Name | Standard Hindi |
---|---|
Nativename | Mānak Hindī |
Imagecaption | The word "Hindi" in Devanagari script |
Familycolor | Indo-European |
States | India, Mauritius and significant communities in USA, UK, Saudi Arabia, Malaysia, Singapore, United Arab Emirates, Australia, Myanmar, Canada, Nepal, Afghanistan, South Africa, Uganda, New Zealand |
Speakers | 180 million native in 1991 |
Fam2 | Indo-Iranian |
Fam3 | Indo-Aryan |
Fam4 | Central zone |
Fam5 | Western Hindi |
Fam6 | Khariboli |
Fam7 | Hindustani |
Script | Devanagari |
Nation | |
Agency | Central Hindi Directorate (India) |
Iso1 | hi |
Iso2 | hin |
Linglist | hin-hin |
Lingua | 59-AAF-q (with Urdu,including 58 varieties: 59-AAF-qaa to 59-AAF-qil) |
Notice | Indic}} |
Modern Hindi is mutually intelligible with the alternative register of the Hindustani language called Urdu. Mutual intelligibility decreases in literary and specialized contexts which rely on educated vocabulary. Because of religious nationalism since the partition of British India and continued communal tensions, native speakers of both Hindi and Urdu frequently assert them to be completely distinct languages, despite the fact that they generally cannot tell the colloquial languages apart. The combined population of Hindi and Urdu speakers is the fourth largest in the world. However, the number of native speakers of Standard Hindi is still ambiguous. According to the 2001 Indian census, 258 million people in India regarded their native language to be "Hindi". However, this includes large numbers of speakers of Hindi dialects besides Standard Hindi; as of 2009, the best figure Ethnologue could find for Khariboli Hindi was a dated 1991 figure of 180 million. Hindi is also enumerated as one of the twenty-two languages of the Eighth Schedule of the Constitution of India, which entitles it to representation on the Official Language Commission. The Constitution of India has stipulated the usage of Hindi and English to be the two languages of communication for the Central Government. Most of government documentation is prepared in three languages English, Hindi and the local state language.
It was envisioned that Hindi would become the sole working language of the central government by 1965 (per directives in Article 344 (2) and Article 351), with state governments being free to function in languages of their own choice. However, widespread resistance movements to the imposition of Hindi on non-native speakers, of especially the people living in south India (such as the Anti-Hindi agitations of Tamil Nadu) led to the passage of the Official Languages Act (1963), which provided for the continued use of English, indefinitely, for all official purposes. Therefore, English is still used in official documents, in courts, etc. However, the constitutional directive to the central government to champion the spread of Hindi was retained and has strongly influenced the policies of the Union government.
At the state level, Hindi is the official language of the following states in India: Arunachal Pradesh, Bihar, Jharkhand, Uttarakhand, Madhya Pradesh, Rajasthan, Uttar Pradesh, Chhattisgarh, Himachal Pradesh, Haryana, Delhi and Himachal Pradesh. Each of these states may also designate a "co-official language"; in Uttar Pradesh for instance, depending on the political formation in power, sometimes this language is Urdu. Similarly, Hindi is accorded the status of co-official language in several states.
Standard Hindi derives much of its formal and technical vocabulary from Sanskrit. Standard or shuddh ("pure") Hindi is used only in public addresses and radio or TV news, while the everyday spoken language in most areas is one of several varieties of Hindustani, whose vocabulary contains many words drawn from Persian and Arabic. In addition, spoken Hindi includes words from English and other languages as well. Actual Hindi (Devanagari) is spoken in the state of UP, Bihar, Rajasthan, Himachal Pradesh, MP, Chattisgarh, Jharkhand etc. Other states like Punjab, WestBengal, Orissa speak/use Hindi beside of their regional/state language. All over North, Central, East & West Indians use Hindi vastly. However, the literary registers differ substantially in borrowed vocabulary; in highly formal situations, the languages are barely intelligible to speakers of the other. Hindi has looked to Sanskrit for borrowings from at least the 19th century, and Urdu has looked to Persian and Arabic for borrowings from the eighteenth century. On another dimension, Hindi is associated with the Hindu community and Urdu with the Muslim community though this is much more a twentieth century phenomenon when the political impetus to actively distinguish Hindi from Urdu gathered pace amongst the educated Hindus driving this change. Prior to this it was the norm for both educated Hindu and Muslim Indians to be fluent in Urdu.
There are five principal categories of words in Standard Hindi: Tatsam (तत्सम् / same as that) words: These are words which are spelled the same in Hindi as in Sanskrit (except for the absence of final case inflections). They include words inherited from Sanskrit via Prakrit which have survived without modification (e.g. Hindustani nām/Sanskrit nāma, "name"), as well as forms borrowed directly from Sanskrit in more modern times (e.g. prārthanā, "prayer"). Pronunciation, however, conforms to Hindi norms and may differ from that of classical Sanskrit. Among nouns, the tatsam word could be the Sanskrit uninflected word-stem, or it could be the nominative singular form in the Sanskrit nominal declension. Ardhātatsam (अर्धातात्सम्) words: These are words that were borrowed from Sanskrit in the middle Indo-Aryan or early New Indo-Aryan stages. Such words typically have undergone sound changes subsequent to being borrowed. Tadbhav (तद्भव / born of that) words: These are words which are spelled differently from Sanskrit but are derivable from a Sanskrit prototype by phonological rules (e.g. Sanskrit karma, "deed" becomes Pali kamma, and eventually Hindi kām, "work").
Similarly, Urdu treats its own vocabulary, borrowed directly from Persian and Arabic, as a separate category for morphological purposes.
Hindi from which most of the Persian, Arabic and English words have been ousted and replaced by tatsam words is called Shuddha Hindi (pure Hindi). Chiefly, the proponents of Hindutva ideology ("Hindu-ness") are vociferous supporters of Shuddha Hindi.
Excessive use of tatsam words sometimes creates problems for most native speakers. Strictly speaking, the tatsam words are words of Sanskrit and not of Hindi—thus they have complicated consonantal clusters which are not linguistically valid in Hindi. The educated middle class population of India can pronounce these words with ease, but people of rural backgrounds have much difficulty in pronouncing them. Similarly, vocabulary borrowed from Persian and Arabic also brings in its own consonantal clusters and "foreign" sounds, which may again cause difficulty in speaking them.
Hindi literature, is broadly divided into four prominent forms or styles, being Bhakti (devotional – Kabir, Raskhan); Shringar (beauty – Keshav, Bihari); Veer-Gatha (extolling brave warriors); and Adhunik (modern).
Medieval Hindi literature is marked by the influence of Bhakti movement and the composition of long, epic poems. It was not written in the current dialect but in other Hindi languages, particularly in Avadhi and Braj Bhasha, but later also in Khariboli. During the British Raj, Hindustani became the prestige dialect. Hindustani with heavily Sanskritized vocabulary or Sahityik Hindi (Literary Hindi) was popularized by the writings of Swami Dayananda Saraswati, Bhartendu Harishchandra and others. The rising numbers of newspapers and magazines made Hindustani popular among the educated people. Chandrakanta, written by Devaki Nandan Khatri, is considered the first authentic work of prose in modern Hindi. The person who brought realism in the Hindi prose literature was Munshi Premchand, who is considered as the most revered figure in the world of Hindi fiction and progressive movement......
The Dwivedi Yug ("Age of Dwivedi") in Hindi literature lasted from 1900 to 1918. It is named after Mahavir Prasad Dwivedi, who played a major role in establishing the Modern Hindi language in poetry and broadening the acceptable subjects of Hindi poetry from the traditional ones of religion and romantic love.
In the 20th century, Hindi literature saw a romantic upsurge. This is known as Chhayavaad (shadowism) and the literary figures belonging to this school are known as Chhayavaadi. Jaishankar Prasad, Suryakant Tripathi 'Nirala', Mahadevi Varma and Sumitranandan Pant, are the four major Chhayavaadi poets.
Uttar Adhunik is the post-modernist period of Hindi literature, marked by a questioning of early trends that copied the West as well as the excessive ornamentation of the Chhayavaadi movement, and by a return to simple language and natural themes.
The following is a sample text in High Hindi, of the Article 1 of the Universal Declaration of Human Rights (by the United Nations): : 1 —
Transliteration (IAST): :
Transcription (IPA): :.
Gloss (word-to-word): :Article 1 — All human-beings to dignity and rights' matter in from-birth freedom and equality acquired is. Them to reason and conscience's endowment acquired is and always them to brotherhood's spirit with behaviour to do should.
Translation (grammatical): :Article 1 — All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood.
In its non-Sanskritized form, the Khariboli-based dialect is the normal and principal dialect used in the Hindi cinema. It is almost exclusively used in contemporary Hindi television serials, songs, education, and of course, in normal daily speech in almost all the urban regions of north India, wherever Hindi is also the state language. The rural dialect varies from region to region.
ఘబబభయ
* Category:Hindustani Category:Indo-Aryan languages Category:Languages of India Hindi
af:Hindi als:Hindi ar:لغة هندية an:Hindi as:হিন্দী ast:Hindi az:Hind dili bn:হিন্দি ভাষা zh-min-nan:Hindi-gí be:Хіндзі be-x-old:Гіндзі bh:हिन्दी bcl:Hindi bi:Hindi bo:རྒྱ་གར་སྐད། bs:Hindi br:Hindeg bg:Хинди ca:Hindi cv:Хинди ceb:Pinulongang Indi cs:Hindština cbk-zam:Hindi cy:Hindi da:Hindi de:Hindi dv:ހިންދީ et:Hindi keel el:Χίντι es:Hindi eo:Hindia lingvo eu:Hindi fa:زبان هندی hif:Hindi fr:Hindi fy:Hindy ga:An Hiondúis gv:Hindish gd:Hindi gl:Lingua hindi gan:印地語 gu:હિંદી ભાષા ko:힌디어 hi:हिन्दी hsb:Hindišćina hr:Hindski jezik io:Hindi linguo bpy:হিন্দী ঠার id:Bahasa Hindi ie:Hindi iu:ᐦᐃᓐᑏ/hintii is:Hindí it:Lingua hindi he:הינדי jv:Basa Hindi kn:ಹಿಂದಿ ka:ჰინდი ენა kbd:Хиндубзэ sw:Kihindi kg:Kihindi ku:Zimanê hindî lad:Lingua indiana la:Lingua Hindi lv:Hindi lt:Hindi lij:Lengua hindi li:Hindi hu:Hindi nyelv mk:Хиндиски јазик mg:Fiteny hindi ml:ഹിന്ദി mr:हिंदी भाषा arz:هندى ms:Bahasa Hindi nah:Inditlahtōlli nl:Hindi ne:हिन्दी new:हिन्दी भाषा ja:ヒンディー語 nap:Hindjan no:Hindi nn:Hindi oc:Indi (lenga) or:ହିନ୍ଦୀ ଭାଷା pa:ਹਿੰਦੀ ਭਾਸ਼ਾ pnb:ہندی pms:Lenga hindi nds:Hindi pl:Język hindi pt:Língua hindi ksh:Hinndi (Shprooch) ro:Limba hindi rmy:हिन्दीकानी छीब qu:Hindi simi rue:Гінді ru:Хинди se:Hindigiella sa:हिन्दी sco:Hindi sq:Hindi simple:Hindi language sk:Hindčina sl:Hindijščina sr:Хинди sh:Hindi fi:Hindi sv:Hindi tl:Wikang Hindi ta:இந்தி tt:Һинд теле te:హిందీ భాష th:ภาษาฮินดี tg:Забони ҳиндӣ tr:Hintçe uk:Гінді ur:ہندی ug:ھىندى تىلى za:Vah Yindi vi:Tiếng Hindi war:Hindi wuu:印地语 bat-smg:Hindi zh:印地语This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Born in Trieste, Cappuccilli originally intended to become an architect, but after encouragement from relatives decided to pursue a career in opera. He studied with Luciano Donaggio in his native city, and made his stage debut there in 1951, singing small parts.
He made his official operatic debut in 1957 at the Teatro Nuovo in Milan, singing Tonio in Pagliacci. In 1960, he made his debut at the Metropolitan Opera, singing Giorgio Germont in La traviata, which was to be his only performance at the Met.
Cappuccilli spent most of his career singing in Europe, with only infrequent travels to North and South America. He made his debut at the Teatro alla Scala in 1964, as Enrico, at the Royal Opera House in London as Germont in 1967, and his Opéra de Paris debut took place in 1978, as Amonasro. He also appeared at the Vienna State Opera and the Salzburg Festival. He worked with the greatest European conductors of his time (Karajan, Gavazzeni, Abbado, Kleiber) and became one of the finest interpreters of the Italian repertoire.
Cappuccilli was highly respected as a "Verdi baritone", where his beautiful voice, fine vocal technique, musical elegance, and dignified stage presence, were shown to their best advantage.
He left an impressive discography, he recorded Lucia di Lammermoor twice, first with Maria Callas in 1959, and with Beverly Sills in 1970. Other notable recordings include; Rigoletto, opposite Ileana Cotrubas and Placido Domingo, under Carlo Maria Giulini, Macbeth, opposite Shirley Verrett, and Simon Boccanegra, opposite Mirella Freni and Nicolai Ghiaurov, both under Claudio Abbado.
Cappuccilli sang until his mid-sixties; an automobile accident in 1992 ended his stage career. He died in his native Trieste, at the age of 78.
Category:Operatic baritones Category:Italian baritones Category:Italian opera singers Category:1929 births Category:2005 deaths Category:People from Trieste
ca:Piero Cappuccilli de:Piero Cappuccilli es:Piero Cappuccilli fr:Piero Cappuccilli it:Piero Cappuccilli he:פיירו קפוצ'ילי lb:Piero Cappuccilli nl:Piero Cappuccilli ja:ピエロ・カプッチルリ pl:Piero Cappuccilli pt:Piero Cappuccilli zh:皮耶罗·卡普契里This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
The daughter of a Lancashire village schoolmaster, Ferrier showed early talent as a pianist, and won numerous amateur piano competitions while working as a telephonist with the General Post Office. She did not take up singing seriously until 1937, when after winning a prestigious singing competition at the Carlisle Festival she began to receive offers of professional engagements as a vocalist. Thereafter she took singing lessons, first with J.E. Hutchinson and later with Roy Henderson. After the outbreak of the Second World War Ferrier was recruited by the Council for the Encouragement of the Arts (CEMA), and in the following years sang at concerts and recitals throughout England. In 1942 her career was boosted when she met the conductor Malcolm Sargent, who recommended her to the influential Ibbs and Tillett concert management agency. She became a regular performer at leading London and provincial venues, and made numerous BBC radio broadcasts.
In 1946 Ferrier made her stage debut, in the Glyndebourne Festival premiere of Benjamin Britten's opera The Rape of Lucretia. A year later she made her first appearance as Orfeo in Gluck's Orfeo ed Euridice, a work with which she became particularly associated. By her own choice, these were her only two operatic roles. As her reputation grew, Ferrier formed close working relationships with major musical figures, including Britten, Sir John Barbirolli, Bruno Walter and the accompanist Gerald Moore. She became known internationally through her three tours to the United States between 1948 and 1950 and her many visits to continental Europe.
Ferrier was diagnosed with breast cancer in March 1951. In between periods of hospitalisation and convalescence she continued to perform and record; her final public appearance was as Orfeo, at the Royal Opera House in February 1953, eight months before her death. Among her many memorials, the Kathleen Ferrier Cancer Research Fund was launched in May 1954; the Kathleen Ferrier Scholarship Fund, administered by the Royal Philharmonic Society, has since 1956 made annual awards to aspiring young professional singers.
In 1931, aged 19, Ferrier passed her Licentiate examinations at the Royal Academy of Music. In that year she started occasional singing lessons, and in December sang a small mezzo-soprano role in a church performance of Mendelssohn's oratorio Elijah. However, her voice was not thought to be exceptional; her musical life centred on the piano and on local concerts, at King George's Hall and elsewhere. Early in 1934 she transferred to the Blackpool telephone exchange and took lodgings nearby, to be close to her new boyfriend, a bank clerk named Albert Wilson. While at Blackpool she auditioned for the new "speaking clock" service which the GPO was preparing to introduce. In her excitement, Ferrier inserted an extra aspirate into her audition, and was not chosen for the final selection in London. Her decision in 1935 to marry Wilson meant the end of her employment with the telephone exchange, since at that time the GPO did not employ married women. Of Ferrier's career to this point, the music biographer Humphrey Burton wrote: "For more than a decade, when she should have been studying music with the best teachers, learning English literature and foreign languages, acquiring stage craft and movement skills, and travelling to London regularly to see opera, Miss Ferrier was actually answering the telephone, getting married to a bank manager and winning tinpot competitions for her piano-playing."
After her Carlisle victories, Ferrier began to receive offers of singing engagements. Her first appearance as a professional vocalist, in autumn 1937, was at a Harvest Festival celebration in the village church at Aspatria. She was paid one guinea. After winning the Gold Cup at the 1938 Workington Festival, Ferrier sang "Curly Headed Babby" in a concert at Workington Opera House. Cecil McGivern, producer of a BBC Northern radio variety show, was in the audience and was sufficiently impressed to book her for the next edition of his programme, which was broadcast from Newcastle on 23 February 1939. This broadcast—her first as a vocalist—attracted wide attention, and led to more radio work, though for Ferrier the event was overshadowed by the death of her mother at the beginning of February. At the 1939 Carlisle Festival, Ferrier sang Richard Strauss's song "All Soul's Day", a performance which particularly impressed one of the adjudicators, J.E. Hutchinson, a music teacher with a considerable reputation. Ferrier became his pupil, and under his guidance began to extend her repertoire to include works by Bach, Handel, Brahms and Elgar.
When Albert Wilson joined the Army in 1940, Ferrier reverted to her maiden name, having until then sung as "Kathleen Wilson". In December 1940 she appeared for the first time professionally as "Kathleen Ferrier" in a performance of Handel's Messiah, under Hutchinson's direction. In early 1941 she successfully auditioned as a singer with the Council for the Encouragement of the Arts (CEMA), which provided concerts and other entertainments to military camps, factories and other workplaces. Within this organisation Ferrier began working with artists with international reputations; in December 1941 she sang with the Hallé Orchestra in a performance of Messiah together with Isobel Baillie, the distinguished soprano. However, her application to the BBC's Head of Music in Manchester for an audition was turned down. Ferrier had better fortune when she was introduced to Malcolm Sargent after a Hallé concert in Blackpool. Sargent agreed to hear her sing, and afterwards recommended her to Ibbs and Tillett, the London-based concert management agency. John Tillett accepted her as a client without hesitation after which, on Sargent's advice, Ferrier decided to base herself in London. On 24 December 1942 she moved with her sister Winifred into an apartment in Frognal Mansions, Hampstead.
On 17 May 1943 Ferrier sang in Handel's Messiah at Westminster Abbey, alongside Isobel Baillie and Peter Pears, with Reginald Jacques conducting. According to the critic Neville Cardus, it was through the quality of her singing here that Ferrier "made her first serious appeal to musicians". Her assured performance led to other important engagements, and to broadcasting work; her increasingly frequent appearances on popular programmes such as Forces Favourites and Housewives' Choice soon gave her national recognition. In May 1944, at EMI's Abbey Road Studios with Gerald Moore as her accompanist, she made test recordings of music by Brahms, Gluck and Elgar. Her first published record, made in September 1944, was issued under the Columbia label; it consisted of two songs by Maurice Greene, again with Moore accompanying. Her time as a Columbia recording artist was brief and unhappy; she had poor relations with her producer, Walter Legge, and after a few months she transferred to Decca.
In the remaining wartime months Ferrier continued to travel throughout the country, to fulfil the growing demands for her services from concert promoters. At Leeds in November 1944 she sang the part of the Angel in Elgar's choral work The Dream of Gerontius, her first performance in what became one of her best-known roles. In December she met Sir John Barbirolli while working on another Elgar piece, Sea Pictures; the conductor later became one of her closest friends and strongest advocates. On 15 September 1945 Ferrier made her debut at the London Proms, when she sang "L'Air des Adieux" from Tchaikovsky's opera The Maid of Orleans. Although she often sang individual arias, opera was not Ferrier's natural forte; she had not enjoyed singing the title role in a concert version of Bizet's Carmen at Stourbridge in March 1944, and generally avoided similar engagements. Nevertheless Benjamin Britten, who had heard her Westminster Abbey Messiah performance, persuaded her to create the role of Lucretia in his new opera The Rape of Lucretia, which was to open the first postwar Glyndebourne Festival in 1946. She would share the part with Nancy Evans. Despite her initial misgivings, by early July Ferrier was writing to her agent that she was "enjoying [the rehearsals] tremendously and I should think it's the best part one could possibly have". Ferrier's performances in the Glyndebourne run, which began on 12 July 1946, earned her favourable reviews, although the opera itself was less well received. On the provincial tour which followed the festival it failed to attract the public and incurred heavy financial losses. By contrast, when the opera reached Amsterdam it was greeted warmly by the Dutch audiences who showed particular enthusiasm for Ferrier's performance. This was Ferrier's first trip abroad, and she wrote an excited letter to her family: "The cleanest houses and windows you ever did see, and flowers in the fields all the way!" Following her success as Lucretia she agreed to return to Glyndebourne in 1947, to sing Orfeo in Gluck's opera Orfeo ed Euridice. She had often sung Orfeo's aria "Che farò" ("What is life") as a concert piece, and had recently recorded it with Decca. At Glyndebourne, Ferrier's limited acting abilities caused some difficulties in her relationship with the conductor, Fritz Stiedry; nevertheless her performance on the first night, 19 June 1947, attracted warm critical praise.
Ferrier's association with Glyndebourne bore further fruit when Rudolf Bing, the festival's general manager, recommended her to Bruno Walter as the contralto soloist in a performance of Mahler's symphonic song cycle Das Lied von der Erde. This was planned for the 1947 Edinburgh International Festival. Walter was initially wary of working with a relatively new singer, but after her audition his fears were allayed; "I recognised with delight that here potentially was one of the greatest singers of our time", he later wrote. Das Lied von der Erde was at that time relatively unknown in Britain, and some critics found it unappealing; nevertheless, the Edinburgh Evening News thought it "simply superb". In a later biographical sketch of Ferrier, Lord Harewood described the partnership between Walter and her, which would endure until the singer's final illness, as "a rare match of music, voice, and temperament."
During 1948, amid many engagements, Ferrier performed Brahms's Alto Rhapsody at the Proms in August, and sang in Bach's Mass in B minor at that year's Edinburgh Festival. On 13 October she joined Barbirolli and the Hallé Orchestra in a broadcast performance of Mahler's song cycle Kindertotenlieder. She returned to the Netherlands in January 1949 for a series of recitals, then left Southampton on 18 February to begin her second American tour. This opened in New York with a concert performance of Orfeo ed Euridice that won uniform critical praise from the New York critics. On the tour which followed, her accompanist was Arpad Sandor, who was suffering from a depressive illness that badly affected his playing. Unaware of his problem, in letters home Ferrier berated "this abominable accompanist" who deserved "a kick in the pants". When she found out that he had been ill for months she turned her fury on the tour's promoters: "What a blinking nerve to palm him on to me". Eventually, when Sandor was too ill to appear, Ferrier was able to recruit a Canadian pianist, John Newmark, with whom she formed a warm and lasting working relationship. Shortly after her return to England early in June 1949, Ferrier left for Amsterdam where, on 14 July, she sang in the world premiere of Britten's Spring Symphony, with Eduard van Beinum and the Concertgebouw Orchestra. Britten had written this work specifically for her. At the Edinburgh Festival in September she gave two recitals in which Bruno Walter acted as her piano accompanist. Ferrier felt that these recitals represented "a peak to which I had been groping for the last three years". A broadcast of one of the recitals was issued on record many years later; of this, the critic Alan Blyth wrote: "Walter's very personal and positive support obviously pushes Ferrier to give of her very best".
The following 18 months saw almost uninterrupted activity, encompassing a number of visits to continental Europe and a third American tour between December 1949 and April 1950. This American trip broke new ground for Ferrier—the West Coast—and included three performances in San Francisco of Orfeo ed Euridice, with Pierre Monteux conducting. At the rehearsals Ferrier met the renowned American contralto Marian Anderson, who reportedly said of her English counterpart: "My God, what a voice—and what a face!" On Ferrier's return home the hectic pace continued, with a rapid succession of concerts in Amsterdam, London and Edinburgh followed by a tour of Austria, Switzerland and Italy. In Vienna, the soprano Elisabeth Schwarzkopf was Ferrier's co-soloist in a recorded performance of Bach's Mass in B minor, with the Vienna Symphony Orchestra under Herbert von Karajan. Schwarzkopf later recalled Ferrier's singing of the Agnus Dei from the Mass as her highlight of the year.
Early in 1951, while on tour in Rome, Ferrier learned of her father's death at the age of 83. Although she was upset by this news she decided to continue with the tour; her diary entry for 30 January reads: "My Pappy died peacefully after flu and a slight stroke". She returned to London on 19 February, and was immediately busy rehearsing with Barbirolli and the Hallé a work that was new to her: Ernest Chausson's Poème de l'amour et de la mer. This was performed at Manchester on 28 February, to critical acclaim. Two weeks later Ferrier discovered a lump on her breast. She nevertheless fulfilled several engagements in Germany, the Netherlands and at Glyndebourne before seeing her doctor on 24 March. After tests at University College Hospital, cancer of the breast was diagnosed, and a mastectomy was performed on 10 April. All immediate engagements were cancelled; among these was a planned series of performances of The Rape of Lucretia by the English Opera Group, scheduled as part of the 1951 Festival of Britain.
In January 1952 Ferrier joined Britten and Pears in a short series of concerts to raise funds for Britten's English Opera Group. Writing later, Britten recalled this tour as "perhaps the loveliest of all" of his artistic associations with Ferrier. Despite continuing health problems she sang in the St Matthew Passion at the Royal Albert Hall on 30 March, Messiah at the Free Trade Hall on 13 April, and Das Lied von der Erde with Barbirolli and the Hallé on 23 and 24 April. On 30 April Ferrier attended a private party at which the new Queen and her sister Princess Margaret were present. In her diary, Ferrier notes: "Princess M sang—very good!". Her health continued to deteriorate; she refused to consider a course of androgen injections, believing that this treatment would destroy the quality of her voice. In May she travelled to Vienna to record Das Lied and Mahler's Rückert-Lieder with Walter and the Vienna Philharmonic; singer and conductor had long sought to preserve their partnership on disc. Despite considerable suffering, Ferrier completed the recording sessions between 15 and 20 May.
During the remainder of 1952 Ferrier attended her seventh successive Edinburgh Festival, singing in performances of Das Lied, The Dream of Gerontius, Messiah and some Brahms songs. She undertook several studio recording sessions, including a series of Bach and Handel arias with Sir Adrian Boult and the London Philharmonic Orchestra in October. In November, after a Royal Festival Hall recital, she was distressed by a review in which Neville Cardus criticised her performance for introducing "distracting extra vocal appeals" designed to please the audience at the expense of the songs. However, she accepted his comments with good grace, remarking that "...it's hard to please everybody—for years I've been criticised for being a colourless, monotonous singer". In December she sang in the BBC's Christmas Messiah, the last time she would perform this work. On New Year's Day 1953 she was appointed a Commander of the Order of the British Empire (CBE) in the Queen's New Year Honours List.
The first Orpheus performance, on 3 February, was greeted with unanimous critical approval. According to Barbirolli, Ferrier was particularly pleased with one critic's comment that her movements were as graceful as any of those of the dancers on stage. However, she was physically weakened from her prolonged radiation treatment; during the second performance, three days later, her left femur partially disintegrated. Quick action by other cast members, who moved to support her, kept the audience in ignorance. Although virtually immobilised, Ferrier sang her remaining arias and took her curtain calls before being transferred to hospital. This proved to be her final public appearance; the two remaining performances, at first rescheduled for April, were eventually cancelled. Still the general public remained unaware of the nature of Ferrier's incapacity; an announcement in The Guardian stated: "Miss Ferrier is suffering from a strain resulting from arthritis which requires immediate further treatment. It has been caused by the physical stress involved in rehearsal and performance of her role in Orpheus".
Ferrier spent two months in University College Hospital. As a result she missed her CBE investiture; the ribbon was brought to her at the hospital by a friend. Meanwhile her sister found her a ground floor apartment in St John's Wood, since she would no longer be able to negotiate the many stairs at Frognal Mansions. She moved to her new home in early April, but after only seven weeks was forced to return to hospital where, despite two further operations, her condition continued to deteriorate. Early in June she heard that she had been awarded the Gold Medal of the Royal Philharmonic Society, the first female vocalist to receive this honour since Muriel Foster in 1914. In a letter to the secretary of the Society she wrote of this "unbelievable, wondrous news [which] has done more than anything to make me feel so much better". This letter, dated 9 June, is probably the last that Ferrier signed herself. As she weakened she saw only her sister and a few very close friends, and although there were short periods of respite her general decline was unremitting. Ferrier died at University College Hospital on 8 October 1953—the date on which, when still hopeful of recovery, she had undertaken to sing Delius's A Mass of Life at the 1953 Leeds Festival. She was cremated a few days later, at Golders Green Crematorium, after a short private service. She left an estate worth £15,134, which her biographer Maurice Leonard observes was "not a fortune for a world-famous singer, even by the standards of the day".|group= n}}
From time to time commentators have speculated on the directions Ferrier's career might have taken had she lived. In 1951, while recovering from her mastectomy, she received an offer to sing the part of Brangäne in Wagner's opera Tristan und Isolde at the 1952 Bayreuth Festival. According to Christiansen she would have been "glorious" in the role, and was being equally sought by the Bayreuth management to sing Erda in the Ring cycle. Christiansen further suggests that, given the changes of style over the past 50 years, Ferrier might have been less successful in the 21st century world: "We dislike low-lying voices, for one thing—contraltos now sound freakish and headmistressy, and even the majority of mezzo-sopranos should more accurately be categorised as almost-sopranos". However, she was "a singer of, and for, her time—a time of grief and weariness, national self-respect and a belief in human nobility". In this context "her artistry stands upright, austere, unfussy, fundamental and sincere".
Shortly after Ferrier's death an appeal was launched by Barbirolli, Walter, Myra Hess and others, to establish a cancer research fund in Ferrier's name. Donations were received from all over the world. To publicise the fund a special concert was given at the Royal Festival Hall on 7 May 1954, at which Barbirolli and Walter shared the conducting duties without payment. Among the items was a rendition of Purcell's "When I am laid in earth", which Ferrier had often sung; on this occasion the vocal part was played by a solo cor anglais. The Kathleen Ferrier Cancer Research Fund remains in existence as of 2011; in 1987 it helped establish the Kathleen Ferrier Chair of Clinical Oncology at University College Hospital.
As the result of a separate appeal, augmented by the sales proceeds of a memoir edited by Cardus, the Kathleen Ferrier Memorial Scholarship Fund was created to encourage young British and Commonwealth singers of either sex. The Fund, which has operated from 1956 under the auspices of the Royal Philharmonic Society, initially provided an annual award covering the cost of a year’s study to a single prizewinner. With the advent of additional sponsors, the number and scope of awards has expanded considerably since that time; the list of winners of Ferrier Awards includes many singers of international repute, among them Felicity Palmer, Yvonne Kenny, Lesley Garrett and Bryn Terfel. The Kathleen Ferrier Society, founded in 1993 to promote interest in all aspects of the singer's life and work, has since 1996 awarded annual bursaries to students at Britain's major music colleges. The Society is organising a series of events to commemorate the centenary of Ferrier's birth in 2012.
Category:1912 births Category:1953 deaths Category:Deaths from breast cancer Category:Commanders of the Order of the British Empire Category:Operatic contraltos Category:English contraltos Category:English female singers Category:English opera singers Category:People from Blackburn Category:Royal Philharmonic Society Gold Medallists Category:Decca Records artists Category:People from Walton-le-Dale
ca:Kathleen Ferrier de:Kathleen Ferrier es:Kathleen Ferrier eo:Kathleen Ferrier fr:Kathleen Ferrier fy:Kathleen Ferrier hy:Քեթլին Ֆերրիեր it:Kathleen Ferrier he:קתלין פרייר nl:Kathleen Ferrier (zangeres) ja:キャスリーン・フェリア no:Kathleen Ferrier pl:Kathleen Ferrier ru:Ферриер, Кэтлин sv:Kathleen FerrierThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Category:Turkish writers Category:Muslim writers Category:1942 births Category:Living people
hu:Osman Nuri Topbaş ru:Осман Нури Топбаш
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