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Look up Griselda in Wiktionary, the free dictionary.

Griselda is a feminine given name used in the English, Italian, Spanish, and Germanic languages. According to the 1990 United States Census, the name was 1066th in popularity among females in the United States.

Most experts agree that the name came from the Ancient Germanic phrase "gris hild", meaning "dark battle". However, a few believe that the name came from the ancient Germanic word "gries", meaning "gravel" or "stone".

The name can also be spelled "Griselde", "Grisselda", "Grieselda", "Grizelda" and "Gricelda". Other forms include "Grisel", "Grizel", "Grissel", "Grizzel", "Grisell", "Grizell", "Grissell", "Grizzell", "Grisleys" and "Criselda".

A person with this name is often referred to as "Zelda" or "Selda".

People named Griselda include:

• Griselda Álvarez (1913–2009), first female governor in Mexico
• Griselda Blanco (born 1943), a former drug lord for the Medellín Cartel
• Griselda Gambaro (born 1928), Argentine writer
• Griselda González (born 1965), Argentine former long-distance runner
• Griselda Pollock (born 1949), art historian, cultural analyst and scholar
• Griselda Tessio (born 1947), vice-governor of the Argentine province of Santa Fe

In literature[link]

• Griselda (folklore)

Cecilia Bartoli
Cecilia Bartoli in 2008 at the Centre for Fine Arts, Brussels
Background information
Born	(1966-06-04) 4 June 1966 (age 46)
Origin	Rome, Italy
Genres	Traditional, classical, baroque
Occupations	Singer and recitalist
Instruments	Vocals
Website	http://www.ceciliabartolionline.com

Cecilia Bartoli, Cavaliere OMRI (Italian pronunciation: [tʃeˈtʃiːlja ˈbaɾtoli]; born June 4, 1966 in Rome) is an Italian coloratura mezzo-soprano opera singer and recitalist. She is best known for her interpretation of the music of Mozart and Rossini, as well as for her performances of lesser-known Baroque and classical music. She is known for having the versatility to play both soprano and mezzo roles.

Biography[link]

Bartoli is considered a coloratura mezzo-soprano (Koloratur-Mezzosopran) with an unusual timbre. She is one of the most popular (and one of the top-selling) opera singers of recent years.^[1] Bartoli is much liked by the concert-going public for her vivacious on-stage persona,^{[citation needed]} while her lyric voice and investigations of Baroque music have given her considerable recognition even among the non-opera-going public.^{[citation needed]}

Early career[link]

Bartoli's parents, Silvana Bazzoni and Pietro Angelo Bartoli, were both professional singers and gave her her first music lessons. Her first public performance was at age eight as the shepherd boy in Tosca.^[1] Bartoli later studied at the Conservatorio di Santa Cecilia in Rome.^[2]

In contrast to most opera singers, Bartoli came to prominence in her early twenties, unusual in a profession where vocal maturity is typically not achieved until the thirties. She made her professional opera début in 1987 at the Arena di Verona. The following year she undertook the role of Rosina in Rossini's The Barber of Seville at the Cologne Opera, the Schwetzingen Festival and the Zurich Opera earning rave reviews.^[2] She was soon invited by Herbert von Karajan to sing at the Salzburg Festival, and she worked with von Karajan on Bach's Mass in B minor.^{[citation needed]} At this time, she also came to Daniel Barenboim's attention when he saw her performing on a French television tribute to Maria Callas.^{[citation needed]} Working with the conductors Daniel Barenboim and Nikolaus Harnoncourt, Bartoli focused on Mozart roles, such as Zerlina in Don Giovanni and Dorabella in Così fan tutte, and from then on her career has developed internationally.^[2]

In 1990 she made her début at the Opéra Bastille as Cherubino in Mozart's Le nozze di Figaro and her debut at the Hamburg State Opera as Idamantes in Mozart's Idomeneo. This was followed by her La Scala début as Isolier in Le comte Ory in 1991, a performance which solidified her reputation as one of the world's leading Rossini singers.^[2]

Broad success[link]

In 1996, she made her debut at the Metropolitan Opera as Despina in Così fan tutte and returned the following year to sing the title role of La Cenerentola. On this occasion, there was much speculation that she had been secretly miked to boost her volume (as the Met is one of the largest opera houses in the world), but such rumours were steadfastly denied by the Met management.^{[citation needed]} As a result of her acclaimed performance, the role of Angelina has become somewhat associated with her name.^{[citation needed]}

In 2000 she triumphed in another Mozart soprano role, Donna Elvira in Don Giovanni, at the Deutsche Oper Berlin. In 2001 she made a long-awaited Royal Opera House début, taking the roles of Euridice and the Genio in the London stage première of Haydn's L'anima del filosofo.^[2]

Work in Baroque music[link]

In addition to Mozart and Rossini, Bartoli has spent much of her time performing and recording baroque and early classical era music of such composers as Gluck, Vivaldi, Haydn and Salieri. In early 2005, she sang Cleopatra in Handel's Giulio Cesare, a role written for a soprano, but which is in mezzo-soprano range. As her voice has matured it has gained the fullness and "largeness" it was earlier criticized for lacking.^{[citation needed]} She often performs with the baroque Ensemble Il Giardino Armonico.^{[citation needed]}

Work in bel canto[link]

Cecilia Bartoli in 2008 at the Salle Pleyel, Paris

In 2007/08 Bartoli devoted her time to studying and recording the early 19th century repertoire – the era of Italian Romanticism and bel canto – and especially the legendary singer Maria Malibran, the 200th anniversary of whose birth was celebrated in March 2008. The album Maria was released in September 2007 and was number one in the Classical Billboard Charts in the U.S as well as achieving Gold status in Belgium and the Netherlands.^{[citation needed]} In May 2008, Bartoli played the title role written for Malibran in a revival of Fromental Halévy's 1828 opera Clari at the Zurich Opera.^[3] In June 2010 she sang the title role of Bellini's Norma for the first time with conductor Thomas Hengelbrock in a concert in the Konzerthaus Dortmund.^[4] In March 2011, Bartoli toured five Australian cities with two programs, drawn from Sacrificium and Maria.^[5]

Awards[link]

Bartoli was honored as a Chevalier of the Ordre des Arts et des Lettres in 1995 and received the Léonie Sonning Music Prize in 2010.^{[citation needed]} In 2011, she won the Grammy Award for Best Classical Vocal Performance for Sacrificium.^{[citation needed]} In 2012 she was voted into Gramophone Magazine's Hall of Fame.^[6]

Discography[link]

Opera[link]

• Rossini: La scala di seta (1988)
• Rossini: Il Barbiere di Siviglia (1989)
• Mozart: Lucio Silla (1991)
• Rossini: La Cenerentola (1993)
• Puccini: Manon Lescaut (1993)
• Mozart: Le Nozze di Figaro (1994)
• Mozart: La Clemenza di Tito (1995)
• Haydn: Orfeo ed Euridice (1997)
• Rossini: Il Turco in Italia (1998)
• Mozart: Mitridate (1999)
• Haydn:Armida (2000)
• Handel: Rinaldo (2000)
• Mozart: Don Giovanni (2001)
• Bellini: La Sonnambula (2008)
• Halevy:Clari (2008)

Recitals with orchestra[link]

• Rossini Arias (1989)
• Mozart Arias (1991)
• Rossini Heroines (1992)
• Mozart Portraits (1994)
• The Vivaldi Album (1999)
• Cecilia and Bryn (1999)
• Gluck Italian Arias (2001)
• The Salieri Album (2003)
• Opera Proibita (2005)
• Maria (A Tribute to Maria Malibran) (2007)
• Sacrificium (Arias written for castrati) (2009)

Recitals with piano[link]

• Rossini Recital (1990)
• If You Love Me – "Se tu m'ami": Eighteenth-century Italian Songs (1992)
• Arie Antiche (1992)
• Italian Songs (1993)
• Chant D'Amour (1996)
• An Italian Songbook (1997)
• Live in Italy (1998)

Sacred[link]

• Mozart: Requiem (1992)
• Scarlatti: Salve Regina
• Pergolesi: Stabat Mater, Salve Regina (2000)

Cantatas[link]

• Rossini Cantatas Volume 2

Collections[link]

• Cecilia Bartoli Rossini Heroines (1992)
• A Portrait (1995)
• The Art of Cecilia Bartoli (2002)
• Sospiri (2010)

References[link]

Sources[link]

• Blyth, Alan: "Cecilia Bartoli", Grove Music Online ed. L. Macy (Accessed October 20, 2008), (subscription access)
• Wroe, Nicholas, "Classic case of success", The Guardian, 13 October 2001. Retrieved on 3 April 2009
• Swafford, Jan, Nature's Rejects, The music of the castrati., Slate, 9 November 2009

External links[link]

Wikimedia Commons has media related to: Cecilia Bartoli

• Official website
• Bartoli's Record Label
• Cecilia Bartoli at the Internet Movie Database

This article has multiple issues. Please help improve it or discuss these issues on the talk page. This biography of a living person needs additional citations for verification. Tagged since October 2010. It includes a list of references, but its sources remain unclear because it has insufficient inline citations. Tagged since October 2010. It relies largely or entirely upon a single source. Tagged since September 2008.

Griselda Blanco (born February 15, 1943) is a former drug lord for the Medellín Cartel, and was a pioneer in the Miami-based cocaine drug trade and underworld during the 1970s and early 1980s.

Biography[link]

Blanco was born on 15 February 1943 on the north coast of Colombia, and moved to Medellín when she was three years old. In the film Cocaine Cowboys II: Hustlin' with the Godmother, Blanco's former lover, Charles Cosby, recounts how Griselda, at age 11, allegedly kidnapped, tried to ransom, and eventually shot a child from the upscale flatland neighborhood near her hillside slum neighborhood.^[1][2] By her preteens, she had become a pickpocket, and at the age of 14 she ran away from her physically abusive mother and resorted to prostitution for a few years in Medellín,^[1][2] until age 20. She married her first husband, Carlos Trujillo at that time, and bore him three sons: Dixon, Uber, and Osvaldo.^[3][4]

In the mid-1970s, Blanco and her second husband, Alberto Bravo, emigrated to the United States, settling in Queens, New York. They established a sizable cocaine business there, and in April 1975, Blanco was indicted on federal drug conspiracy charges along with 30 of her subordinates, at that time the biggest cocaine case in history. She fled to Colombia before she could be arrested, but in the late 1970s she returned to Miami.^[1][2]

Blanco was involved in much of the drug-related violence known as the Cocaine Cowboy Wars that plagued Miami in the late 1970s and early 1980s, when cocaine supplanted marijuana.^[5] Her distribution network, which spanned the United States, brought in US$8 million per month.^[1] Blanco's violent business style brought government scrutiny to South Florida, leading to the demise of her organization and the free-wheeling, high profile Miami drug scene of those times. She is suspected of having masterminded over 200 murders during this time in Dade County.^[5]

In 1984, Blanco's willingness to use violence against her Miami competitors, or anyone who displeased her, led her rivals to make repeated attempts to kill her. She moved to California to escape the assassination attempts. On 20 February 1985, she was arrested by DEA agents in her home. Held without bail, Blanco was sentenced to more than a decade in jail. She continued to run her cocaine business while in jail. By pressuring one of her lieutenants, the Miami-Dade State Attorney's Office obtained sufficient evidence to indict her for three murders. However, the case collapsed, largely due to technicalities and Blanco was released from prison and deported to Colombia in 2004.^[1] Her whereabouts are unknown, but she was last seen in Bogota Airport in 2007 where a photo was taken of her.^[2]

Blanco bore her youngest son, Michael Corleone, with Dario Sepulveda. Dario left Blanco in 1983 and returned to Colombia, kidnapping Michael when he and Griselda disagreed about who would take custody. Blanco paid to have Dario assissinated in Colombia, and had her son returned to her in Miami.^[2][6][7] According to a report in Miami New Times, "Michael's father and older siblings were all killed before he reached adulthood. His mom was in prison for most of his childhood and teenage years, and he was raised by his maternal grandmother and legal guardians."^[8]

Notes[link]

References[link]

Further reading[link]

• Smitten, Richard (1 November 1990). The Godmother: the true story of the hunt for the most bloodthirsty female criminal of our time. Pocket Books. ISBN 978-0-671-70193-2. Archived from the original on 7 February 2009. http://replay.web.archive.org/20090207084259/http://www.richardsmitten.com/godmother.html. Retrieved 3 October 2010. 

External links[link]

• Cosby, Charles. "Charles Cosby: From Early Childhood to Cocaine and Hustlin’". Charles Cosby. Charles Cosbyat theblogunion.wordpress.com. Meeting Griselda Blanco. 

 | url = http://theblogunion.wordpress.com/2009/05/25/charles-cosby-from-early-childhood-to-cocaine-and-hustlin%E2%80%99/

• Washington Post: Drugs
• Red Orbit: Cocaine 'Godmother' Released From Prison
• Female Scarface

Zeca Pagodinho
Background information
Birth name	Jessé Gomes da Silva Filho
Born	(1959-02-04) February 4, 1959 (age 53)
Origin	Rio de Janeiro, Brazil
Genres	Samba & Pagode
Occupations	Singer, songwriter
Years active	1978–present
Associated acts	Raça Brasileira
Website	http://www.zecapagodinho.com.br

Zeca Pagodinho (b. February 4, 1959, birth name Jessé Gomes da Silva Filho) is a Brazilian singer/songwriter working in the genres of samba and pagode.

Biography[link]

Born in the neighborhood of Irajá, Rio de Janeiro, Zeca Pagodinho grew up around the most traditional manifestations of samba and started making his own verses while still a kid. In the '70s, Zeca started frequenting the Carnival Block of Cacique de Ramos, which took place in Rio de Janeiro every Wednesday and became a true pagode's crib (pagode is a type of samba). At one of these jams, samba singer Beth Carvalho was impressed with Zeca's skills and invited him to record the song "Camarão Que Dorme a Onda Leva". From that point on, Zeca began to record his own albums. There are now 15 of them, and three DVDs. His creative, joyful, malicious songs translate the day-by-day of the typical easy going carioca and are a big success in Brazil. He's one of the biggest-sellers in the country.

[edit] Example of work: SPC

One of Zeca's first hits is from his first album. It's called SPC; the SPC, in Brazil, is a blacklist of bad debtors from which it is hard to get one's name removed (it stands for Credit Protection Service). The song, a partnership between Arlindo Cruz and Zeca, tells the story of someone who asks a friend (or partner) to use their credit card on his behalf; afterwards, the relationship breaks up. Both persons are implied to have low incomes.

Lyrics:

Precisei de roupa nova
Mas sem prova de salário
Combinamos, eu pagava
Você fez o crediário
Nosso caso foi pra cova
E a roupa pro armário

E depois você quis manchar meu nome
Dentro do meu metiêr
Mexeu com a moral de um homem
Vou me vingar de você

Porque, eu vou sujar seu nome
No seu SPC*

Tu vai ver, eu vou sujar, seu nome
No SPC
Quis me fazer de otário
Mas o crediário já está pra vencer
Sei que não sou salafrário
Mas o numerário você não vai ver
Porque eu vou sujar, seu nome
No SPC
Eu vou sujar, seu nome no SPC

(...)

Com o aumento dos juros
Você em apuros pra mim vai correr
Pra me vingar dos teus furos
Juro que estou duro
Não pago carnê porque

Translation:

I needed new clothes
but with no proof of salary
We agreed, I was to pay
You made the credit card transaction
Then our affair went to the grave
and the clothes to the closet

And then you tried to stain my name
Inside my circle
Messed with the morals of a man
I'm going to take revenge on you, because

I'm going to soil
Your name in the SPC
I'm going to soil
Your name in the SPC

Tried to make a halfwit out of me
But the transaction is about to expire
I know I'm no crook
But the numbers, you won't see, because

I'm going to soil
Your name in the SPC

With the raising of the interests
You, in trouble, to me will run
To get revenge from your fumbles
I'll swear I'm broke and won't pay the bill, because


I'm going to soil
Your name in the SPC

• SPC = Credit Protection Service, a government agency of credit protection that registers data about bad payers.

Discography[link]

• Especial MTV - Uma Prova de Amor Ao Vivo
• Uma prova de amor (2008)
• Raridades (2007)
• Acústico MTV - Zeca Pagodinho 2 - Gafieira (2006)
• À Vera (2005)
• Acústico MTV - Zeca Pagodinho (2003)
• Deixa a vida me levar (2002)
• O quintal do Pagodinho (2002)
• Água da minha sede (2000)
• Zeca Pagodinho ao vivo - DVD (2000)
• Zeca Pagodinho ao vivo (1999)
• Zeca Pagodinho (1998)
• Hoje é dia de festa (1997)
• Deixa clarear (1996)
• Samba pras moças (1995)
• Alô, mundo! (1993)
• Um dos poetas do samba (1992)
• Pixote (1991)
• Mania da gente (1990)
• Boêmio feliz (1989)
• Jeito moleque (1988)
• Patota de Cosme (1987)
• Zeca Pagodinho (1986)

External links[link]

• Video: Zeca performing songs from his first record

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2007)

Arlindo Cruz (b. September 14, 1958, birth name Arlindo Domingos da Cruz Filho) is a Brazilian musician, composer and singer, working in the genre of samba and pagode. Arlindo took part in the most important formation of Grupo Fundo de Quintal, and is considered one of the most important figures of the pagode movement.

Biography[link]

At the age of seven, Arlindo was given his first musical instrument, the cavaquinho, by his father (Arlindão), a friend and partner of Candeia with whom he had founded the Mensageiros do Samba group. From 7 to 12 years, Arlindo already played by ear, learning chord voicings from his brother Acyr Marques guitar playing. At 12, he went on to study classical guitar for 2 years on Flor do Méier institution. About that time he started working professionally as a musician, on rodas de samba with various artists, especially Candeia who he considers to be his musical godfather. With Candeia he recorded a simple compact and an LP called `Roda de Samba', playing cavaquinho.

With Jorge Aragão exiting Grupo Fundo de Quintal, Arlindo was invited to join the group, invitation which he accepted happily, dedicating himself during 12 years of success. Arlindo played the banjo cavaquinho on the group and was one of the lead voices and songwriters, along with singer/songwriter Sombrinha, who played cavaquinho and guitar.

Arlindo Cruz has over 450 songs recorded by various artists, including Zeca Pagodinho and Beth Carvalho. Arlindo is also considered one of the most prolific banjo players to have ever dwelled in the samba scene, alongside Almir Guineto, with a great number of studio recordings for various artists, standing as a disputed instrumentist.

After leaving Grupo Fundo de Quintal in 1993, Arlindo released one solo record. Soon afterwards, he joined his old partner Sombrinha in a quite successful partnership, Arlindo Cruz & Sombrinha, which lasted until ca. 2005.

Today Arlindo Cruz proceeds in solo career.

References[link]

Arlindo Cruz at Só Samba

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