The tenor is a type of male singing voice and is the highest male voice within the modal register. The typical tenor voice lies between C₃, the C one octave below middle C, to the A above middle C (A₄) in choral music, and up to high C (C₅) in solo work. The low extreme for tenors is roughly B2 (two Bs below middle C). At the highest extreme, some tenors can sing up to two Fs above middle C (F₅).

The term tenor is also applied to instruments, such as the tenor saxophone, to indicate their range in relation to other instruments of the same group.

Within opera, the lowest note in the standard tenor repertoire is A₂ (Mime, Herod), but few roles fall below C₃. The high extreme: a few tenor roles in the standard repertoire call for a "tenor C" (C₅, one octave above middle C). Most (if not all) of the few top Cs in the standard operatic repertoire are either optional (such as in "Che gelida manina" in Puccini's ''La bohème'') or interpolated (added) by tradition (such as in "Di quella pira" from Verdi's ''Il trovatore''). Some operatic roles for tenor require a darker timbre and fewer high notes. In the leggiero repertoire the highest note is an F₅ (Arturo in ''I puritani''), therefore, very few tenors can have this role in their repertoire. A ''shift'' in pitch since the mid 19th century means that the few written top Cs (such as in "Salut demeure" from Gounod's ''Faust'') would have in fact demanded a note at least a semitone lower than today's standard pitch.

Within musical theatre, most tenor roles are written between B₂ and A₄, especially the romantic leads, although some fall as low as A₂ and others as high as G₅.

Origin of the term

The name "tenor" derives from the Latin word ''tenere'', which means "to hold". In medieval and Renaissance polyphony between about 1250 and 1500, the tenor was the structurally fundamental (or ‘holding’) voice, vocal or instrumental. All other voices were normally calculated in relation to the tenor, which often proceeded in longer note values and carried a borrowed Cantus firmus melody. Until the late 15th century introduction of the contratenor bassus, the tenor was usually the lowest voice, assuming the role of providing a harmonic foundation. It was also in the 15th century that "tenor" came to signify the male voice that sang such parts. Thus, for earlier repertoire, a line marked 'tenor' indicated the part's role, and not the required voice type. Indeed, even as late as the eighteenth century, partbooks labelled 'tenor' might contain parts for a range of voice types.

Tenor in choral music

In four-part choral music, the tenor is the second lowest voice, above the bass and below the soprano and alto. While certain choral music does require the first tenors to ascend the full tenor range, the majority of choral music places the tenors in the range from approximately B₂ up to A₄. The requirements of the tenor voice in choral music are also tied to the style of music most often performed by a given choir. Orchestra choruses require tenors with fully resonant voices, but chamber or a cappella choral music (sung with no instrumental accompaniment) can rely on light baritones singing in falsetto.

Even so, one nearly ubiquitous facet of choral singing is the shortage of tenor voices. Most men tend to have baritone voices and for this reason the majority of men tend to prefer singing in the bass section of a choir (however, true basses are even rarer than tenors). Some men are asked to sing tenor even if they lack the full range, and sometimes low altos are asked to sing the tenor part. The late 19th century saw the emergence of male choirs or TTBB (Tenor1, Tenor2, Bass1, Bass2). In the USA these are sometimes called Glee Clubs. The Welsh choirs are perhaps the best personification of this type of choir. Male Choirs sing specially written music for male choirs, music adapted from mixed sex choirs and in most genres including classical, sacred, popular and show. Male choirs differ from Barbershop choirs in that they are usually accompanied, often by but not restricted to a piano. Male choirs are often larger than the Barbershop style partly because the foundation of the Barbershop style is the solo quartet sound. In Male Choirs, tenors will often sing both in chest tone and falsetto. As a result, a male choir has a wider pitch range than one consisting only of females. Some examples of male choirs are: The Morriston Orpheus Welsh Male Voice Choir, the Sydney Male Choir and the Treorchy Male Choir. There are some impressive male ensembles in the Russian Orthodox Church choral tradition and also there are some excellent Jewish ensembles. The UK's largest male voice choir, the London Gay Men's Chorus, for example, exhibits an extraordinary pitch range from counter tenor to basso profundo.

Other uses

There are four parts in Barbershop harmony: bass, baritone, lead, and tenor (lowest to highest), with "tenor" referring to the highest part. The tenor generally sings in falsetto voice, corresponding roughly to the countertenor in classical music, and harmonizes above the lead, who sings the melody. The barbershop tenor range is B-below-middle C (B ₃) to D-above-high C (D₅), though it is written an octave lower. The "lead" in barbershop music is equivalent to the normal tenor range.

In bluegrass music, the melody line is called the lead. Tenor is sung an interval of a third above the lead. Baritone is the fifth of the scale that has the lead as a tonic, and may be sung below the lead, or even above the lead (and the tenor), in which case it is called "high baritone."

Though strictly not musical, the Muslim call to prayer (''azan'') is always chanted by tenors, possibly due to the highly placed resonance of the tenor voice which allows it to be heard from a longer distance than baritones or basses during pre-amplification times. Some such chanters (termed ''bilals'') may modulate up to E₃ in certain passages, while incorporating a distinctive Middle-Eastern coloratura run.

Tenor voice classification

Within choral and pop music, singers are classified into voice parts based almost solely on vocal range with little consideration for other qualities in the voice. Within classical solo singing, however, a person is classified as a tenor through the identification of several vocal traits, including range, vocal timbre, vocal weight, vocal tessitura, vocal resonance, and vocal transition points (lifts or "passaggio") within the singer's voice. These different traits are used to identify different sub-types within the tenor voice sometimes referred to as ''fächer'' (sg. ''fach'', from German ''Fach'' or ''Stimmfach'', "vocal category"). Within opera, particular roles are written with specific kinds of tenor voices in mind, causing certain roles to be associated with certain kinds of voices.

Here follows the operatic tenor ''fächer'', with examples of the roles from the standard repertory that they commonly sing. It should be noted that there is considerable overlap between the various categories of role and of voice-type; and that some singers have begun with lyric voices but have transformed with time into spinto or even dramatic tenors. (Enrico Caruso is a prime example of this kind of vocal development.) It must be said that in the operatic canon the highest top note generally written by composers is B. Top Cs are rare (they are either given as ''oppure'' that is, up to the singer to interpolate or are traditional additions). An ability to sing C and above, therefore, is musically superfluous. Indeed, many famous tenors never even attempted C at least on record—for example, in Caruso's 1906 recording of "Che gelida manina", the whole aria is transposed to avoid the ''oppure'' top C. This is a normal transposition.

Leggiero tenor

The male equivalent of a lyric coloratura, this voice is a light lyric instrument, is very agile and is able to perform difficult passages of fioritura. The Lirico-Leggiero tenor has a range of approximately the C one octave below middle C (C₃) to the D above tenor C (D₅), with a few leggiero tenors being able to sing F₅ and even higher while maintaining quality to the sound. Similarly, the lirico-leggero may be able to sing a little lower than the C₃. The voice is the highest operatic tenor voice and is sometimes referred to as "tenore di grazia". This voice is utilized frequently in the operas of Mozart, Rossini, Donizetti and the highest Baroque repertoire for tenors.

Lirico-Leggiero tenor roles in operas: :* Count Almaviva, ''The Barber of Seville'' (Rossini) :* Belmonte, ''The Abduction from the Seraglio'' (Mozart) :* Ernesto, ''Don Pasquale'' (Donizetti) :* Ferrando, ''Così fan tutte'' (Mozart) :* Lindoro, ''L'italiana in Algeri'' (Rossini) :* Don Ottavio, ''Don Giovanni'' (Mozart) :* Don Ramiro, ''La Cenerentola'' (Rossini) :* Tonio, ''La fille du régiment'' (Donizetti)

Lirico-leggiero tenor singers: :* John Aler :* Luigi Alva :* Ian Bostridge :* Rockwell Blake :* Lawrence Brownlee :* Juan Diego Flórez :* John van Kesteren :* Topi Lehtipuu

:* Raúl Giménez :* William Matteuzzi :* Francesco Meli :* Peter Schreier :* Léopold Simoneau :* Ferruccio Tagliavini :* Cesare Valletti

Lyric tenor

A warm graceful voice with a bright, full timbre that is strong but not heavy and can be heard over an orchestra. Lyric tenors have a range from approximately the C one octave below middle C (C₃) to the D one octave above middle C (D₅) with some able to sing up to E₅ and higher. Similarly, their lower range may extend a few notes below the C₃. There are many vocal shades to the lyric tenor group, repertoire should be selected according to the weight, colors, and abilities of the voice.

Lyric tenor roles in operas: :* Alfredo, ''La traviata'' (Verdi) :* Arturo, ''I puritani'' (Bellini) :* Chevalier, ''Dialogues of the Carmelites'' (Poulenc) :* David, ''Die Meistersinger von Nürnberg'' (Wagner) :* Il Duca di Mantova, ''Rigoletto'' (Verdi) :* Edgardo, ''Lucia di Lammermoor'' (Donizetti) :* Elvino, ''La sonnambula'' (Bellini) :* Faust, ''Faust'' (Gounod) :* Fenton, ''Falstaff'' (Verdi) :* Hoffmann, ''The Tales of Hoffmann'' (Offenbach) :* Lensky, ''Eugene Onegin'' (Tchaikovsky) :* Oronte, ''I Lombardi alla prima crociata'' (Verdi) :* Paris, ''La belle Hélène'' (Offenbach) :* Pinkerton, ''Madama Butterfly'' (Puccini) :* Rinuccio, ''Gianni Schicchi'' (Puccini) :* Rodolfo, ''La bohème'' (Puccini) :* Roméo, ''Roméo et Juliette'' (Gounod) :* Tamino, ''Die Zauberflöte'' (Mozart) :* Werther, ''Werther'' (Massenet) :* Wilhelm Meister, ''Mignon'' (Thomas) :* Arnold, ''William Tell'' (Rossini)

Lyric tenor singers: :* Roberto Alagna :* Marcelo Álvarez :* Giacomo Aragall :* Piotr Beczała :* Evgeny Belyaev :* Alessandro Bonci :* Joseph Calleja :* José Carreras :* Richard Crooks :* Giuseppe Di Stefano :* Salvatore Fisichella :* Miguel Fleta :* Beniamino Gigli :* Nicolai Gedda :* Jerry Hadley :* Ernst Haefliger :* Ivan Kozlovsky :* Alfredo Kraus :* Alexey Kudrya :* Sergei Lemeshev :* John McCormack :* Francesco Marconi :* Chris Merritt :* Luciano Pavarotti :* Jan Peerce :* Alfred Piccaver :* Jacques Pottier :* Gianni Raimondi :* Dmitri Smirnov :* Leonid Sobinov :* Tito Schipa :* Richard Tauber :* Joseph Schmidt :* Alain Vanzo :* Ramón Vargas :* Fernando del Valle :* Rolando Villazón :* Gösta Winbergh :* Fritz Wunderlich

Spinto tenor

This voice has the brightness and height of a lyric tenor, but with a heavier vocal weight enabling the voice to be "pushed" to dramatic climaxes with less strain than the lighter-voice counterparts. (They are also known as "lyric-dramatic" tenors.) Spinto tenors have a darker timbre than a lyric tenor, without having a vocal color as dark as many (not all) dramatic tenors. However, other spinto tenors, such as Jussi Björling or Carlo Bergonzi have brightly colored and lyrical sounding voices, but are nevertheless able to perform spinto roles due to fairly large vocal size. Spinto tenors have a wide range of flexibility within the fach system being able to perform such roles as Radames in ''Aida'' and Don Alvaro in ''La forza del destino'' as well as lighter roles such as the Duca in ''Rigoletto'' and ''Werther''. The German equivalent of the Spinto fach is the Jugendlicher Heldentenor and encompasses many of the Dramatic tenor roles as well as some Wagner roles such as Lohengrin and Siegmund. The difference is often the depth and metal in the voice where some lyric tenors age or push their way into singing as a Spinto giving them a lighter tone and Jugendlicher Heldentenors tend to be either young heldentenors or true lyric dramatic voices giving them a dark dramatic tenor like tone. Spinto tenors have a range from approximately the C one octave below middle C (C₃) to the C one octave above middle C (C₅), and, like the lyric tenors, they are often capable of reaching D5 and sometimes higher. Similarly, their lower range may extend a few notes below C₃.

Spinto tenor roles in operas: :* Andrea Chénier, ''Andrea Chénier'' (Giordano) :* Canio, ''Pagliacci'' (Leoncavallo) :* Des Grieux, ''Manon Lescaut'' (Puccini) :* Don Carlo, ''Don Carlos'' (Verdi) :* Don José, ''Carmen'' (Bizet) :* Erik, ''Der Fliegende Holländer'' (Wagner) :* Ernani, ''Ernani'' (Verdi) :* Hermann, ''Queen of Spades'' (Tchaikovsky) :* Idomeneo, ''Idomeneo'' (Mozart) :* Macduff, ''Macbeth (opera)'' (Verdi) :* Manrico, ''Il trovatore'' (Verdi) :* Mario Cavaradossi, ''Tosca'' (Puccini) :* Maurizio, ''Adriana Lecouvreur'' (Cilea) :* Max, ''Der Freischütz'' (Weber) :* Pollione ''Norma'' (Bellini) ;* Stiffelio ''Stiffelio'' (Verdi) :* Riccardo, ''Un ballo in maschera'' (Verdi) :* Turiddu, ''Cavalleria rusticana'' (Mascagni)

Spinto tenor singers:

:* Daniele Barioni :* Carlo Bergonzi :* Jussi Björling :* Beniamino Gigli :* Plácido Domingo :* Giacomo Lauri-Volpi :* Franco Corelli :* Francesco Merli : :* Giovanni Martinelli :* Helge Rosvaenge :* Georges Thill :* Richard Tucker :* Mario Lanza

Dramatic tenor

Also "tenore di forza" or "robusto" – an emotive, ringing and very powerful, clarion, heroic tenor sound. The dramatic tenor has an approximate range from the C one octave below middle C (C3) to the C one octave above middle C (C5). Many successful dramatic tenors have historically avoided the coveted high C in performance. Their lower range tends to extend into the baritone tessitura or, a few notes below the C3, even down to A♭2. Some dramatic tenors have a rich and dark tonal colour to their voice (such as the mature Enrico Caruso) while others (like Francesco Tamagno) possess a bright, steely timbre.

Dramatic tenor roles in operas: :* Calaf, ''Turandot'' (Puccini) :* Canio, ''Pagliacci'' (Leoncavallo) :* Dick Johnson, ''La fanciulla del West'' (Puccini) :* Don Alvaro, ''La forza del destino'' (Verdi) :* Florestan, ''Fidelio'' (Beethoven) :* Otello, ''Otello'' (Verdi) :* Peter Grimes, ''Peter Grimes'' (Britten) :* Radames, ''Aida'' (Verdi) :* Samson, ''Samson et Dalila'' (Saint-Saëns)

Dramatic tenor singers:

:* Franco Bonisolli :* Enrico Caruso :* Léon Escalais :* Giuseppe Giacomini :* Ben Heppner :* Mario Del Monaco :* :* James McCracken :* Aureliano Pertile :* Jean de Reszke :* Francesco Tamagno :* Ramón Vinay :* Giovanni Zenatello

Heldentenor

A rich, dark, powerful and dramatic voice. As its name implies, the Heldentenor (English: ''heroic tenor'') vocal ''fach'' features in the German romantic operatic repertoire. The Heldentenor is the German equivalent of the tenore drammatico, however with a more baritonal quality: the typical Wagnerian protagonist. The keystone of the heldentenor's repertoire is arguably Wagner's ''Siegfried'', an extremely demanding role requiring a wide vocal range and great power, plus tremendous stamina and acting ability. Often the heldentenor is a baritone who has transitioned to this fach or tenors who have been misidentified as baritones. Therefore the heldentenor voice might or might not have facility up to high B or C. The repertoire, however, rarely calls for such high notes. A Heldentenor is sometimes less a true tenor than a baritone with an unusually strong top register. Lauritz Melchior epitomises the Heldentenor sound in this regard.

Heldentenor roles in operas: :* Florestan, ''Fidelio'' (Beethoven) :* Tannhäuser, ''Tannhäuser'' (Wagner) :* Loge, ''Das Rheingold'' (Wagner) :* Lohengrin, ''Lohengrin'' (Wagner) :* Parsifal, ''Parsifal'' (Wagner) :* Drum Major, ''Wozzeck'' (Berg) :* Siegfried, ''Götterdämmerung'' (Wagner) :* Siegfried, ''Siegfried'' (Wagner) :* Siegmund, ''Die Walküre'' (Wagner) :* Walter von Stolzing, ''Die Meistersinger von Nürnberg'' (Wagner) :* Tristan, ''Tristan und Isolde'' (Wagner)

Heldentenor singers:

:* Bernd Aldenhoff :* Giuseppe Borgatti :* Hans Beirer :* Karel Burian :* Richard Cassilly :* Wilhelm Elsner :* Stephen Gould :* Peter Hofmann :* Hans Hopf :* James King :* Heinrich Knote :* René Kollo :* Ernst Kraus :* Max Lorenz :* Lauritz Melchior :* Albert Niemann :* Ticho Parly :* Ludwig Schnorr von Carolsfeld :* Ludwig Suthaus :* Set Svanholm :* Josef Tichatschek :* Jacques Urlus :* Jon Vickers :* Wolfgang Windgassen :* Franz Völker :* Jess Thomas

Tenor buffo or Spieltenor

A tenor with good acting ability, and the ability to create distinct voices for his characters. This voice specializes in smaller comic roles. The range of the tenor buffo is from the C one octave below middle C (C₃) to the C one octave above middle C (C₅). The tessitura of these parts lies lower than the other tenor roles. These parts are often played by younger tenors who have not yet reached their full vocal potential or older tenors who are beyond their prime singing years. Only rarely will a singer specialize in these roles for an entire career. In French opéra comique, supporting roles requiring a thin voice but good acting are sometimes described as 'trial', after the singer Antoine Trial (1737–1795), examples being in the operas of Ravel and in ''The Tales of Hoffmann''.

Tenor buffo or Spieltenor roles in operas: :* Count Danilo Danilovitsch, ''The Merry Widow'' (Lehár) :* Don Basilio, ''The Marriage of Figaro'' (Mozart) :* Mime, ''Siegfried'' (Wagner) :* Don Anchise/ Il Podestà, ''La finta giardiniera'' (Mozart) :* Monostatos, ''The Magic Flute'' (Mozart) :* Pedrillo, ''Die Entführung aus dem Serail'' (Mozart) :* Dr. Blind, ''Die Fledermaus'' (Strauss II) :* Slender, ''The Merry Wives of Windsor (opera)'' (Nicolai) :* John Styx, ''Orpheus in the Underworld'' (Offenbach) :* Prince Paul, ''La Grande-Duchesse de Gérolstein'' (Offenbach) :* Kálmán Zsupán, ''The Gypsy Baron'' (Strauss II) :* The Captain, ''Wozzeck'' (Berg) :* The Magician, ''The Consul'' (Menotti) :* Beppe, ''Pagliacci'' (Leoncavallo) :* Frantz, ''The Tales of Hoffmann'' (Offenbach) :* Spoletta, ''Tosca'' (Puccini) :* Goro, ''Madama Butterfly'' (Puccini) :* Pong, ''Turandot'' (Puccini) :* Gastone, ''La traviata'' (Verdi) :* Gherardo, ''Gianni Schicchi'' (Puccini) :* King Kaspar, ''Amahl and the Night Visitors'' (Menotti)

Tenor buffo or Spieltenor singers: :*Charles Anthony :*Nico Castel :*Graham Clark :*Piero de Palma :*Anthony Laciura :*Michel Sénéchal :*Darren Keith Woods :*Heinz Zednik :*Gerhard Stolze

Operetta

Tenor roles in operetta: All of the Gilbert and Sullivan operettas have at least one lead lyric tenor character; other notable roles are:

:* Candide, (''Candide'') :* Eisenstein, (''Die Fledermaus'') :* Camille, Count de Rosillon, (''The Merry Widow'') :* Prince Karl, (''The Student Prince'') :* Sheikh Red Shadow, (''The Desert Song'') :* Captain Dick, (''Naughty Marietta'')

Non-vocal use

A tenor is a classification of drum used in a drum corps or drum-line. The tenor drum consists of 5 or 6 drums of different tones, 4, 3, 2, 1, and one or two spocks. 4 is the lowest sounding drum and the right spock is the highest sounding drum. Tenors are also referred to as quads because of the four main drums, or quints including the spocks. The tenors, in a drum cadence, are usually a combination of bass drum and snare drum beats to give the cadence more of a groove.

References

Specific references: General references:

David Fallows, Owen Jander. ''Tenor'', Grove Music Online, ed. L. Macy, grovemusic.com (subscription required)

Category:Pitch (music) Category:Voice types Category:Opera terminology

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Demetri Martin (born May 25, 1973) is an American comedian, actor, artist, musician, writer and humorist. Martin is best known for his work as a stand-up comedian, contributor on ''The Daily Show'' and for his Comedy Central show ''Important Things with Demetri Martin''.

Early life

Demetri Martin was born to a Greek American family in New York City, New York, and grew up in Toms River, New Jersey. He is the son of Lillian, a nutritionist, and Dean C. Martin, a Greek Orthodox priest. Martin graduated from Yale University in 1995. Although he was accepted into Harvard Law School, he went to New York University School of Law after he received a full scholarship. In 1996 Martin interned for the Domestic Policy Council at the Clinton White House, then after completing his second year of law school he dropped out.

Career

In 2001, Martin caught his first big break in stand-up comedy when he appeared on Comedy Central's stand-up showcase ''Premium Blend''. At the 2003 Edinburgh Festival Fringe he won the Perrier award with his show ''If I...''. The show was turned into a British television special in 2004. From 2003 to 2004, Martin wrote for ''Late Night with Conan O'Brien''. In 2004, Martin had his own ''Comedy Central Presents'' stand-up special. His special was divided into three parts. In the first, he performed in traditional stand-up comedy fashion. In the second segment, he used humorous drawings as visual aids, which would serve either as the punchline or a background. During the third segment, he played a guitar and put on a pseudo-play where he would strum his guitar while talking; some of his comedian friends dressed as fairies and dragons acted according to the story he was telling, detailing the magical land where his jokes came from. Martin's mother and grandmother also appeared.

Since late 2005, he has been credited as a contributor on ''The Daily Show'', on which he has appeared as the named "Senior Youth Correspondent" and on which he hosts a segment called "Trendspotting". He has used this segment to talk about so-called hip trends among youth such as hookahs, wine, guerilla marketing and Xbox 360. A piece about social networking featured his profile on MySpace. On March 22, 2007, Demetri made another appearance on ''The Daily Show'', talking about the Viacom lawsuit against Google and YouTube.

He has recorded a comedy CD/DVD titled ''These Are Jokes'', which was released on September 26, 2006. This album also features ''Saturday Night Live'' member Will Forte and stand-up comedian Leo Allen.

Martin returned to ''The Daily Show'' on March 22, 2006, as the new Youth Correspondent, calling his segment "Professional Important News with Demetri Martin". In 2007, he starred in a Fountains of Wayne music video for "Someone to Love" as Seth Shapiro, a character in the song. He also starred in the video for the new Travis single "Selfish Jean", in which he wears multiple t-shirts with lyrics written on them.

On September 2, 2007, Martin appeared on the season finale of the HBO series ''Flight of the Conchords''. He appeared as a keytar player named Demetri.

He also had a part in the movie ''The Rocker'' (2008) starring Rainn Wilson. Martin played the part of the videographer when the band in the movie was making their first music video.

In 2009, he hosted and starred in his own television show called ''Important Things With Demetri Martin'' on Comedy Central. Later in June, it was announced his show had been renewed for a second season. The second season premiered, again on Comedy Central, on February 4, 2010. Martin has stated that ''Important Things'' will not return for a third season.

Prior to completing work on his second season, Martin starred in the comedy-drama film ''Taking Woodstock'' (2009), directed by Ang Lee, which premiered at the 2009 Cannes Film Festival. In the film Martin plays Elliot Tiber, a closeted gay artist who has given up his ambitions in the city to move upstate and help his old-world Jewish family run their Catskill Mountains motel. The film is based on the book written by Tiber.

On April 25, 2011, Martin released his first book, titled ''This Is a Book''.

Future plans

Martin sold his movie concept ''Will'' to DreamWorks; he is expected to play a key supporting role. He will play the lead in the film ''Moon People'', a pitch that he sold to Columbia Pictures.

Martin also signed a blind script deal with CBS in October 2010 to produce, write, and star in his own television series.

After CBS was shown the pilot for the series, they decided not to air it.

On August 11, 2011, Fox ordered a presentation of a new animated show they might air.

''If I''

''If I'' is a Perrier Comedy Award-winning comedy one-man show written and performed by Demetri Martin at the 2003 Edinburgh Festival Fringe. It was also aired on British television as a special. The show is an autobiographical examination of Martin's life, as seen through various definitions of the word "if."

The title of the special comes from a lengthy palindromic poem that Martin wrote; the words "if I" are at the center of the poem.

Comedic style

Martin is known for being an unconventional stand-up comic. He uses extensive wordplay (particularly paraprosdokians), one-liners, and drawings on a "large pad", as well as accompanying his jokes with music on either guitar, harmonica, piano, keyboard, glockenspiel, toy bells, ukulele, or tambourine, sometimes all at once. He has cited comedian Steven Wright as an important influence (both use deadpan one-liners in their acts) and he is also a fan of Bill Cosby.

Personal life

According to a July 2011 interview on the WTF with Marc Maron podcast , Demetri had a short-lived marriage to a girl he knew from high school. They began dating after high school and got married when he was in NYU Law School and she was attending NYU Medical School. He was aged 25 and in the end of his marriage/going through divorce when his stand-up career began .

Martin moved to Santa Monica, California in 2009.

Discography

''Invite Them Up'' (2005)

''These Are Jokes'' (2006)

''Demetri Martin. Person.'' (2007)

Filmography and television work

''If I'' ''12:21'' ''Late Night with Conan O'Brien'' "''Someone to Love (Fountains of Wayne song) ''Flight of the Conchords (TV series) ''The Rocker (film) ''Paper Heart'' ''Post Grad'' ''Moon People'' ''Taking Woodstock'' ''Important Things with Demetri Martin'' ''Take Me Home Tonight (film) ''Contagion (film) ''Conan''

Year	! Title	! Role	Notes
2002	''Analyze That''	Personal Assistant
2003	|	Himself	British television special, also writer
2004	|	Himself	short film, also writer
2004	|	Himself	1 episode, series writer
2007	Someone to Love''" ||	Seth Shapiro	''Fountains of Wayne'' music video
2007	Flight of the Conchords'' ||	Demetri	Season 1, Episode 12
2008	The Rocker'' ||	Kip (a music video producer)
2009	|	Himself
2009	|	Ad Exec
2009	|		lead role and writer
2009	|	Elliot Tiber	lead role
2009–2010	|	Himself / Various	lead role, writer, series creator, executive producer, and composer
2011	Take Me Home Tonight'' ||	Goldman Sachs Employee	supporting role
2011	Contagion'' ||
2011	|	Himself	guest

Written works

''This Is a Book'', April 2011, .

Awards and nominations

AwardPerrier Comedy AwardEmmy Awards Shared with Mike Sweeney (writer)Writers Guild of America Award Shared with Mike Sweeney (writer)Barry Award (for comedy)

Year	|	For	Category	Result	Other notes
2003	|	''If I''		Won	At the Edinburgh Festival Fringe
2004	|	''Late Night with Conan O'Brien''	Outstanding Writing for a Variety, Music, or Comedy Program	Nominated	Mike Sweeney (head writer), Chris Albers, Jose Arroyo, Andy Blitz, Kevin Dorff, Daniel J. Goor, Michael Gordon, Brian Kiley, Michael Koman, Brian McCann, Guy Nicolucci, Conan O'Brien, Allison Silverman, Robert Smigel, Brian Stack, Andrew Weinberg
2005	|	''Late Night with Conan O'Brien''	Comedy/Variety (Including Talk) - Series	Won	Mike Sweeney (head writer), Chris Albers, Jose Arroyo, Andy Blitz, Kevin Dorff, Daniel J. Goor, Michael Gordon, Brian Kiley, Michael Koman, Brian McCann, Guy Nicolucci, Conan O'Brien, Allison Silverman, Robert Smigel, Brian Stack, Andrew Weinberg
2006	Barry Award ||	''Dr. Earnest Parrot Presents Demetri Martin''		Won	Award for best show at the Melbourne International Comedy Festival

References

External links

Interview from November, 2006, in Onion AV Club

Interview from October 2006, in The DePaulia

Article, in ''The Scotsman''

Article, in ''Gelf Magazine''

Interview by Brian M. Palmer

MP3 Audio Interview on ''The Sound of Young America'' public radio show and podcast

Interview Believer Mag

New Jersey Monthly Magazine

Fresh Air, NPR.org

Category:1973 births Category:Actors from New Jersey Category:Actors from New York City Category:American comedians Category:American comedy musicians Category:American comedy writers Category:American film actors Category:American humorists Category:American people of Greek descent Category:American stand-up comedians Category:American television actors Category:American television writers Category:Living people Category:New York University alumni Category:Writers from New Jersey Category:Writers from New York City Category:Writers Guild of America Award winners Category:Yale University alumni

cs:Demetri Martin da:Demetri Martin de:Demetri Martin fr:Demetri Martin gl:Demetri Martin it:Demetri Martin simple:Demitri Martin fi:Demetri Martin sv:Demetri Martin

Coordinates	6°7′55″N1°13′22″N
Name	Tenor Saw
Background	solo_singer
Birth name	Clive Bright
Born	February 11, 1966, Kingston, Jamaica
Died	August 1988, Houston, Texas, United States
Genre	Reggae, dancehall
Occupation	Singer-songwriter, singjay
Years active	1980s
Label	}}

Tenor Saw (born Clive Bright, Kingston, Jamaica, February 11, 1966, died August 1988, Houston, Texas, United States) was a prominent dancehall singer in the 1980s, and one of the most influential singers of the early digital reggae era. His best-known song was the 1985 hit "Ring the Alarm" on the "Stalag 17" riddim.

Biography

Bright was raised in the Payne Avenue district of West Kingston. His first single, "Roll Call" was recorded in 1984 for George Phang's Powerhouse label, on the "Queen Majesty" rhythm. He moved on, with his friend Nitty Gritty, to work with Sugar Minott's Youth Promotion sound system and Black Roots Records label, having hits in Jamaica with "Lots of Sign", "Pumpkin Belly", "Run Come Call Me", and "Fever". His most successful single, however, was "Ring the Alarm", voiced over the "Stalag" rhythm for Winston Riley's Techniques label. The singles' success saw Tenor Saw work with Prince Jammy, recording "Pumpkin Belly" on Jammy's (then) new "Sleng Teng" rhythm. Further hits followed in 1986 with "Golden Hen" (on the Uptempo label), and Minott issued Tenor Saw's debut album, ''Fever'', that year. In common with most dancehall albums of the period, most of the rhythms were digital copies of older tunes from the 1960s and 1970s, usually produced originally by Coxsone Dodd or Duke Reid. Thus, "Shirley Jones" versions Keith "Slim" Smith's "Rougher Yet", and "Eeni Meeni Mini Mo" versions "Real Rock" from Studio One, while "Roll Call" versions The Techniques' "Queen Majesty" from Duke Reid, while "Lots of Sign" versions "Tonight" by Keith & Tex, produced by Derrick Harriott.

By the time the album was released, Tenor Saw had relocated to Miami, joining the Skengdon crew, where he recorded "Dancehall Feeling" and "Bad Boys". He recorded "No Work On a Sunday" for Donovan Germain, before moving to New York, where he recorded with Freddie McGregor ("Victory Train"). His last recording, "Chill Out Chill Out", was a duet with General Doggie.

In August 1988 he was killed by a speeding car in Houston, Texas. He died at 22 years of age. Tenor Saw is regarded as one of the most influential singers of the early digital reggae era of the mid-1980s.

Influence

Tenor Saw's friends and colleagues Nitty Gritty ("Who Killed Tenor Saw?") and King Kong both recorded tributes the year after his death.

Sublime's song "Jailhouse" on their self titled album is a mix of "Roll Call" and The Wailers "Jailhouse" with some of Bradley Nowell's Lyrics.

Supercat's song "Nuff man a Dead" is about the death of Tenor Saw and other superstars of the time.

311 samples Tenor Saw's "Ring the Alarm" in their song "Prisoner" from their ''Transistor'' album.

The guitar riff at the beginning of Sublime's song "Greatest Hits" is the same as the one at the end of Tenor Saw's song "Golden Hen" which is in itself a version of the Junjo Lawes' riddim Diseases.

The rap group Fu Schnickens also did a version of "Ring The Alarm"

The song "Fell, Destroyed" by Fugazi includes the line "Ring the alarm or you're sold to dying" and the lyric sheet included with the album pays "respects to Tenor Saw."

Beyonce Knowles based a performance around Tenor Saw's "Ring The Alarm". The performance was part of The Beyonce Experience. Performed in 2007 LA the song had millions of views on YouTube and was seen as a highly influential artist in today's media being influenced a genre which is different to her own

German rap group Dynamite Deluxe produced a track called 'Lots of Sign', with guest-appearance Patrice singing the hookline taken of the same titled Tenor Saw song.

HipHop-Crew Lifesavas from Portland use the melody and lyrics of "Fever" for their same titled song. Song is on the "Spirit in stone"-LP, released 2003.

Independent rap artist, Brother Ali samples Tenor Saw's "Ring the Alarm" in his song "Champion" from his album "Shadows on the Sun".

Brooklyn MC, Mos Def, references "Ring the Alarm" in his single "Universal Magnetic".

Albums

''Clash'' (1985) Witty (with Don Angelo)

''Fever'' (1986) Blue Mountain/RAS

''Wake the Town: Tribute to Tenor Saw'' (1992)

''Strictly Livestock'' (1986) Greensleeves (with Various Artists)

''Clash'' (1987) Witty (with Cocoa Tea)

''Tenor Saw Lives On'' (1992) Sky High

''With Lots Signs'' (2003) Jet Star (Tenor Saw meets Nitty Gritty)

''Tenor Saw Meets Nitty Gritty'' (2008) VP

References

External links

Discography at discogs.com

Reggae Reviews review of ''Fever''

Ring The Alarm website, including audio interview

Category:1966 births Category:1988 deaths Category:People from Kingston, Jamaica Category:Jamaican reggae musicians Category:Dancehall musicians Category:Road accident deaths in Texas

de:Tenor Saw fr:Tenor Saw ht:Tenor Saw pl:Tenor Saw sv:Tenor Saw

right|thumb|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. Luciano Pavarotti, Cavaliere di Gran Croce OMRI (12 October 1935 6 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. That same year, 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.

He died from pancreatic cancer on 6 September 2007.

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. 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 2004, one of Pavarotti's former managers, Herbert Breslin, published a book, ''The King & I''. Seen by many as bitter and sensationalistic, it is critical of the singer's acting (in opera), his inability to read music well and learn parts, and of his personal conduct, although acknowledging their mutual success. In an interview in 2005 with Jeremy Paxman on the BBC, Pavarotti rejected the allegation that he could not read music, although he acknowledged he did not read orchestral scores.

He received an enormous number of awards and honours, including Kennedy Center Honors in 2001. He also holds two Guinness World Records: one for receiving the most curtain calls (165) 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 Andrea Bocelli, Jon Bon Jovi, Bryan Adams, Bono, James Brown, Mariah Carey, Eric Clapton, Sheryl Crow, Céline Dion, Elton John, Deep Purple, Queen, George Michael, Sting and the Spice Girls, 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. He died at his home in Modena on 6 September 2007. 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 was Buried near 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.

Personal life

On 13 December 2003, he married his former personal assistant, Nicoletta Mantovani (born 1969), 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.

See also

Best selling music artists

Notes and references

External links

Official website

Discography (Capon's Lists of Opera Recordings)

''The Times'' obituary

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

The Pavarotti Story Decca Records

Pavarotti Video Biography by National Italian American Foundation NIAF

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:MusiCares Person of the Year Honorees Category:Italian opera singers Category:Italian Roman Catholics Category:Italian tenors Category:Kennedy Center honorees Category:Operatic tenors Category:People from Modena Category:Performing arts pages with videographic documentation

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Coordinates	6°7′55″N1°13′22″N
name	Sonny Rollins
background	non_vocal_instrumentalist
birth name	Theodore Walter Rollins
alias	Newk, Colossus, Uncle Don
born	September 07, 1930
origin	New York, New York, United States
instrument	Tenor saxophone, soprano saxophone
genre	Jazz
occupation	Saxophonist
label	Prestige, Blue Note, Contemporary, RCA Victor, Impulse!, Milestone
associated acts	Jackie McLean, Max Roach, Clifford Brown, Miles Davis, Thelonious Monk
notable instruments	}}

Theodore Walter "Sonny" Rollins (born September 7, 1930 in New York City) is a Grammy-winning American jazz tenor saxophonist. Rollins is widely recognized as one of the most important and influential jazz musicians. A number of his compositions, including "St. Thomas", "Oleo", "Doxy", and "Airegin", have become jazz standards.

Biography

Early life and career

While Rollins was born in New York City, his parents were born in the United States Virgin Islands. Rollins received his first saxophone at age 13.

Rollins started as a pianist, changed to alto saxophone, and finally switched to tenor in 1946. During his high-school years, he played in a band with other future jazz legends Jackie McLean, Kenny Drew and Art Taylor. He was first recorded in 1949 with Babs Gonzales ( J.J Johnson was the arranger of the group). In his recordings through 1954, he played with performers such as Miles Davis, Charlie Parker and Thelonious Monk.

In 1950, Rollins was arrested for armed robbery and given a sentence of three years. He spent 10 months in Rikers Island jail before he was released on parole. In 1952 he was arrested for violating the terms of his parole by using heroin. Rollins was assigned to the Federal Medical Center, Lexington, at the time the only assistance in the U.S. for drug addicts. While there he was a volunteer for then-experimental methadone therapy and was able to break his heroin habit. Rollins himself initially feared sobriety would impair his musicianship, but then went on to greater success.

As a saxophonist he had initially been attracted to the jump and R&B; sounds of performers like Louis Jordan, but soon became drawn into the mainstream tenor saxophone tradition. Joachim Berendt has described this tradition as sitting between the two poles of the strong sonority of Coleman Hawkins and the light flexible phrasing of Lester Young, which did so much to inspire the fleet improvisation of be-bop in the 1950s.

Rollins began to make a name for himself in 1949 as he recorded with J.J Johnson and Bud Powell what would later be called "Hard Bop", with Miles Davis in 1951, with the Modern Jazz Quartet and with Thelonious Monk in 1953, but the breakthrough arrived in 1954 when he recorded his famous compositions "Oleo" "Airegin" and "Doxy" with a quintet led by Davis. Rollins then joined the Clifford Brown–Max Roach quintet in 1955 (recordings made by this group have been released as ''Sonny Rollins Plus 4'' and ''Clifford Brown and Max Roach at Basin Street''; Rollins also plays on half of ''More Study in Brown''), and after Brown's death in 1956 worked mainly as a leader. By this time he had begun his contract with Prestige Records, which released some of his best-known albums, although during the later 1950s Rollins recorded for Blue Note, Riverside and the Los Angeles label Contemporary.

''Saxophone Colossus''

His widely acclaimed album ''Saxophone Colossus'' was recorded on June 22, 1956 at Rudy Van Gelder's studio in New Jersey, with Tommy Flanagan on piano, former Jazz Messengers bassist Doug Watkins and his favorite drummer Max Roach. This was Rollins' sixth recording as a leader and it included his best-known composition "St. Thomas", a Caribbean calypso based on a tune sung to him by his mother in his childhood, as well as the fast bebop number "Strode Rode", and "Moritat" (the Kurt Weill composition also known as "Mack the Knife").

In 1956 he also recorded ''Tenor Madness'', using Miles Davis' group – pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones. The title track is the only recording of Rollins with John Coltrane, who was also in Davis' group.

At the end of the year Rollins recorded a set for Blue Note with Donald Byrd on trumpet, Wynton Kelly on piano, Gene Ramey on bass, and Rollins' long-term collaborator Max Roach on drums. This has been released as ''Sonny Rollins Volume One'' (the superstar session ''Volume Two'' recorded the following year has consistently outsold it).

The piano-less trio

In 1957 he pioneered the use of bass and drums (without piano) as accompaniment for his saxophone solos. This texture came to be known as "strolling". Two early tenor/bass/drums trio recordings are ''Way Out West'' (Contemporary, 1957) and ''A Night at the Village Vanguard'' (Blue Note, 1957). Rollins uses the trio format intermittently throughout his career, sometimes taking the unusual step of using his sax as a rhythm section instrument during bass and drum solos. ''Way Out West'' was so named because it was recorded for a California-based record label (with L.A. stalwart drummer Shelly Manne), and because the record included country and western songs such as "Wagon Wheels" and "I'm an Old Cowhand". The Village Vanguard CD consists of two sets, a matinee with bassist Donald Bailey and drummer Pete LaRoca and then the evening set with bassist Wilbur Ware and drummer Elvin Jones.

By this time, Rollins had become well-known for taking relatively banal or unconventional material (such as "There's No Business Like Show Business" on ''Work Time'', "I'm an Old Cowhand", and later "Sweet Leilani" on the Grammy-winning CD ''This Is What I Do'') and turning it into a vehicle for improvisation.

1957's ''Newk's Time'' saw him working with a piano again, in this case Wynton Kelly, but one of the most highly-regarded tracks is a saxophone/drum duet, "Surrey with the Fringe on Top" with Philly Joe Jones. Also that year he recorded for Blue Note with a star-studded line-up of JJ Johnson on trombone, Horace Silver or Thelonious Monk on piano and drummer Art Blakey (released as ''Sonny Rollins Volume 2'').

In 1958 Rollins recorded another landmark piece for saxophone, bass and drums trio: ''The Freedom Suite''. His original sleeve notes said, "How ironic that the Negro, who more than any other people can claim America's culture as his own, is being persecuted and repressed; that the Negro, who has exemplified the humanities in his very existence, is being rewarded with inhumanity."

The title track is a 19-minute improvised bluesy suite, much of it interaction between Rollins' saxophone and the drums of Max Roach, some of it very tense. However the album was not all politics – the other side featured hard bop workouts of popular show tunes. The bassist was Oscar Pettiford. The LP was only briefly available in its original form, before the record company repackaged it as ''Shadow Waltz'', the title of another piece on the record.

Finally in 1958 Rollins made one more studio album before taking a three-year break from recording. This was another session for Los Angeles based Contemporary Records and saw Rollins recording an esoteric mixture of tunes including "Rock-A-Bye Your Baby With A Dixie Melody" with a West Coast group made up of pianist Hampton Hawes, guitarist Barney Kessel, bassist Leroy Vinnegar and drummer Shelly Manne.

1959 to 1971

By 1959, Rollins was frustrated with what he perceived as his own musical limitations and took the first – and most famous – of his musical sabbaticals. To spare a neighboring expectant mother the sound of his practice routine, Rollins ventured to the Williamsburg Bridge to practice. Upon his return to the jazz scene in 1962 he named his "comeback" album ''The Bridge'' at the start of a contract with RCA Records, recorded with a quartet featuring guitarist Jim Hall and still no piano. The rhythm section was Ben Riley on drums and bassist Bob Cranshaw. This became one of Rollins' best-selling records.

The contract with RCA lasted until 1964 and saw Rollins remain one of the most adventurous musicians around. Each album he recorded differed radically from the previous one. Rollins explored Latin rhythms on ''What's New'', tackled the avant-garde on ''Our Man in Jazz'', and re-examined standards on ''Now's the Time''.

He then provided the soundtrack to the 1966 version of ''Alfie''. His 1965 residency at Ronnie Scott's legendary jazz club has recently emerged on CD as ''Live in London'', a series of releases from the Harkit label; they offer a very different picture of his playing from the studio albums of the period. (These are unauthorized releases, and Rollins has responded by "bootlegging" them himself and releasing them on his website.)

1972 to 2000

Rollins took his most recent sabbatical to study yoga, meditation, and Eastern philosophies. When he returned in 1972, it was clear that he had become enamored of R&B;, pop, and funk rhythms. His bands throughout the 1970s and 1980s featured electric guitar, electric bass, and usually more pop- or funk-oriented drummers. For most of this period he recorded for Milestone Records and the compilation ''Silver City: A Celebration of 25 Years on Milestone'' contains a selection from these years. The 70s and 80s were not all disco though and it was during this period that Rollins' passion for unaccompanied saxophone solos came to the forefront. In 1985 he released ''The Solo Album''.

In 1981, Rollins was asked to play uncredited on three tracks by The Rolling Stones for their album ''Tattoo You'', including the single, "Waiting on a Friend".

In 1986 Documentary filmmaker Robert Mugge released a film titled ''Saxophone Colossus''. It featured two Rollins performances: a quintet in upstate New York and his ''Concerto for Saxophone and Symphony'' in Japan.

2001 to present

Critics such as Gary Giddins and Stanley Crouch have noted the disparity between Sonny Rollins the recording artist, and Sonny Rollins the concert artist. In a May 2005 ''New Yorker'' profile, Crouch wrote of Rollins the concert artist:

Rollins won a 2001 Grammy Award for Best Jazz Instrumental Album for ''This Is What I Do'' (2000). On September 11, 2001, the 71-year-old Rollins, who lived several blocks away, heard the World Trade Center collapse, and was forced to evacuate his apartment, with only his saxophone in hand. Although he was shaken, he traveled to Boston five days later to play a concert at the Berklee School of Music. The live recording of that performance was released on CD in 2005, ''Without a Song: The 9/11 Concert'', which won the 2006 Grammy for Jazz Instrumental Solo for Sonny's performance of "Why Was I Born?". Rollins was presented with a Grammy Award for lifetime achievement in 2004, but sadly that year also saw the death of his wife Lucille.

In 2006, Rollins went on to complete a Down Beat Readers Poll triple win for: "Jazzman of the Year", "#1 Tenor Sax Player", and "Recording of the Year" for the CD ''Without a Song (The 9/11 Concert)''. The band that year was led by his nephew, trombonist Clifton Anderson, and included bassist Bob Cranshaw, pianist Stephen Scott, percussionist Kimati Dinizulu, and drummer Perry Wilson.

After a highly successful Japanese tour Rollins returned to the recording studio for the first time in five years to record the Grammy-nominated CD ''Sonny, Please'' (2006). The CD title is derived from one of his late wife's favorite phrases. The album was released on Rollins' own label, Doxy Records, following his departure from Milestone Records after many years and was produced by Clifton Anderson. Rollins' band at this time, and on this album, included Bob Cranshaw, guitarist Bobby Broom, drummer Steve Jordan and Kimati Dinizulu.

Rollins performed at Carnegie Hall on September 18, 2007, in commemoration of the 50th anniversary of his first performance there. Appearing with him were Clifton Anderson (trombone), Bobby Broom (guitar), Bob Cranshaw (bass), Kimati Dinizulu (percussion), Roy Haynes (drums) and Christian McBride (bass).

September 25, 2009, Rollins performed to a packed crowd at the Kimmel Center in Philadelphia. The personnel was similar to the Carnegie Hall performance; Clifton Anderson (trombone), Bobby Broom (guitar), Bob Cranshaw (bass), Kobie Watkins, drums, Sammy Figueroa (percussion).

On June 27, 2010, Rollins played at the Salle Wilfrid-Pelletier in Montreal's Place-des-Arts for the 31st annual Montreal Jazz Festival, accompanied by, among others, Bob Cranshaw and Russell Malone. Prior to this show, he received the Miles Davis Award.

Tributes and legacy

Rollins is recognized by many for the length and quality of his career, one not easily matched in the world of music. His melodic sensibilities, playing style and solos have influenced several generations of musicians.

Rollins was awarded the 2010 National Medal of Arts by President Barack Obama.

The city of Minneapolis, Minnesota officially named October 31, 2006, after Rollins in honor of his achievements and contributions to the world of jazz.

In 2007 he received the prestigious Polar Music Prize in Stockholm, Sweden, together with Steve Reich, while Colby College awarded Rollins a Doctor of Music, ''honoris causa'', for his contributions to jazz music.

Rollins was elected to the Down Beat Jazz Hall of Fame in 1973.

Donald Fagen can be seen playing Rollins' 1958 LP ''Sonny Rollins and the Contemporary Leaders'' on the cover of his 1982 LP ''The Nightfly'', while Joe Jackson replicated the cover photo for his 1984 A&M; album ''Body and Soul'' as homage to the 1957 Blue Note album ''Sonny Rollins, Vol. 2''.

In The Simpsons episode 12 season 5, the jazz musician Bleeding Gums Murphy makes his appearance playing his saxophone on a bridge in the middle of the night. This is a homage to Sonny Rollins, who famously retired from public and was not seen for three years, until a journalist discovered him playing the saxophone alone on the Williamsburg Bridge.

Discography

References

Further reading

Blancq, Charles. (1983). ''Sonny Rollins: The journey of a jazzman''. Boston: Twayne.

Christian Broecking (2010). ''Sonny Rollins - Improvisation und Protest''. Creative People Books / Broecking Verlag, ISBN 978-3-938763-29-2

External links

Sonny Rollins Official Website

Documentary about Sonny's new CD "SONNY, PLEASE"

Night Lights radio show featuring excerpts from Rollins' live 1965 appearances at Ronnie Scott's

Review of Sonny Please by JazzChicago.net

Sonny Rollins multimedia directory

Sonny Rollins: The Titan Remembers - slideshow by ''Life magazine''

Category:1930 births Category:Living people Category:African American woodwind musicians Category:American jazz tenor saxophonists Category:American bandleaders Category:American jazz composers Category:Bebop saxophonists Category:Hard bop saxophonists Category:Musicians from New York City Category:Grammy Lifetime Achievement Award winners Category:Contemporary Records artists Category:Blue Note Records artists Category:RCA Victor artists Category:Milestone Records artists Category:Verve Records artists Category:Prestige Records artists Category:Impulse! Records artists Category:American people of United States Virgin Islands descent Category:United States National Medal of Arts recipients

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