Budapest and the standard of their playing can only be guessed. Liszt's lessons of winter 1877–78 were in letters to Lina Ramann described by Auguste Rennebaum, herself Liszt's student at the Royal Academy. According to this, there had been some great talents in Liszt's class. However, the abilities of the majority had been very poor. August Stradal, who visited Budapest in 1885 and 1886, took the same point of view. In contrast to this, Deszö Legány claimed, much in Stradal's book was nonsense, taken from Stradal's own fantasy. Legány's own reliability, however, is not beyond doubt since many of his attempts of whitewashing Liszt and—even more—the Hungarian contemporaries are too obvious. Margit Prahács shared and supported Stradal's view. Her quotations from the contemporary Hungarian press show that much of Stradal's critique had been true. Concerning Liszt's relation with his Hungarian contemporaries at the end of his life, for example, in spring 1886 the journal Zenelap wrote: :"It is solely in Budapest, where musicians are wandering on such high clouds that they hardly take notice when Liszt is among them."

In 1873, at the occasion of Liszt's 50th anniversary as performing artist, the city Budapest had installed a "Franz Liszt Stiftung" ("Franz Liszt Foundation"). The foundation was destined to provide stipends of 200 Gulden for three students of the Academy who had shown excellent abilities and especially had achieved progress with regard to Hungarian music. Every year it was Liszt alone who could decide which one of the students should receive the money. He gave the total sum of 600 Gulden either to a single student or to a group of three or more of them, not asking whether they were actually matriculated at the Academy.

It was also Liszt's habit to declare all students who took part in his lessons as his private students. As consequence, nearly none of them paid any charge at the Academy. Since the Academy needed the money, there was a ministerial order of February 13, 1884, according to which all those who took part in Liszt's lessons had to pay an annual charge of 30 Gulden. However, Liszt did not respect this, and in the end the Minister resigned. In fact, the Academy was still the winner, since Liszt gave much money from his taking part in charity concerts.

The lessons in specific matters of Hungarian music turned out as problematic enterprise, since there were different opinions, exactly what Hungarian music actually was. In 1881 a new edition of Liszt's book about the Romanis and their music in Hungary appeared. According to this, Hungarian music was identical with the music as played by the Hungarian Romanis. Liszt had also claimed, Semitic people, among them the Romanis, had no genuine creativity. For this reason, according to Liszt's book, they only adopted melodies from the country where they lived. After the book had appeared, Liszt was in Budapest accused for a presumed spreading of anti-Semitic ideas. In the following year no students at all wanted to be matriculated for lessons in Hungarian music. According to the issue of July 1, 1886, of the journal Zenelap, this subject at the Hungarian Academy had already a long time ago been dropped.

In 1886 there was still no class for sacral music, but there were classes for solo and chorus singing, piano, violin, cello, organ and composition. The number of students had grown to 91 and the number of professors to 14. Since the winter of 1879–80, the Academy had its own building. On the first floor there was an apartment where since the winter of 1880–81 Liszt lived during his stays in Budapest. His last stay was from January 30 to March 12, 1886. After Liszt's death Janós Végh, since 1881 vice-president, became president. No earlier than 40 years later the Academy was renamed to "Franz Liszt Akademie". Until then, due to world war I, Liszt's Europe and also his Hungary had died. Mainly, the only connection between Franz Liszt and the "Franz Liszt Akademie" was the name.

Liszt School of Music Weimar

On June 24, 1872, the composer and conductor Karl Müller-Hartung founded an "Orchesterschule" ("Orchestra School") at Weimar. Although Liszt and Müller-Hartung were on friendly terms, Liszt took no active part in that foundation. The "Orchesterschule" later developed to a conservatory which still exists and is now called "Hochschule für Musik "Franz Liszt", Weimar".

See also

Compositions by Franz Liszt

War of the Romantics

Cross motif

Notes

References

Bibliography

ed. Abraham, Gerald, Music of Tchaikovsky (New York, W. W. Norton & Company, 1946). ISBN n/a.

* Cooper, Martin, "The Symphonies"

Bory, Robert: Une retraite romantique en Suisse, Liszt et la Comtesse d'Agoult, Lausanne 1930.

Burger, Ernst: Franz Liszt, Eine Lebenschronik in Bildern und Dokumenten, München 1986.

Demko, Miroslav: Franz Liszt compositeur Slovaque, L´Age d´Homme, Suisse 2003.

Ehrhardt, Damien (éd.): Franz Liszt – Musique, médiation, interculturalité (Etudes germaniques 63/3, 2008).

Franz, Robert (i. e. Janina, Olga): Souvenirs d'une Cosaque, Deuxième édition, Paris 1874.

Göllerich, August: Musikerbiographien, Achter Band, Liszt, Zweiter Theil, Reclam, Leipzig, without date (1887–88).

Gibbs, Christopher H. and Gooley, Dana. Franz Liszt and his World. (Princeton : Princeton University Press, 2006.)

Hamburger, Klara (ed.): Franz Liszt, Beiträge von ungarischen Autoren, Budapest 1978.

ed. Hamilton, Kenneth, The Cambridge Companion to Liszt (Cambridge and New York: Cambridge University Press, 2005). ISBN 0-521-64462-3 (paperback).

* Shulstad, Reeves, "Liszt's symphonic poems and symphonies"

Jerger, Wilhelm (ed.): The Piano Master Classes of Franz Liszt 1884–1886, Diary Notes of August Göllerich, translated by Richard Louis Zimdars, Indiana University Press 1996.

ed. Latham, Alison, The Oxford Companion to Music (Oxford and New York: Oxford University Press, 2002). ISBN 0-19-866212-2

* Spencer, Piers, "Symphonic poem [tone-poem]"

Legány, Deszö: Franz Liszt, Unbekannte Presse und Briefe aus Wien 1822–1886, Wien 1984.

Legány, Dezsö: Ferenc Liszt and His Country, 1869–1873, Occidental Press, Budapest 1983.

Legány, Dezsö: Ferenc Liszt and His Country, 1874–1886, Occidental Press, Budapest 1992.

Liszt, Franz: Briefwechsel mit seiner Mutter, edited and annotated by Klara Hamburger, Eisenstadt 2000.

Liszt, Franz and d'Agoult, Marie: Correspondence, ed. Daniel Ollivier, Tome I: 1833–1840, Paris 1933, Tome II: 1840–1864, Paris 1934.

Motta, Cesare Simeone: Liszt Viaggiatore Europeo, Moncalieri, 2000 (ISBN 8877600586)

Nohl, Ludwig: Musikerbiographien, Vierter Band, Liszt, Erster Theil, Reclam, Leipzig, without date (1881–82).

Ollivier, Daniel: Autour de Mme d'Agoult et de Liszt, Paris 1941.

Prahács, Margit (ed.): Franz Liszt, Briefe aus ungarischen Sammlungen, 1835–1886, Budapest 1966.

Prahács, Margit: Franz Liszt und die Budapester Musikakademie, in: Hamburger (ed.): Franz Liszt, Beiträge von ungarischen Autoren, pp. 49ff.

Raabe, Peter: Liszts Schaffen, Cotta, Stuttgart und Berlin 1931.

Ramann, Lina: Lisztiana, Erinnerungen an Franz Liszt in Tagebuchblättern, Briefen und Dokumenten aus den Jahren 1873–1886/87, ed. Arthur Seidl, text revision by Friedrich Schnapp, Mainz 1983.

Rellstab, Ludwig: Franz Liszt, Berlin 1842.

Rosen, Charles. The Romantic Generation. Cambridge, Mass., Harvard University Press, 1995.

ed Sadie, Stanley, The New Grove Dictionary of Music and Musicians, First Edition (London: Macmillian, 1980). ISBN 0-333-23111-2

* MacDonald, Hugh, "Symphonic poem," "Transformation, thematic"

* Searle, Humphrey, "Liszt, Franz"

* Temperley, Nicholas, "Symphony: II. 19th century"

Saffle, Michael: Liszt in Germany, 1840–1845, Franz Liszt Studies Series No.2, Pendragon Press, Stuyvesant, NY, 1994.

Sauer, Emil: Meine Welt, Stuttgart 1901.

Steinbeck, Arne: Franz Liszt's approach to piano playing, Ph.D. dissertation, University of Maryland, College Park 1971.

Stradal, August: Erinnerungen an Franz Liszt, Bern, Leipzig 1929.

Walker, Alan: Franz Liszt, The Virtuoso Years (1811–1847), revised edition, Cornell University Press 1987.

Walker, Alan: Franz Liszt, The Final Years (1861–1886), Cornell University Press 1997.

Walker, Alan: Article Liszt, Franz, in: Sadie, Stanley (ed.), The New Grove Dictionary of Music and Musicians, Second Edition, London 2001).

Walker, Alan et al. "Liszt, Franz." Grove Music Online. Oxford Music Online. 20 November 2009.

Watson, Derek: Liszt, Schirmer Books, 1989, ISBN 0-02-872705-3

External links

Printable scores by Franz Liszt

Lina Ramann's classical Liszt biography at Zeno.org

The Students of Liszt on Record and Reproducing Piano Roll by Mark Arnest

Franz Liszt, written and directed by James a. Fitzpatrick; fictional 11-minute 1925 film short about Franz Liszt; Liszt's music performed by Nathaniel Shilkret's Orchestra.

Category:Romantic composers Category:Hungarian people of Austrian descent Category:Hungarian classical organists Category:Hungarian classical pianists Category:Hungarian composers Category:Hungarian Germans Category:Composers for pipe organ Category:Organ improvisers Category:Hungarian Roman Catholics Category:Franciscans Category:Recipients of the Pour le Mérite (civil class) Category:People from Oberpullendorf District Category:1811 births Category:1886 deaths Category:19th-century Hungarian people Category:Honorary Members of the Royal Philharmonic Society

Leo Nucci (born April 16, 1942) is an Italian operatic baritone, particularly suited to Verdi roles.

Born at Castiglione dei Pepoli, near Bologna, he studied with Giuseppe Marchese and made his stage debut in Spoleto, as Figaro in Il barbiere di Siviglia, in 1967, he then joined the chorus of La Scala in Milan, and made his solo debut there in 1975, again as Figaro.

His career quickly took an international turn with debut at the Royal Opera House in London, as Miller in Luisa Miller, in 1978, and at the Metropolitan Opera in New York, as Renato/Ancharstrom in Un ballo in maschera, in 1980. Renato was also his debut role at the Paris Opéra in 1981, and the Salzburg Festival in 1989, under Herbert Von Karajan.His career is remembered for famous performances in the opera world, including works with Luciano Pavarotti, Joan Sutherland, Placido Domingo and others.

His repertoire encompasses the entire Italian repertory from bel canto to verismo, but his sonorous voice, secure technique and dramatic abilities are best displayed in Verdi - notably as Macbeth, Rigoletto, Luna, Germont, Posa, Amonasro, Iago, Falstaff, Rodridue. He has sung the role of Rigoletto alone more than 400 times.

Nucci has enjoyed a long and successul career and is still active. He is married to soprano Adriana Anelli, with whom he has a daughter.

Notes

Sources

Grove Music Online, Elizabeth Forbes, May 2008

External links

Official website

Category:1942 births Category:Living people Category:People from the Province of Bologna Category:Italian opera singers Category:Operatic baritones Category:Italian baritones

Dame Joan Alston Sutherland, OM, AC, DBE (7 November 192610 October 2010) was an Australian dramatic coloratura soprano noted for her contribution to the renaissance of the bel canto repertoire from the late 1950s through to the 1980s.

One of the most remarkable female opera singers of the 20th century, she was dubbed La Stupenda by a La Fenice audience in 1960 after a performance of the title role in Handel's Alcina. She possessed a voice of beauty and power, combining extraordinary agility, accurate intonation, pinpoint staccatos, a splendid trill and a tremendous upper register, although music critics often complained about the imprecision of her diction. Her friend Luciano Pavarotti once called Sutherland the "Voice of the Century", while Montserrat Caballé described the Australian's voice as being like "heaven". Her highest note was a high F-sharp in altissimo. It was a breakthrough for Sutherland's career, and, upon the completion of the famous Mad Scene, she had become a star. In 1960, she recorded the album The Art of the Prima Donna, which remains today one of the most recommended opera albums ever recorded: the double LP set won the Grammy Award for Best Classical Performance – Vocal Soloist in 1962. The album, a collection consisting mainly of coloratura arias, displays her seemingly effortless coloratura ability, high notes and opulent tones, as well as her exemplary trill.

By the beginning of the 1960s, Sutherland had already established a reputation as a diva with a voice out of the ordinary. She sang Lucia to great acclaim in Paris in 1960 and, in 1961, at La Scala and the Metropolitan Opera. Also in 1960, she sang a superb Alcina at La Fenice, Venice, where she was nicknamed La Stupenda ("The Stunning One"). Sutherland would soon be praised as La Stupenda in newspapers around the world. Later that year (1960), Sutherland sang Alcina at the Dallas Opera, with which she made her US debut.

Her Metropolitan Opera debut took place on 26 November 1961, when she sang Lucia. After a total of 223 performances in a number of different operas, her last appearance there was a concert on 12 March 1989. During the 1978–82 period her relationship with the Met severely deteriorated when Sutherland had to decline the role of Constanze in Mozart's Die Entführung aus dem Serail, more than a year before the rehearsals were scheduled to start. The opera house management then declined to stage the operetta The Merry Widow especially for her, as requested; subsequently, she did not perform at the Met during that time at all, even though a production of Rossini's Semiramide had also been planned, but later she returned there to sing in other operas.

During the 1960s, Sutherland had added the greatest heroines of bel canto ("beautiful singing") to her repertoire: Violetta in Verdi's La traviata, Amina in Bellini's La sonnambula and Elvira in Bellini's I puritani in 1960; the title role in Bellini's Beatrice di Tenda in 1961; Marguerite de Valois in Meyerbeer's Les Huguenots and the title role in Rossini's Semiramide in 1962; Norma in Bellini's Norma and Cleopatra in Handel's Giulio Cesare in 1963. In 1966 she added Marie in Donizetti's La fille du régiment, which became one of her most popular roles, because of her perfect coloratura and lively, funny interpretation.

In 1965, Sutherland toured Australia with the Sutherland-Williamson Opera Company. Accompanying her was a young tenor named Luciano Pavarotti, and the tour proved to be a major milestone in Pavarotti's career. Every performance featuring Sutherland sold out.

During the 1970s, Sutherland strove to improve her diction, which had often been criticised, and increase the expressiveness of her interpretations. She continued to add dramatic bel canto roles to her repertoire, such as Donizetti's Maria Stuarda and Lucrezia Borgia, as well as Massenet's extremely difficult Esclarmonde, a role that few sopranos attempt. With Pavarotti she made a very successful studio-recording of Turandot in 1972 under the baton of Zubin Mehta, though she never performed the role on stage.

Sutherland's early recordings show her to be possessed of a crystal-clear voice and excellent diction. However, by the early 1960s her voice lost some of this clarity in the middle register, and she often came under fire for having unclear diction. Some have attributed this to sinus surgery; however, her major sinus surgery was done in 1959, immediately after her breakthrough Lucia at Covent Garden. In fact, her first commercial recording of the first and final scene of Lucia reveals her voice and diction to be just as clear as prior to the sinus procedure. Her husband Richard Bonynge stated in an interview that her "mushy diction" occurred while striving to achieve perfect legato. According to him, it is because she earlier had a very Germanic "un-legato" way of singing. She clearly took the criticism to heart, as, within a few years, her diction improved markedly and she continued to amaze and thrill audiences throughout the world.

In the late 1970s, Sutherland's voice started to decline and her vibrato loosened to an intrusive extent. However, thanks to her vocal agility and solid technique, she continued singing the most difficult roles amazingly well. During the 1980s, she added Anna Bolena, Amalia in I masnadieri and Adriana Lecouvreur to her repertoire, and repeated Esclarmonde at the Royal Opera House performances in November and December 1983. Her last full-length dramatic performance was as Marguerite de Valois (Les Huguenots) at the Sydney Opera House in 1990, at the age of 63, where she sang Home Sweet Home for her encore. Her last public appearance, however, took place in a gala performance of Die Fledermaus on New Year's Eve, 1990, at Covent Garden, where she was accompanied by her colleagues Luciano Pavarotti and the mezzo-soprano Marilyn Horne.

According to her own words, given in an interview with The Guardian newspaper in 2002,

Sutherland had a leading role as Mother Rudd in the 1995 comedy film Dad and Dave: On Our Selection opposite Leo McKern and Geoffrey Rush.

In 1997 she published an autobiography, The Autobiography of Joan Sutherland: A Prima Donna's Progress. While it received generally scathing reviews for its literary merits, it does contain a complete list of all her performances, with full cast lists.

In 2002 she appeared at a dinner in London to accept the Royal Philharmonic Society's gold medal. She gave an interview to The Guardian in which she lamented the lack of technique in young opera singers and the dearth of good teachers. By this time she was no longer giving master classes herself; when asked why this was by Italian journalists in May 2007, she replied: "Because I'm 80 years old and I really don't want to have anything to do with opera any more, although I do sit on the juries of singing competitions." The Cardiff Singer of the World competition was the one that Sutherland was most closely associated with after her retirement. She began her regular involvement with the event in 1993, serving on the jury five consecutive times and later, in 2003, becoming its patron.

On 3 July 2008, she fell and broke both of her legs while gardening at her home in Switzerland. She completely recovered and attended a 2009 luncheon hosted by Queen Elizabeth at Buckingham Palace in honour of members of the Order of Merit.

Death

On 11 October 2010, Sutherland's family announced that she had died at her home near Montreux in Switzerland the previous day. Though she recovered from her fall in 2008, it led to more serious health problems. A statement from her family said "She's had a long life and gave a lot of pleasure to a lot of people." Sutherland had requested a small, private funeral service.

Australian Prime Minister Julia Gillard said, "She was of course one of the great opera voices of the 20th century," adding that Dame Joan showed a lot of "quintessential Australian values. She was described as down to earth despite her status as a diva. On behalf of all Australians I would like to extend my condolences to her husband Richard and son Adam and their extended family at this difficult time. I know many Australians will be reflecting on her life's work today."

Memorial service

A State Memorial Service on 9 November 2010, arranged by Opera Australia, was held at the Sydney Opera House. Speakers at the service were Julia Gillard, Prime Minister of Australia; Marie Bashir, the Governor of New South Wales; Moffatt Oxenbould, the former Artistic Director of Opera Australia; and Sutherland's son, Adam Bonynge. The service was broadcast live by both ABC1 television and ABC Classic FM (radio) and streamed globally by ABC News 24.

Honours and awards

During her career and after, Sutherland received many honours and awards. In 1961, she was made a Commander of the Order of the British Empire (CBE). That year she was also named the Australian of the Year.

In the Queen's Birthday Honours of 9 June 1975, she was in the first group of people to be named Companions of the Order of Australia (AC) (the order had been created only in February 1975). She was elevated within the Order of the British Empire from Commander to Dame Commander (DBE) in the New Year's Honours of 1979.

On 29 November 1991, the Queen bestowed on Dame Joan the Order of Merit (OM). In January 2004 she received the Australia Post Australian Legends Award which honours Australians who have contributed to the Australian identity and culture. Two stamps featuring Joan Sutherland were issued on Australia Day 2004 to mark the award. Later in 2004, she received a Kennedy Center Honor for her outstanding achievement throughout her career.

Sutherland House and the Dame Joan Sutherland Centre, both at St Catherine's School, Waverley, and the Joan Sutherland Performing Arts Centre (JSPAC), Penrith, are all named in her honour.

John Paul College, a leading private school in Queensland, Australia, dedicated its newly established facility the Dame Joan Sutherland Music Centre in 1991. Sutherland visited the centre for its opening and again in 1996.

Roles

Sutherland performed live the following complete roles. {|class="wikitable sortable" !width="90px"|First performance!!Composer!!Work!!Role!!House!!Conductor!!Director!!class="unsortable"|Remarks |- |Jun 1947||Handel||Acis and Galatea||Galatea||Eastwood Masonic Hall, Sydney||||||Concert performance |- |Aug 1947||Purcell||Dido and Aeneas||Dido||Lyceum Club, Sydney||||||Concert performance |- |15 Jul 1950||Handel||Samson||Dalila and Israelite woman||Sydney Town Hall||||||Concert performance; Sutherland made her professional role debut as the Israelite woman on 14 October 1958 |- |09 Jul 1951||Goossens||Judith||Judith||Sydney Conservatorium of Music||Goossens||||Sutherland's first complete staged opera |- |16 Jul 1952||Puccini||Il tabarro||Giorgetta||Parry Theatre, RCM||Richard Austin||Peter Rice/Pauline Elliot|| |- |28 Oct 1952||Mozart||The Magic Flute||First lady||ROH, Covent Garden||Pritchard||Messel||Sutherland's professional debut |- |03 Nov 1952||Verdi||Aida||High Priestess||ROH, Covent Garden||Barbirolli||Cruddas|| |- |08 Nov 1952||Bellini||Norma||Clotilde||ROH, Covent Garden||Gui||Barlow|| |- |29 Dec 1952||Verdi||Un ballo in maschera||Amelia||ROH, Covent Garden||Pritchard||Barlow/Stone||Sutherland's first leading role |- |24 Feb 1953||Mozart||The Marriage of Figaro||Countess Almaviva||ROH tour, Edinburgh||J Gibson||Gerard|| |- |13 May 1953||Strauss||Elektra||Overseer||ROH, Covent Garden||Kleiber||Lambert|| |- |11 Aug 1953||Britten||Gloriana||Lady Rich||ROH tour, Bulawayo|||||| |- |19 Oct 1953||Wagner||Die Walküre||Helmwige||ROH, Covent Garden||Stiedry||Pemberton|| |- |02 Nov 1953||Bizet||Carmen||Frasquita||ROH, Covent Garden||Pritchard||Wakhévitch|| |- |04 Feb 1954||Verdi||Aida||Aida||ROH, Covent Garden||E Young||Cruddas|| |- |23 Mar 1954||Weber||Der Freischütz||Agathe||ROH, Covent Garden||Downes||Furse|| |- |30 Apr 1954||Piccinni||La buona figliuola||Lucinda||||Mackerras||||BBC radio broadcast |- |27 May 1954||Wagner||Der Ring des Nibelungen||Woglinde and Woodbird||ROH, Covent Garden||Stiedry||Hurry||Sutherland also sang the role of Helmwige, which she had sung previously; the other dates of the cycle were 2, 8, and 17 June |- |17 Nov 1954||Offenbach||Les contes d'Hoffmann||Antonia||ROH, Covent Garden||Downes||Wakhévitch|| |- |27 Jan 1955||Tippett||The Midsummer Marriage||Jenifer||ROH, Covent Garden||Pritchard||Hepworth||World premiere; Sutherland created the role |- |28 Feb 1955||Offenbach||Les contes d'Hoffmann||Giulietta||ROH tour, Glasgow||Downes||Wakhévitch|| |- |19 Jun 1955||Offenbach||Les contes d'Hoffmann||Olympia||ROH, Covent Garden||Downes||Wakhévitch|| |- |30 Sep 1955||Weber||Euryanthe||Euryanthe||||Stiedry||||BBC radio broadcast |- |30 Oct 1955||Bizet||Carmen||Micaela||ROH, Covent Garden||Downes||Wakhévitch|| |- |11 Mar 1956||Mozart||La clemenza di Tito||Vitellia||||Pritchard||||BBC radio broadcast |- |10 Nov 1956||Mozart||The Magic Flute||Pamina||ROH, Covent Garden||J Gibson||Messel|| |- |28 Jan 1957||Wagner||Die Meistersinger von Nürnberg||Eva||ROH, Covent Garden||Kubelík||Wakhévitch|| |- |19 Mar 1957||Handel||Alcina||Alcina||St Pancras Town Hall||Farncombe||||Concert performance; Sutherland first performed this role on stage on 19 February 1960 |- |08 Jun 1957||Verdi||Rigoletto||Gilda||ROH, Covent Garden||Downes||Gellner|| |- |05 Jul 1957||Mozart||Der Schauspieldirektor||Mme Hertz||Glyndebourne Festival Opera||Balkwill||Rice|| |- |16 Aug 1957||Scarlatti||Mitridate Eupatore||Laodice||||Appia||||BBC radio broadcast |- |08 Sep 1957||Donizetti||Emilia di Liverpool||Emilia||||Pritchard||||BBC radio broadcast |- |21 Dec 1957||Verdi||Otello||Desdemona||ROH, Covent Garden||Downes||Wakhévitch|| |- |16 Jan 1958||Poulenc||Dialogues of the Carmelites||Mme Lidoine||ROH, Covent Garden||Kubelík||Wakhévitch|| |- |24 May 1958||Haydn||Applausus Musicus||Temperantia||||Newstone||||BBC radio broadcast |- |26 Jul 1958||Mozart||Don Giovanni||Donna Anna||Vancouver Opera||Goldschmidt||Maximowna|| |- |17 Feb 1959||Donizetti||Lucia di Lammermoor||Lucia||ROH, Covent Garden||Serafin||Zeffirelli||This performance marked the beginning of Sutherland's international career |- |24 Jun 1959||Handel||Rodelinda||Rodelinda||Sadler's Wells Theatre||Farncombe||Pidcock|| |- |08 Jan 1960||Verdi||La traviata||Violetta Valéry||ROH, Covent Garden||Santi||Fedorovitch|| |- |24 May 1960||Bellini||I puritani||Elvira||Glyndebourne Festival Opera||Gui||Heeley|| |- |19 Oct 1960||Bellini||La sonnambula||Amina||ROH, Covent Garden||Serafin||Sanjust|| |- |21 Feb 1961||Bellini||Beatrice di Tenda||Beatrice||New York Town Hall||Rescigno||||Concert performance; Sutherland first performed this role on stage on 10 May 1961 |- |04 Jan 1962||Mozart||The Magic Flute||The Queen of the Night||ROH, Covent Garden||Klemperer||Eisler|| |- |28 May 1962||Meyerbeer||Les Huguenots||Maguerite de Valois||La Scala||Gavazzeni||Nicola Benois|| |- |17 Dec 1962||Rossini||Semiramide||Semiramide||La Scala||Santini|||| |- |20 Jun 1963||Handel||Giulio Cesare||Cleopatra||Sadler's Wells Theatre||Farncombe||Warre|| |- |17 Oct 1963||Bellini||Norma||Norma||Vancouver Opera||Bonynge||McLance/Mess|| |- |09 Mar 1965||Gounod||Faust||Marguerite||Connecticut Opera||Bonynge||Rome/Brooks van Horne|| |- |02 Jun 1966||Donizetti||La fille du régiment||Marie||ROH, Covent Garden||Bonynge||Anni/Escoffier|| |- |10 Apr 1967||Delibes||Lakmé||Lakmé||Seattle Opera||Bonynge|||| |- |21 May 1967||Gluck||Orfeo ed Euridice||Euridice||Theater an der Wien||Bonynge||Ludwig|| |- |12 Nov 1971||Donizetti||Maria Stuarda||Maria Stuarda||San Francisco Opera||Bonynge||Pizzi|| |- |26 Oct 1972||Donizetti||Lucrezia Borgia||Lucrezia||Vancouver Opera||Bonynge||Varona|| |- |23 Oct 1974||Massenet||Esclarmonde||Esclarmonde||San Francisco Opera||Bonynge||Montressor|| |- |12 Sep 1975||Verdi||Il trovatore||Leonora||San Francisco Opera||Bonynge||Hager/Skalicki|| |- |22 Apr 1976||Lehár||The Merry Widow||Hanna Glavari||Vancouver Opera||Bonynge||Varona|| |- |16 Jul 1977||Puccini||Suor Angelica||Suor Angelica||Sydney Opera House||Bonynge||Digby|| |- |23 Sep 1977||Massenet||Le roi de Lahore||Sita||Vancouver Opera||Bonynge||Mariani|| |- |04 Jul 1979||Mozart||Idomeneo||Electra||Sydney Opera House||Bonynge||Truscott|| |- |02 Jul 1980||Verdi||I masnadieri||Amalia||Sydney Opera House||Bonynge||Lees/Stennett|| |- |22 May 1983||Cilea||Adriana Lecouvreur||Adriana||San Diego Opera||Bonynge||O'Hearn/Mess|| |- |22 Jun 1984||Donizetti||Anna Bolena||Anna Bolena||Canadian Opera Company, Toronto||Bonynge||Pascoe/Stennett|| |- |04 Oct 1985||Thomas||Hamlet||Ophélie||Canadian Opera Company, Toronto||Bonynge||Shalicki/Digby/Stennett|| |}

Recordings

Recordings include: ;Vincenzo Bellini

Beatrice di Tenda—Joan Sutherland (Beatrice), Luciano Pavarotti (Orombello), Cornelius Opthof (Filippo), Josephine Veasey (Agnese), Joseph Ward (Anichino/Rizzardo), Ambrosian Opera Chorus, London Symphony Orchestra, Richard Bonynge—Decca

I puritani—Joan Sutherland (Elvira), Pierre Duval (Arturo), Renato Capecchi (Riccardo), Ezio Flagello (Giorgio), Giovanni Fioiani (Gualtiero), Margreta Elkins (Enrichetta), Piero de Palma (Bruno), Coro e Orchestra del Maggio Musicale Fiorentino, Richard Bonynge (conductor) –recorded 1963– Decca 448 969-2 / Decca 467 789-2 (part of a 10-CD set) / London POCL 3965-7

I puritani—Joan Sutherland (Elvira), Luciano Pavarotti (Arturo), Piero Cappuccilli (Riccardo), Nicolai Ghiaurov (Giorgio), Giancarlo Luccardi (Gualtiero), Anita Caminada (Enrichetta), Renato Cazzaniga (Bruno), Chorus of the Royal Opera, Covent Garden, London Symphony Orchestra—Richard Bonynge, Recorded 1973, Decca

La sonnambula—Joan Sutherland (Amina), Nicola Monti (Elvino), Fernando Corena (Rodolfo), Sylvia Stahlman (Lisa), Margreta Elkins (Teresa), Angelo Mercuriali (Notary), Giovanni Fioiani (Alessio), Coro e Orchestra del Maggio Musicale Fiorentino, Richard Bonynge recorded 1962—Decca 00289 448 9662 6 / 000320702 / 455 823-2—Track listing

La sonnambula—Joan Sutherland (Amina), Luciano Pavarotti (Elvino), Nicolai Ghiaurov (Rodolfo), Isobel Buchanan (Lisa), Della Jones (Teresa), Piero De Palma (Notaro), John Tomlinson (Alessio), National Philharmonic Orchestra, London Opera Chorus, Richard Bonynge, recorded 1980—Decca 2LH417-424

Norma—Joan Sutherland (Norma), Marilyn Horne (Adalgisa), John Alexander (Pollione), Richard Cross (Oroveso), Yvonne Minton (Clotilde), Joseph Ward (Flavio), London Symphony Orchestra and Chorus, Richard Bonynge, Recorded 1964—Decca

Norma—Joan Sutherland (Norma), Margreta Elkins (Adalgisa), Ronald Stevens (Pollione), Clifford Grant (Oroveso), Etela Piha (Clotilde), Trevor Brown (Flavio), Opera Australia Chorus, Elizabethan Sydney Orchestra, Richard Bonynge, recorded 1978—DVD Arthaus Musik 100 180

Norma—Joan Sutherland (Norma), Montserrat Caballé (Adalgisa), Luciano Pavarotti (Pollione), Samuel Ramey (Oroveso), Diana Montague (Clotilde), Kim Begley (Flavio), Chorus and Orchestra of the Welsh National Opera, Richard Bonynge, Recorded 1984—Decca

;Georges Bizet

Carmen—Regina Resnik (Carmen), Mario del Monaco (Don Jose), Joan Sutherland (Micaëla), Tom Krause (Escamillo), Georgette Spanellys (Frasquita), Yvonne Minton (Mercedes), Robert Geay (Zuniga), Jean Prudent (Le Dancaire), Alfred Hallet (Le Remendado), Claude Cales (Morales)

;Giovanni Battista Bononcini

Griselda—Joan Sutherland (Griselda), Lauris Elms (Ernesto), Monica Sinclair (Gualtiero), Margreta Elkins (Almirena), Spiro Malas (Rambaldo), Ambrosian Opera Chorus, London Philharmonic Orchestra, Richard Bonynge, recorded 1967. Decca 448 977-2 (coupled with Montezuma)

;Léo Delibes

Lakmé—Joan Sutherland (Lakmé), Gabriel Bacquier (Nilakantha), Jane Berbié (Malika), Émile Belcourt (Hadji), Alain Vanzo (Gérald), Monte Carlo Opera Chorus, Orchestre National de l'Opéra de Monte-Carlo, Richard Bonynge, Recorded 1968, Decca Records.

;Gaetano Donizetti

Emilia di Liverpool (excerpts) / Lucia di Lammermoor (excerpts)—Joan Sutherland (Lucia), Margreta Elkins (Alisa), Joao Gibin (Edgardo), Tullio Serafin (conductor). Recorded 26 February 1959—Myto Records MCD 91545 (Probably these are excerpts from the same performance as the Melodram recording.)

Lucia di Lammermoor—Joan Sutherland (Lucia), Renato Cioni (Edgardo), Robert Merrill (Enrico), Cesare Siepi (Raimondo), Chorus & Orchestra of the Accademia di Santa Cecilia, John Pritchard (conductor), Decca, 1961.

Lucia di Lammermoor—Joan Sutherland (Lucia), Luciano Pavarotti (Edgardo), Sherrill Milnes(Enrico), Nicolai Ghiaurov (Raimondo), Chorus & Orchestra of the Royal Opera House, Covent Garden, Richard Bonynge, Decca, 1971.

Lucia di Lammermoor—Joan Sutherland (Lucia), João Gibin (Edgardo), John Shaw (Enrico), Joseph Rouleau (Raimondo), Kenneth MacDonald (Arturo), Margreta Elkins (Alisa), Robert Bowman (Normanno), Chorus & Orchestra of the Royal Opera House, Covent Garden, Tullio Serafin, recorded 1959—Golden Melodram GM 50024 or Giuseppe di Stefano GDS 21017 or Bella Voce BLV 107 218 (highlights). 2006 release: Royal Opera House Heritage Series ROHS 002.

Lucia di Lammermoor—Joan Sutherland (Lucia), André Turp (Edgardo), John Shaw (Enrico), Joseph Rouleau (Raimondo), Kenneth MacDonald (Arturo), Margreta Elkins (Alisa), Edgar Evans (Normanno), Chorus & Orchestra of the Royal Opera House, Covent Garden, John Pritchard, recorded 1961—Celestial Audio CA 345

Lucia di Lammermoor—Joan Sutherland (Lucia), Richard Tucker (Edgardo), Frank Guarrera (Enrico), Nicola Moscona (Raimondo), Robert Nagy (Normanno), Thelma Votipka (Alisa), Charles Anthony (Arturo), Metropolitan Opera House, Conductor: Silvio Varviso. Recorded 9 December 1961 for radio broadcasting.

La fille du régiment—Joan Sutherland (Marie), Luciano Pavarotti (Tonio), Monica Sinclair (La Marquise de Berkenfield), Jules Bruyère (Hortensius), Spiro Malas (Sulpice), Eric Garrett (Le Caporal), Edith Coates (La Duchesse de Crakentorp), Orchestra & Chorus of the Royal Opera House, Covent Garden, Richard Bonynge. Recorded: Kingsway Hall, London, 17–28 July 1967. Original LP release: SET 372-3 (two LPs), CD release: 414 520-2 DH2 (two CDs).

L'elisir d'amore—Joan Sutherland (Adina), Luciano Pavarotti (Nemorino), Dominic Cossa (Belcore), Spiro Malas (Dulcamara), Maria Casula (Giannetta), Ambrosian Opera Chorus, English Chamber Orchestra, Richard Bonynge. Recorded: Kingsway Hall, London, 12–23 January and 1–10 July 1970. Original LP release: SET 503-5 (three LPs), CD release: 414 461-2 DH2 (two CDs), CD re-release: 475 7514 DOR2 (two CDs).

Lucrezia Borgia—Joan Sutherland (Lucrezia Borgia), Ronald Stevens (Gennaro), Margreta Elkins (Maffio Orsini), Richard Allman (Don Alfonso), Robin Donald (Jacopo Liveretto), Lyndon Terracini (Don Apostolo Gazella), Gregory Yurisich (Ascanio Petrucci), Lamberto Furlan (Oloferno Vitellozzo), Pieter Van der Stolk (Gubetta), Graeme Ewer (Rustighello), John Germain (Astolfo), Neville Grave (Un servo), Eddie Wilden (Un coppiere), Jennifer Bermingham (Principessa Negroni), Australian Opera Chorus, Sydney Elizabethan Orchestra, Richard Bonynge, recorded 1977. VHS Video Cassette—Castle Video CV2845 (PAL); Polygram-Vidéo 070 031-3 (SECAM) Polygram 079 261-3 (PAL)

Lucrezia Borgia—Joan Sutherland (Lucrezia), Giacomo Aragall (Gennaro), Marilyn Horne (Orsini), Ingvar Wixell (Alfonso), London Opera Chorus, National Philarmonic Orchestra, Richard Bonynge (conductor), Decca, 1977.

Maria Stuarda—Joan Sutherland (Maria), Huguette Tourangeau (Elisabeta), Luciano Pavarotti (Leicester), Roger Soyer (Talbot), Margreta Elkins (Anna), James Morris (Cecil), Coro del Teatro Comunale di Bologna, Orchestra del Teatro Comunale di Bologna, Richard Bonynge, recorded 1975—Decca 00289 425 4102 / Lyrica LRC 1040/1041—Track listing and excerpts

;Charles Gounod

Faust—Joan Sutherland (Marguerite), Franco Corelli (Faust), Nicolai Ghiaurov (Méphistophélès), Robert Massard (Valentin), Margreta Elkins (Siébel), Monica Sinclair (Marthe), Raymond Myers (Wagner), Ambrosian Opera Chorus and Highgate School Choir, London Symphony Orchestra, Richard Bonynge, Decca 0289 4705632 4 (2002 release) / 421 240-2 (1991 release) / 467 059-2 / London POCL 3962-4 Track listing and audio samples

;George Frideric Handel

Alcina—Joan Sutherland (Alcina), Margreta Elkins (Ruggiero), Lauris Elms (Bradamante), Richard Greager (Oronte), Narelle Davidson (Morgana), Ann-Maree McDonald (Oberto), John Wegner (Melisso), Chorus and Orchestra of Australian Opera, Richard Bonynge, recorded 1983. Celestial Audio CA 112

Alcina coupled with Giulio Cesare in Egitto (highlights)—Margreta Elkins (Giulio Cesare), Joan Sutherland (Cleopatra), Marilyn Horne (Cornelia), Monica Sinclair (Tolomeo), Richard Conrad (Sesto), New Symphonic Orchestra of London, Richard Bonynge—Decca 00289 433 7232 / 467063-2 / 467 067-2—Track listing and excerpts

Athalia—Joan Sutherland, Emma Kirkby, Aled Jones, James Bowman, Anthony Rolfe Johnson, David Thomas, The Academy of Ancient Music, Christopher Hogwood (Conductor)

Messiah—Joan Sutherland, Grace Bumbry, London Symphony Orchestra, Sir Adrian Boult (Conductor)—Decca 433 003-2

Rodelinda—Alfred Hallett (Grimoaldo), Raimund Herincx (Garibaldo), Joan Sutherland (Rodelinda), Dame Janet Baker (Eduige), Margreta Elkins (Bertarido), Patricia Kern (Unolfo), Chandos Singers, Philomusica Antiqua Orchestra, Charles Farncombe. An English language version, recorded live on June 24, 1959—Opera D'oro OPD 1189 (two CDs) or Memories HR 4577–4578 or Living Stage LS 403 35147 (highlights).

Rodelinda—Joan Sutherland (Rodelinda), Huguette Tourangeau (Bertarido), Eric Tappy (Grimoaldo), Margreta Elkins (Eduige), Cora Canne-Meijer (Unolfo), Pieter Van Den Berg (Garibaldo), Netherlands Chamber Orchestra, Richard Bonynge. Recorded 30 June 1973—Bella Voce BLV 10 7206.

;Wolfgang Amadeus Mozart

Idomeneo—Sergei Baigildin (Idomeneo), Margreta Elkins (Idamante), Henri Wilden (Arbace), Leona Mitchell (Ilia), Joan Sutherland (Elettra), Australian Opera Chorus, Sydney Elizabethan Orchestra, Richard Bonynge, recorded 1979. Gala GLH 826 (highlights) and Celestial Audio CA 060 (highlights)

Don Giovanni—Gottlob Frick (Commendatore), Luigi Alva (Don Ottavio), Graziella Sciutti (Zerlina), Joan Sutherland (Donna Anna), Piero Cappuccilli (Masetto), Elisabeth Schwarzkopf (Donna Elvira), Eberhard Wächter (Don Giovanni), Heinrich Schmidt, Giuseppe Taddei (Leporello), London Philharmonia Orchestra, Carlo Maria Giulini. Recorded 1959—EMI 0724356787353

Don Giovanni—Gabriel Bacquier (Don Giovanni), Pilar Lorengar (Donna Elvira), Marilyn Horne (Zerlina), Joan Sutherland (Donna Anna), English Chamber Orchestra, Richard Bonynge. Decca 448 973-2

;Giacomo Meyerbeer

Les Huguenots—Joan Sutherland (Marguerite), Franco Corelli (Raoul), Giulietta Simionato (Valentine), Nicolai Ghiaurov (Marcel), Fiorenza Cossotto (Urbain), Gianandrea Gavazzeni, Orchestra e Coro del Teatro Alla Scala. Live: June 7, 1962. Opera D'Oro. Sung in Italian.

Les Huguenots—Dominic Cossa (Nevers), Gabriel Bacquier (Saint-Bris), Nicola Ghiuselev (Marcel), John Wakefield (Tavannes), Joseph Ward (Cossé), John Noble (Thoré), Glynne Thomas (Retz), John Gibbs (Meru), Clifford Grant (Maurevert), Janet Coster (Léonard), Dame Kiri Te Kanawa (1st Maid of Honour), Josephte Clement (2nd Maid of Honour), Arleen Auger (1st Gypsy Girl), Maureen Lehane (2nd Gypsy Girl), Joan Sutherland (Marguerite de Valois), Martina Arroyo (Valentine), Huguette Tourangeau (Urbain), Anastasios Vrenios (Raoul de Nangis), Alan Opie (2nd Monk), NPO, Bonynge. Decca 430 549-2, recorded in 1969.

;Jacques Offenbach

Les contes d'Hoffmann—Joan Sutherland, Plácido Domingo, Gabriel Bacquier,, L'Orchestre de la Suisse Romande, Orchestre du Radio de la Suisse Romande, Pro Arte de Lausanne, Andre Charlet, Richard Bonynge, studio recording made at Victoria Hall, Geneva, first published in 1976.

;Giacomo Puccini

Suor Angelica—Joan Sutherland (Angelica), Christa Ludwig (La Zia Principessa), National Phiharmonic Orchestra, Richard Bonynge. Decca 475 6531 (coupled with Leoni's "L'oracolo")

Turandot—Joan Sutherland (Turandot), Luciano Pavarotti (Calaf), Montserrat Caballé (Liu), Nicolai Ghiaurov (Timur), Peter Pears (Emperor), London Phiharmonic Orchestra, Zubin Mehta. Decca 414 274-2, recorded in 1972.

;Gioachino Rossini

Semiramide—Joan Sutherland (Semiramide), John Serge (Idreno), Joseph Rouleau (Assur), Spiro Malas (Oroe), Patricia Clark (Azema), Leslie Fyson (Mitrane), Michael Langdon (Spectre of Nino), Marilyn Horne (Arsace), London Symphony Orchestra, Richard Bonynge. Decca 425 481-2, recorded in 1966.

;Ambroise Thomas

Hamlet—Joan Sutherland, Gösta Winbergh, James Morris, Sheril Milnes, Orchestra and Chorus of the Welsh National Opera. Decca, 433 857-2.

;Giuseppe Verdi

Ernani—Luciano Pavarotti (Ernani), Joan Sutherland (Elvira), Leo Nucci (Carlo), Paata Burchuladze (Silva), Linda McLeod (Giovanna), Richard Morton (Riccardo), Alastair Miles (Jago), Orchestra and Chorus of Welsh National Opera, Richard Bonynge. Recorded: Walthamstow Assembly Hall, 10–21 May 1987. Original CD release: 421 412-2 DHO2 (two CDs), CD re-release: 475 7008 DM2 (two CDs)

I masnadieri—Joan Sutherland, Samuel Ramey, Franco Bonisolli, Matteo Manuguerra, Simone Alaimo, Orchestra and Chorus of the Welsh Nation, Richard Bonynge. CD re-release in 1993: 433 854–2 (two CD, DDD).

Requiem—Joan Sutherland, Marilyn Horne, Luciano Pavarotti, Martti Talvela, Vienna State Opera Chorus and Vienna Philharmonic (Sir Georg Solti). Decca 411 944-2

Rigoletto—Cornell MacNeil, Joan Sutherland, Renato Cioni, Cesare Siepi, Chorus & Orchestra of the Accademia di Santa Cecilia, Nino Sanzogno, Decca, 1961.

Rigoletto—Sherrill Milnes, Joan Sutherland, Luciano Pavarotti, Martti Talvela, Ambrosian Opera Chorus, London Symphony Orchestra, Richard Bonynge, Decca, 1971.

La traviata—Joan Sutherland, Carlo Bergonzi, Robert Merrill, Chorus & Orchestra of Maggio Musicale Fiorentino, John Pritchard, Decca, 1962

La traviata—Joan Sutherland, Luciano Pavarotti, Matteo Manuguerra, National Philharmonic Orchestra, Richard Bonynge. London 430 491-2 recorded in 1979.

Il trovatore—Luciano Pavarotti (Manrico), Ingvar Wixell (Il Conte di Luna), Nicolai Ghiaurov (Ferrando), Joan Sutherland (Leonora), Marilyn Horne (Azucena), Graham Clark (Ruiz), Norma Burrowes (Ines), Peter Knapp (Un vecchio zingaro), Wynford Evans (Un messo), London Opera Chorus, National Philharmonic Orchestra, Richard Bonynge. Recorded: Kingsway Hall, London, 8, 10, 11, 13–18, 20 September 1976; 26 March 1977. Original LP release: D82D 3 (three LPs), CD release: 417 137-2 DH2* (two CDs), CD re-release: 460 735-2 DF2 (two CDs). (Ballet music not included in CD release).

;Richard Wagner

Siegfried—Joan Sutherland as the Woodbird, Vienna Philharmonic (Sir Georg Solti) 1962 recording, London 414 110-2

References

Further reading

Norma Major Joan Sutherland: The Authorized Biography Queen Anne P, 1987, ISBN 0-35612-693-5, ISBN 978-0356126937 / Little Brown & Co, 1994, ISBN 0-31654-555-4, ISBN 978-0316545556

The Autobiography of Joan Sutherland—A prima donna's progress Weidenfeld & Nicolson, 1997, ISBN 0297813218

External links

Joan Sutherland at Decca Records

Joan Sutherland Collection at the Performing Arts Collection, the Arts Centre Melbourne (costumes, costume elements, costume designs, props, photographs, programmes, correspondence, scrapbooks, news clippings, business records etc.)

Dame Joan Sutherland programs in the National Library of Australia

Collected news and commentary at The New York Times

R.I.P: Opera Legend Joan Sutherland – slideshow by Life magazine

;Interviews

ABC Sunday Profile interview: Dame Joan Sutherland

Arts and Culture: Ch. Purdy Interview with Dame Sutherland, November 2006

Joan Sutherland interview by Bruce Duffie

;Obituaries

Dame Joan Sutherland obituary, John Amis, Alan Blyth, The Guardian, Monday, 11 October 2010

Joan Sutherland, Opera Soprano, Dies, Anthony Tommasini at The New York Times

Joan Sutherland: addio, Stupenda, Anne Midgette at The Washington Post

;Opinion

Joan Sutherland: the greatest soprano ever?, Martin Kettle at The Guardian

Dame Joan Sutherland remembered at Opera Now

Sutherland, Joan (1926–) National Library of Australia, Trove, People and Organisation record for Joan Sutherland

Category:1926 births Category:2010 deaths Category:Alumni of the Royal College of Music Category:ARIA Hall of Fame inductees Category:ARIA Award winners Category:Australian dames Category:Australian expatriates in Switzerland Category:Australian female singers Category:Australian people of Scottish descent Category:Australian of the Year Award winners Category:Australian opera singers Category:Australian sopranos Category:Companions of the Order of Australia Category:Dames Commander of the Order of the British Empire Category:Disease-related deaths in Switzerland Category:Grammy Award winners Category:Honorary Members of the Royal Academy of Music Category:Kennedy Center honorees Category:Members of the Order of Merit Category:Operatic sopranos Category:People from Sydney Category:Royal Philharmonic Society Gold Medallists

Inva Mula (born 1963) is an Albanian opera soprano. She comes from an artistic family. She began her soprano career at a very early age. Her father, Avni Mula, is a famous Albanian singer and composer, born in Gjakova, a city in Kosovo. Her first name, Inva, is formed from taking her father's name, Avni, and reading it backwards.

Life and Career

Inva was born in Tirana, Albania in 1963. In 1987 she won the Cantante d'Albania competition in Tirana and in 1988 the George Enescu Competition in Bucharest. In 1992 she won the Butterfly Competition in Barcelona. She received an award at Plácido Domingo's first Operalia International Opera Competition contest in Paris, 1993. A CD of the event was released.

She later performed in various concerts with the famous tenor at the Opéra Bastille in Paris, and in Brussels for Europalia Mexico, in Munich, and in Oslo. In 1996 she performed Luigi Cherubini's opera Médée (which was taped for TV) at Compiègne in France. She then returned for Georges Bizet's opera La Jolie fille de Perth (released CD, filmed for TV, and released DVD in Japan) in 1998. After this she recorded Puccini's La Rondine with Angela Gheorghiu for EMI and for 2005's stage production she took Gheorghiu's place in the leading role of Magda during performances in Toulouse and Paris. In 1997 she performed in a movie called The Fifth Element, where she played as Diva Plavalaguna (singing voice). Later on, she performed Bizet's Ivan IV concert version, which had its recital debut at Salle Pleyel in Paris, and a live recording was released as CD. In 2001, she was busy in Italy, performing Verdi's Falstaff at the Teatro alla Scala and Rigoletto at the Verona Arena, both of which were taped for TV then released on DVD.

Mula is a regular performer at La Scala, where she has sung in Lucia di Lammermoor, La bohème, and Manon, among others. She is also a renowned Violetta in La Traviata, and has sung the role in many cities around the world, including Tokyo, Bilbao, Orange, Trieste, and Toronto. In 2007, she performed Adina in L'elisir d'amore at Toulouse.

Her ex-husband Pirro Çako is a well-known singer and composer from Albania, so she used the spelling Tchako rather than Çako. However, after mid-1990 she began using the name Inva Mula, and never returned to the old one. Italic text

Brief incursion in the film industry

Mula is perhaps best-known to Western filmgoers as the voice behind the Diva Plavalaguna (the very tall, blue alien performer) in the film The Fifth Element, where she is credited as Inva Mulla Tchako. In the film (released in 1997) she performed the aria "Oh, giusto cielo!...Il dolce suono" (the mad scene) from Gaetano Donizetti's Lucia di Lammermoor, and "The Diva dance" song.

Director Luc Besson adored Maria Callas, but her 1950s EMI Classics recording of "Lucia" wasn't clear enough to use on a film soundtrack, so Callas's agent Michel Glotz, who had produced this recording, introduced him to Mula.

See also

List of Albanians

Sources

Auzias, Dominique, and Labordette, Jean-Paul (eds.), "Enfants du pays", Albanie, Petit Futé, 2009, p. 80. ISBN 2746925338

External links

Official Website

Operabase

Telecom Valley

CAMI

Category:1963 births Category:Living people Category:People from Tirana Category:Albanian opera singers Category:Albanian atheists Category:Operatic sopranos Category:Operalia prize-winners

, 1886]]

Giuseppe Fortunino Francesco Verdi (; 10 October 1813 – 27 January 1901) was an Italian Romantic composer, mainly of opera. He was one of the most influential composers of the 19th century. His works are frequently performed in opera houses throughout the world and, transcending the boundaries of the genre, some of his themes have long since taken root in popular culture - such as "La donna è mobile" from Rigoletto, "Va, pensiero" (The Chorus of the Hebrew Slaves) from Nabucco, "Libiamo ne' lieti calici" (The Drinking Song) from La traviata and the "Grand March" from Aida. Although his work was sometimes criticized for using a generally diatonic rather than a chromatic musical idiom and having a tendency toward melodrama, Verdi’s masterworks dominate the standard repertoire a century and a half after their composition.

Early life

(1879)]] Verdi was born the son of Carlo Giuseppe Verdi and Luigia Uttini in Le Roncole, a village near Busseto, then in the Département Taro which was a part of the First French Empire after the annexation of the Duchy of Parma and Piacenza. The baptismal register, on 11 October lists him as being "born yesterday", but since days were often considered to begin at sunset, this could have meant either 9 or 10 October. The next day, he was baptized in the Roman Catholic Church in Latin as Joseph Fortuninus Franciscus. The day after that (Tuesday), Verdi's father took his newborn the three miles to Busseto, where the baby was recorded as Joseph Fortunin Francois; the clerk wrote in French. "So it happened that for the civil and temporal world Verdi was born a Frenchman."

When he was still a child, Verdi's parents moved from Piacenza to Busseto, where the future composer's education was greatly facilitated by visits to the large library belonging to the local Jesuit school. Also in Busseto, Verdi was given his first lessons in composition.

Verdi went to Milan when he was twenty to continue his studies. He took private lessons in counterpoint while attending operatic performances, as well as concerts of, specifically, German music. Milan's beaumonde association convinced him that he should pursue a career as a theatre composer. During the mid 1830s, he attended the Salotto Maffei salons in Milan, hosted by Clara Maffei.

Returning to Busseto, he became the town music master and, with the support of Antonio Barezzi, a local merchant and music lover who had long supported Verdi's musical ambitions in Milan, Verdi gave his first public performance at Barezzi’s home in 1830.

Because he loved Verdi’s music, Barezzi invited Verdi to be his daughter Margherita's music teacher, and the two soon fell deeply in love. They were married on 4 May 1836 and Margherita gave birth to two children, Virginia Maria Luigia (26 March 1837 - 12 August 1838) and Icilio Romano (11 July 1838 - 22 October 1839). Both died in infancy while Verdi was working on his first opera and, shortly afterwards, Margherita died on 18 June 1840. Verdi adored his wife and children, and he was devastated by their untimely deaths.

Initial recognition

The production by Milan's La Scala of his first opera, Oberto in November 1839 achieved a degree of success, after which Bartolomeo Merelli, La Scala's impresario, offered Verdi a contract for two more works.

It was while he was working on his second opera, Un giorno di regno, that Verdi's wife died. The opera, given in September 1840, was a flop and he fell into despair and vowed to give up musical composition forever. However, Merelli persuaded him to write Nabucco and its opening performance in March 1842 made Verdi famous. Legend has it that it was the words of the famous Va pensiero chorus of the Hebrew slaves that inspired Verdi to write music again.

A large number of operas - 14 in all - followed in the decade after 1843, a period which Verdi was to describe as his "galley years". These included his I Lombardi in 1843, and Ernani in 1844. For some, the most original and important opera that Verdi wrote is Macbeth in 1847. For the first time, Verdi attempted an opera without a love story, breaking a basic convention in 19th century Italian opera.

In 1847, I Lombardi, which was revised and renamed Jerusalem, was produced by the Paris Opera. Due to a number of Parisian conventions that had to be honored (including extensive ballets), it became Verdi's first work in the French Grand opera style.

Middle years

Sometime in the mid-1840s, after the death of Margherita Barezzi, Verdi began an affair with Giuseppina Strepponi, a soprano in the twilight of her career. Their cohabitation before marriage was regarded as scandalous in some of the places they lived, but Verdi and Giuseppina married on 29 August 1859 at Collonges-sous-Salève, near Geneva. While living in Busseto with Strepponi, Verdi bought an estate two miles from the town in 1848. Initially, his parents lived there, but, after his mother's death in 1851, he made the Villa Verdi at Sant'Agata in Villanova sull'Arda his home until his death.

As the "galley years" were drawing to a close, Verdi created one of his greatest masterpieces, Rigoletto, which premiered in Venice in 1851. Based on a play by Victor Hugo (Le roi s'amuse), the libretto had to undergo substantial revisions in order to satisfy the epoch's censorship, and the composer was on the verge of giving it all up a number of times. The opera quickly became a great success.

With Rigoletto, Verdi sets up his original idea of musical drama as a cocktail of heterogeneous elements, embodying social and cultural complexity, and beginning from a distinctive mixture of comedy and tragedy. Rigoletto's musical range includes band-music such as the first scene or the song La donna è mobile, Italian melody such as the famous quartet "Bella figlia dell'amore", chamber music such as the duet between Rigoletto and Sparafucile and powerful and concise declamatos often based on key-notes like the C and C# notes in Rigoletto and Monterone's upper register.

There followed the second and third of the three major operas of Verdi's "middle period": in 1853 Il Trovatore was produced in Rome and La traviata in Venice. The latter was based on Alexandre Dumas, fils' play The Lady of the Camellias, and became the most popular of all Verdi's operas, placing third in the Opera America's list of 20 most performed operas in North America.

Later compositions

Between 1855 and 1867, an outpouring of great Verdi operas followed, among them such repertory staples as Un ballo in maschera (1859), La forza del destino (commissioned by the Imperial Theatre of Saint Petersburg for 1861 but not performed until 1862), and a revised version of Macbeth (1865). Other somewhat less often performed include Les vêpres siciliennes (1855) and Don Carlos (1867), both commissioned by the Paris Opera and initially given in French. Today, these latter two operas are most often performed in their revised Italian versions. Simon Boccanegra followed in 1857. In 1869, Verdi was asked to compose a section for a requiem mass in memory of Gioachino Rossini and proposed that this requiem should be a collection of sections composed by other Italian contemporaries of Rossini. The requiem was compiled and completed, but it was cancelled at the last minute (and was not performed in Verdi's lifetime). Verdi blamed this on the lack of enthusiasm for the project by the intended conductor, Angelo Mariani, who had been a longtime friend of his. The episode led to a permanent break in their personal relations. The soprano Teresa Stolz (who later had a strong professional - and, perhaps, romantic - relationship with Verdi) was at that time engaged to be married to Mariani, but she left him not long after. Five years later, Verdi reworked his "Libera Me" section of the Rossini Requiem and made it a part of his Requiem Mass, honoring the famous novelist and poet Alessandro Manzoni, who had died in 1873. The complete Requiem was first performed at the cathedral in Milan on 22 May 1874.

Verdi's grand opera, Aida, is sometimes thought to have been commissioned for the celebration of the opening of the Suez Canal in 1869, but, according to one major critic, Verdi turned down the Khedive's invitation to write an "ode" for the new opera house he was planning to inaugurate as part of the canal opening festivities. The opera house actually opened with a production of Rigoletto. Later in 1869/70, the organizers again approached Verdi (this time with the idea of writing an opera), but he again turned them down. When they warned him that they would ask Charles Gounod instead and then threatened to engage Richard Wagner's services, Verdi began to show considerable interest, and agreements were signed in June 1870.

Teresa Stolz was associated with both Aida and the Requiem (as well as a number of other Verdi roles). The role of Aida was written for her, and although she did not appear in the world premiere in Cairo in 1871, she created Aida in the European premiere in Milan in February 1872. She was also the soprano soloist in the first and many later performances of the Requiem. It was widely believed that she and Verdi had an affair after she left Angelo Mariani, and a Florence newspaper criticised them for this in five strongly worded articles. Whether there is any truth to the accusation may never be known with any certainty. However, after Giuseppina Strepponi's death, Teresa Stolz became a close companion of Verdi until his own death.

Verdi and Wagner, who were the leaders of their respective schools of music, seemed to resent each other greatly. They never met. Verdi's comments on Wagner and his music are few and hardly benevolent ("He invariably chooses, unnecessarily, the untrodden path, attempting to fly where a rational person would walk with better results"), but at least one of them is kind: upon learning of Wagner's death, Verdi lamented, "Sad, sad, sad! ... a name that will leave a most powerful impression on the history of art." Of Wagner's comments on Verdi, only one is well-known. After listening to Verdi's Requiem, the German, prolific and eloquent in his comments on some other composers, stated, "It would be best not to say anything."

Final years and death

During the following years, Verdi worked on revising some of his earlier scores, most notably new versions of Don Carlos, La forza del destino, and Simon Boccanegra.

Otello, based on William Shakespeare's play, with a libretto written by the younger composer of Mefistofele, Arrigo Boito, premiered in Milan in 1887. Its music is "continuous" and cannot easily be divided into separate "numbers" to be performed in concert. Some feel that although masterfully orchestrated, it lacks the melodic lustre so characteristic of Verdi's earlier, great, operas, while many critics consider it Verdi's greatest tragic opera, containing some of his most beautiful, expressive music and some of his richest characterizations. In addition, it lacks a prelude, something Verdi listeners are not accustomed to. Arturo Toscanini performed as cellist in the orchestra at the world premiere and began his friendship with Verdi (a composer he revered as highly as Beethoven). Verdi's last opera, Falstaff, whose libretto was also by Boito, was based on Shakespeare's Merry Wives of Windsor and Victor Hugo's subsequent translation. It was an international success and is one of the supreme comic operas which shows Verdi's genius as a contrapuntist.

In 1894, Verdi composed a short ballet for a French production of Otello, his last purely orchestral composition. Years later, Arturo Toscanini recorded the music for RCA Victor with the NBC Symphony Orchestra which complements the 1947 Toscanini performance of the complete opera.

In 1897, Verdi completed his last composition, a setting of the traditional Latin text Stabat Mater. This was the last of four sacred works that Verdi composed, Quattro Pezzi Sacri, which are often performed together or separately. The first performance of the four works was on 7 April 1898, at the Grande Opéra, Paris. The four works are: Ave Maria for mixed chorus; Stabat Mater for mixed chorus and orchestra; Laudi alla Vergine Maria for female chorus; and Te Deum for double chorus and orchestra.

On 29 July 1900, King Umberto I of Italy was assassinated, a deed that horrified the aged composer.

While staying at the Grand Hotel et de Milan in Milan, Verdi had a stroke on 21 January 1901. He grew gradually more feeble and died six days later, on 27 January. Arturo Toscanini conducted the vast forces of combined orchestras and choirs composed of musicians from throughout Italy at the state funeral for Verdi in Milan. To date, it remains the largest public assembly of any event in the history of Italy.

Role in the Risorgimento

in Palermo, Italy by Antonio Ugo.]]

Music historians have long perpetuated a myth about the famous Va, pensiero chorus sung in the third act of Nabucco. The myth reports that, when the Va, pensiero chorus was sung in Milan, then belonging to the large part of Italy under Austrian domination, the audience, responding with nationalistic fervor to the exiled slaves' lament for their lost homeland, demanded an encore of the piece. As encores were expressly forbidden by the government at the time, such a gesture would have been extremely significant. However, recent scholarship puts this to rest. Although the audience did indeed demand an encore, it was not for Va, pensiero but rather for the hymn Immenso Jehova, sung by the Hebrew slaves to thank God for saving His people. In light of these new revelations, Verdi's position as the musical figurehead of the Risorgimento has been correspondingly downplayed.

On the other hand, during rehearsals, workmen in the theater stopped what they were doing during Va, pensiero and applauded at the conclusion of this haunting melody while the growth of the "identification of Verdi's music with Italian nationalist politics" is judged to have begun in the summer 1846 in relation to a chorus from Ernani in which the name of one of its characters, "Carlo", was changed to "Pio", a reference to Pope Pius IX's grant of an amnesty to political prisoners.

After Italy was unified in 1861, many of Verdi's early operas were re-interpreted as Risorgimento works with hidden Revolutionary messages that probably had not been intended by either the composer or librettist. Beginning in Naples in 1859 and spreading throughout Italy, the slogan "Viva VERDI" was used as an acronym for ''Viva Vittorio Emanuele Re D'Italia (Victor Emmanuel King of Italy), referring to Victor Emmanuel II, then king of Sardinia.

The Chorus of the Hebrews (the English title for Va, pensiero) has another appearance in Verdi folklore. Prior to Verdi's body being driven from the cemetery to the official memorial service and its final resting place at the Casa di Riposo per Musicisti, Arturo Toscanini conducted a chorus of 820 singers in "Va, pensiero". At the Casa, the Miserere from Il trovatore was sung.

Verdi was elected as a member of the Chamber of Deputies in 1861 following a request of Prime Minister Cavour but in 1865 he resigned from the office. In 1874 he was named Senator of the Kingdom by King Victor Emanuel II.

Style

(1860)]] Verdi's predecessors who influenced his music were Rossini, Bellini, Giacomo Meyerbeer and, most notably, Gaetano Donizetti and Saverio Mercadante. With the exception of Otello and Aida, he was free of Wagner's influence. Although respectful of Gounod, Verdi was careful not to learn anything from the Frenchman whom many of Verdi's contemporaries regarded as the greatest living composer. Some strains in Aida suggest at least a superficial familiarity with the works of the Russian composer Mikhail Glinka, whom Franz Liszt, after his tour of the Russian Empire as a pianist, popularized in Western Europe.

Throughout his career, Verdi rarely utilised the high C in his tenor arias, citing the fact that the opportunity to sing that particular note in front of an audience distracts the performer before and after the note appears. However, he did provide high Cs to Duprez in Jérusalem and to Tamberlick in the original version of La forza del destino. The high C often heard in the aria Di quella pira does not appear in Verdi's score.

Some critics maintain he paid insufficient attention to the technical aspect of composition, lacking as he did schooling and refinement. Verdi himself once said, "Of all composers, past and present, I am the least learned." He hastened to add, however, "I mean that in all seriousness, and by learning I do not mean knowledge of music."

However, it would be incorrect to assume that Verdi underestimated the expressive power of the orchestra or failed to use it to its full capacity where necessary. Moreover, orchestral and contrapuntal innovation is characteristic of his style: for instance, the strings producing a rapid ascending scale in Monterone's scene in Rigoletto accentuate the drama, and, in the same opera, the chorus humming six closely grouped notes backstage portrays, very effectively, the brief ominous wails of the approaching tempest. Verdi's innovations are so distinctive that other composers do not use them; they remain, to this day, some of Verdi's signatures.

Verdi was one of the first composers who insisted on patiently seeking out plots to suit his particular talents. Working closely with his librettists and well aware that dramatic expression was his forte, he made certain that the initial work upon which the libretto was based was stripped of all "unnecessary" detail and "superfluous" participants, and only characters brimming with passion and scenes rich in drama remained.

Many of his operas, especially the later ones from 1851 onwards, are a staple of the standard repertoire. No composer of Italian opera has managed to match Verdi's popularity, perhaps with the exception of Giacomo Puccini.

Works

Verdi's operas, and their date of première are:

Oberto, 17 November 1839

Un giorno di regno, 5 September 1840

Nabucco, 9 March 1842

I Lombardi alla prima crociata, 11 February 1843

Ernani, 9 March 1844

I due Foscari, 3 November 1844

Giovanna d'Arco, 15 February 1845

Alzira, 12 August 1845

Attila, 17 March 1846

Macbeth, 14 March 1847

I masnadieri, 22 July 1847

Jérusalem (a revision and translation of I Lombardi alla prima crociata) 26 November 1847

Il corsaro, 25 October 1848

La battaglia di Legnano, 27 January 1849

Luisa Miller, 8 December 1849

Stiffelio, 16 November 1850

Rigoletto, 11 March 1851

Il trovatore, 19 January 1853

La traviata, 6 March 1853

Les vêpres siciliennes, 13 June 1855

Simon Boccanegra, 12 March 1857

Aroldo (A major revision of Stiffelio), 16 August 1857

Un ballo in maschera, 17 February 1859

La forza del destino, 10 November 1862

Don Carlos, 11 March 1867

Aida, 24 December 1871

Otello, 5 February 1887

Falstaff, 9 February 1893

Political Significance

Unlike most of the visual arts, opera was commercially profitable, accessible to most classes of society, and thus an effective means of reaching the 19th-century public. Verdi used musical theater to contrast noble ideals with the corrosive effects of power, love of country with the inevitable call for sacrifice and death, and the lure of passion with the need for social order.

Media

Cultural depictions and references

The 1985 play After Aida is a play-with-music similar to Amadeus. It is an accurate and learned, yet dramatic and humorous, depiction of Verdi's relationship with his librettist Arrigo Boito, and the attempts of Giulio Ricordi and Franco Faccio to get the two to collaborate on a project, Otello.

Eponyms

There are many theatres named after Verdi in Italy.

The Verdi Inlet on the Beethoven Peninsula of Alexander Island just off Antarctica

Verdi Square at Broadway and West 72nd Street in Manhattan features the Giuseppe Verdi Monument.

Asteroid 3975 Verdi

Verdi's name literally translates as "Joseph Green" in English (although verdi is the plural form of "green"). Musical comedian Victor Borge often referred to the famous composer as "Joe Green" in his act, saying that "Giuseppe Verdi" was merely his "stage name". The same joke-translation is mentioned in Agatha Christie's Evil Under the Sun by Patrick Redfern to Hercule Poirot — a prank which inadvertedly gives Poirot the answer to the murder.

Notes

References

Life in and around Busseto

Associazione Amici di Verdi (ed.), Con Verdi nella sua terra, Busseto, 1997, (in English)

Maestrelli, Maurizio, Guida alla Villa e al Parco (in Italian), publication of Villa Verdi, 2001

Mordacci, Alessandra, An Itinerary of the History and Art in the Places of Verdi, Busseto: Busseto Tourist Office, 2001 (in English)

Villa Verdi': the Visit and Villa Verdi: The Park; the Villa; the Room (pamphlets in English), publications of the Villa Verdi

External links

Giuseppe Verdi Official Site

Stanford University list of Verdi operas, premiere locations and dates, etc.

"Album Verdi" from the Digital Library of the National Library of Naples (Italy)

London Society for Verdi enthusiasts

Listen to a free MP3 recording of Ave Maria with Umeå Akademiska Kör

Free MP3 Verdi's operas

Free audio MP3 OnClassical - Creative Commons BY-NC-SA, 1.0 - licensed

Un ballo in Maschera Soprano (free MP3)

Detailed listing of "complete" recordings of Verdi's operas and of extended excerpts

"Verdi and Milan", lecture by Roger Parker on Verdi, given at Gresham College, London 14 May 2007

Verdi cylinder recordings, from the Cylinder Preservation and Digitization Project at the University of California, Santa Barbara Library

Giuseppe Verdi MP3 Creative Commons Recordings

Category:1813 births Category:1901 deaths Category:Giuseppe Verdi Category:People from Busseto Category:Opera composers Category:Italian composers Category:Romantic composers Category:Recipients of the Pour le Mérite (civil class) Category:Senators of the Kingdom of Italy Category:Honorary Members of the Royal Philharmonic Society

Andrea Rost (born June 15, 1962) is a Hungarian lyric soprano. She has performed in leading roles with the Vienna State Opera, La Scala, the Royal Opera House, Opéra National de Paris, the Metropolitan Opera and the Salzburg Festival. 1997 saw the release of her first solo recording, Le delizie dell’amor, featuring arias from bel canto, Verdi and Puccini operas.

External links

Official Site

Sony Masterworks bio

Category:1962 births Category:Living people Category:Hungarian female singers Category:Hungarian opera singers

Aldo Protti (b. July 19, 1920, Cremona - d. August 10, 1995, Cremona) was an Italian baritone, particularly associated with the Italian repertory.

He studied in Parma, and made his debut in Pesaro, as Figaro, in 1948. He made his La Scala debut in 1950, as Amonasro, and sang there for many years. He sang widely in Italy and Europe in the standard Italian repertory, earning a reputation for being "one of the most reliable baritone in the business". He made a belated debut at the Metropolitan Opera, as Rigoletto, at age 65.

He was particularly appreciated in Verdi roles, especially Rigoletto, his greatest role, but also as Alfio, Tonio, Gérard, Scarpia, etc.

Protti can also be heard in many recordings, including Rigoletto, La traviata, Aida, and Otello, the last two opposite Renata Tebaldi and Mario del Monaco.

Sources

Grove Music Online, J.B. Steane, Oxford University Press, 2008.

Category:1920 births Category:1995 deaths Category:Italian opera singers Category:Operatic baritones Category:Italian baritones Category:People from Cremona