Giuseppe Verdi
Operas Oberto (1839) Un giorno di regno (1840) Nabucco (1842) I Lombardi alla prima crociata (1843) Ernani (1844) I due Foscari (1844) Giovanna d'Arco (1845) Alzira (1845) Attila (1846) Macbeth (1847) I masnadieri (1847) Jérusalem (1847) Il corsaro (1848) La battaglia di Legnano (1849) Luisa Miller (1849) Stiffelio (1850) Rigoletto (1851) Il trovatore (1853) La traviata (1853) Les vêpres siciliennes (1855) Simon Boccanegra (1857) Aroldo (1857) Un ballo in maschera (1859) La forza del destino (1862) Don Carlos (1867) Aida (1871) Otello (1887) Falstaff (1893)
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Don Carlos is a five-act grand opera composed by Giuseppe Verdi to a French language libretto by Camille du Locle and Joseph Méry, based on the dramatic play Don Carlos, Infant von Spanien (Don Carlos, Infante of Spain) by Friedrich Schiller. When performed in Italian, the opera is called Don Carlo. The story is based on conflicts in the life of Carlos, Prince of Asturias (1545–1568), after his betrothed Elisabeth of Valois was married instead to his father Philip II of Spain as part of the peace treaty ending the Italian War of 1551-1559 between the Houses of Habsburg and Valois. It was commissioned and produced by the Théâtre Impérial de l’Opéra (Paris Opera) and premiered at the company's theatre, the Salle Le Peletier, on 11 March 1867.

Over the following twenty years, cuts and additions were made to the opera, resulting in a number of versions being available to directors and conductors. No other Verdi opera exists in so many versions. At its full-length (including the ballet and the cuts made before the first performance), it contains about four hours of music and is Verdi's longest opera.^[1]

Revisions and translation[link]

Pre-première cuts and first published edition[link]

Verdi made a number of cuts in 1866, after finishing the opera but before composing the ballet, simply because the work was becoming too long.^[1] These comprised:

• a duet for Elisabeth and Eboli in Act 4, Scene 1
• a duet for Carlos and the King after the death of Posa in Act 4, Scene 2
• an exchange between Elisabeth and Eboli during the insurrection in the same scene

After the ballet had been composed, it emerged during the 1867 rehearsal period that, without further cuts, the opera would not finish before midnight (the time by which patrons would need to leave in order to catch the last trains to the Paris suburbs). Verdi then authorised some further cuts, as follows:^[2]

• The introduction to Act 1, with a chorus of woodcutters and their wives, and including the first appearance of Elisabeth
• A short entry solo for Posa ("J'étais en Flandres") in Act 2, Scene 1
• Part of the dialogue between the King and Posa at the end of Act 2, Scene 2

The opera, as first published at the time of the première, consisted of Verdi's original conception, minus all of the above cuts but including the ballet.

Further authorised and unauthorised Paris cuts[link]

After the première and before leaving Paris, Verdi authorised the Opéra authorities to end Act 4, Scene 2 with the death of Posa (thus omitting the insurrection scene) if they thought fit. After his departure, further (unauthorised) cuts were apparently made during the remaining performances.^[3]

First translation into Italian[link]

Title page of a libretto for performances at the Teatro Pagliano in Florence in April–May 1869 which used the Italian translation by Achille de Lauzières

It was common practice at the time for most theatres (other than those in French-speaking communities) to perform operas in Italian,^[4] and an Italian translation of Don Carlos was prepared in the autumn of 1866 by Achille de Lauzières.^[5] On 18 November 1866 Verdi wrote to Giovanni Ricordi, offering the Milan publisher the Italian rights, but insisting that the opera "must be performed in its entirety as it will be performed for the first time at the Paris Opéra. Don Carlos is an opera in five acts with ballet: if nevertheless the management of Italian theatres would like to pair it with a different ballet, this must be placed either before or after the uncut opera, never in the middle, following the barbarous custom of our day."^[6]

The Italian translation was first performed on 4 June 1867, not in Italy but in London at the Royal Italian Opera House, Covent Garden (now the Royal Opera House), where it was produced and conducted by Michael Costa – not as Verdi desired, but in a cut and altered form. The first act was removed, the ballet in Act 3 was omitted, and Carlo's aria "Io la vidi", originally in Act 1, was moved to Act 3, just before the terzetto. The duet between Philip and the Inquisitor was shortened by four lines, and Elisabeth's aria in Act 5 consisted only of part of the middle section and the reprise. The production was initially considered a success, and Verdi sent a congratulatory note to Costa. Later when Verdi learned of the alterations, he was greatly irritated, but Costa's version anticipated revisions Verdi himself would make in 1882–83 (see below).^[7]

The Italian premiere on 27 October 1867 at the Teatro Comunale di Bologna, conducted by Verdi's close friend Angelo Mariani, was an "instant success", and this version, although produced in Verdi's absence, was more complete and included the ballet.^[8] For the Rome premiere on 9 February 1868 at the Teatro Apollo, perhaps unsurprisingly, the Papal censor changed the Inquisitor into a Gran Cancelliere (Grand Chancellor) and the Monk/Emperor into a Solitario (Recluse). The opera was first performed in Milan at La Scala on 25 March 1868, and prestige productions in most other Italian opera houses followed, but it did not become a popular success. The length was a particular problem, and subsequent performances were generally heavily cut. The first production in Naples in 1871 was indisputably a failure.^[9]

Further revisions to the music and the text[link]

Following the unsuccessful performance in Naples in 1871, Verdi was persuaded to visit the city for further performances in 1872-3, and he made two more modifications to the score:^[10]

• additions to the scene for Posa and the King in Act 2, scene 2 (Italian verses by Antonio Ghislanzoni) to replace some of the previously cut material. This is the only portion of the entire opera that was ever composed by Verdi to an Italian rather than a French text.
• cuts to the duet between Carlos and Elisabeth in Act 5.

The 1882–83 revision[link]

The idea of reducing the scope and scale of Don Carlos had originally come to Verdi in 1875, partly as a result of his having heard reports of productions, such as Costa's, which had removed Act 1 and the ballet and introduced cuts to other parts of the opera. By April 1882, he was in Paris where he was ready to make changes. He was already familiar with the work of Charles-Louis-Etienne Nuitter, who had worked on French translations of Macbeth, La forza del destino and Aida with du Locle, and the three proceeded to spend nine months on major revisions of the French text and the music to create a 4-act version. This omitted Act 1 and the ballet, and was completed by March 1883.^[11] An Italian translation of this revised French text, re-using much of the original 1866 translation by de Lauzières, was made by Angelo Zanardini. The La Scala, Milan première of the 1883 revised version took place on 10 January 1884 in Italian.^[12]

Although Verdi had accepted the need to remove the first act, it seems that he changed his mind and allowed a performance on 29 December 1886 in Modena which presented the “Fontainebleau’’ first act along with the revised 4-act version. This version was published by Ricordi as “a new edition in five acts without ballet”.^[13]

Subsequent performance history[link]

Performances of Don Carlos/Don Carlo in the first half of the twentieth century were rare, but in the post Second World War period it has been regularly performed, particularly in the four-act 1883 'Milanese' version. Following the notable 1958 staging of the 1886 five-act Italian version at the Royal Opera House, Covent Garden (director Luchino Visconti), this version has increasingly been performed elsewhere and has been recorded by, among others, Georg Solti and Carlo Maria Giulini. Charles Mackerras conducted the 5-act version (complete with Verdi's original prelude, the woodcutters' scene and the original ending) in an English translation for English National Opera at the London Coliseum in 1975.

Finally, stagings and recordings of the original five-act French version of the opera have become more frequent, performances having been given at the Teatro alla Scala in 1970 featuring Plácido Domingo with Katia Ricciarelli, at the Théâtre du Châtelet in 1996, with Roberto Alagna as Don Carlos (which has been released on CD and DVD), and at the San Francisco Opera in 1986 and 2003. A five-act version including the parts not performed in the first Paris première (but omitting the ballet "La Pérégrina") was staged and conducted by Sarah Caldwell with the Opera Company of Boston in 1973.^[14] The complete uncut French version was performed first at the Hamburg State Opera in 2001, then and as filmed for dvd at the Staatsoper in Vienna (2004) and at the Liceu, Barcelona (2006); its conductor in Vienna was Bertrand de Billy. Conducting it for Hamburg and the Liceu have been Ingo Metzmacher and Maurizio Benini respectively.

In April 2012 the Houston Grand Opera presented the five-act French version. ^[15]

Roles[link]

Synopsis[link]

[This synopsis is based on the original five-act version composed for Paris and completed in 1866. Important changes for subsequent versions are noted in indented brackets. First lines of arias, etc., are given in French and Italian].

Act 1[link]

[This Act was omitted in the 1883 revision]

The Forest of Fontainebleau, France in winter

A prelude and chorus of woodcutters and their wives is heard. They complain of their hard life, made worse by war with Spain. Elisabeth, daughter of the King of France, arrives with her attendants. She reassures the people that her impending marriage to Don Carlos, son of the King of Spain, will bring the war to an end, and departs

[This was cut before the Paris première and replaced by a short scene in which Elisabeth crosses the stage and hands out money to the woodcutters]

Carlos, coming out from hiding, has seen Elisabeth and fallen in love with her (Aria: "Je l'ai vue" / "Io la vidi"). When she reappears, he initially pretends to be a member of the Count of Lerma's delegation, but then reveals his identity and his feelings, which she reciprocates (Duet: "De quels transports poignants et doux" / "Di quale amor, di quanto ardor"). A cannon-shot signifies that peace has been declared between Spain and France, and Thibault informs Elisabeth that her hand is to be claimed not by Carlos but by his father, Philip II. Lerma and his followers confirm this, and Elisabeth feels bound to accept, in order to consolidate the peace. She departs for Spain, leaving Carlos devastated.

Act 2[link]

[This Act is Act 1 in the 1883 revision]

Scene 1: The monastery of Saint-Just (San Jerónimo de Yuste) in Spain

Monks pray for the soul of the Emperor Charles V ("Carlo Quinto"). His grandson Don Carlos enters, anguished that the woman he loves is now married to his father.

[In the 1883 revision, he sings a revised version of the aria "Je l'ai vue" / "Io la vidi", which was salvaged from the omitted first Act but with some different music and different text to reflect his current situation of already knowing he can't marry Elisabeth whereas in the original he was still supposed to marry her when he sings the aria.]

A monk resembling the former emperor offers him eventual consolation of peace through God. Carlos's friend Rodrigue, Marquis of Posa, has just come from the oppressed land of Flanders (Aria: "J'étais en Flandres")

[This was cut during the pre-première rehearsals]

He asks for the Infante's aid on behalf of the suffering people there. Carlos reveals that he loves his stepmother. Posa encourages him to leave Spain and go to Flanders. The two men swear eternal friendship (Duet: "Dieu, tu semas dans nos âmes" / "Dio, che nell'alma infondere"). King Philip and his new wife, with their attendants, enter to do homage at Charles V's tomb, while Don Carlos laments his lost love.

Scene 2: A garden near Saint-Just

Princess Eboli sings the Veil Song ("Au palais des fées" / "Nel giardin del bello") about a Moorish King and an alluring veiled beauty that turned out to be his neglected wife. Elisabeth enters. Posa delivers a letter from France (and secretly a note from Don Carlos). At his urging (Aria: "L'Infant Carlos, notre espérance" / "Carlo ch'è sol il nostro amore"), Elisabeth agrees to see the Infante alone. Eboli infers that she, Eboli, is the one Don Carlos loves.

When they are alone, Don Carlos tells Elisabeth that he is miserable, and asks her to request Philip to send him to Flanders. She promptly agrees, provoking Carlos to renew his declarations of love, which she piously rejects. Don Carlos exits in a frenzy, shouting that he must be under a curse. The King enters and becomes angry because the Queen is alone and unattended. He orders her lady-in-waiting, the Countess of Aremberg, to return to France, prompting Elizabeth to sing a sorrowful goodbye-aria. (Aria: "Oh ma chère compagne" / "Non pianger, mia compagna"). The King approaches Posa, whose character and activism have impressed him favorably. Posa begs the King to stop oppressing the people of Flanders. The King calls Posa's idealistic request unrealistic, and warns him that the Grand Inquisitor is watching him.

[This duologue was revised three times by Verdi]

Act 3[link]

[This Act is Act 2 in the 1883 revision]

Scene 1: Evening in the Queen's garden in Madrid

Elisabeth is tired, and wishes to concentrate on the following days's coronation of the King. To avoid the divertissement planned for the evening, she exchanges masks with Eboli, assuming that thereby her absence will not be noticed, and leaves

[This scene was omitted from the 1883 revision]

[The ballet, (choreographed by Lucien Petipa and entitled "La Pérégrina") took place at this point in the première]

Don Carlos enters. He has received a note suggesting a tryst in the gardens, which he thinks is from Elisabeth, but which is really from Eboli, to whom he mistakenly declares his love. The disguised Eboli realizes that he thinks that she is the Queen, and Carlos is horrified that she now knows his secret. When Posa enters, she threatens to tell the King that Elisabeth and Carlos are lovers. Carlos prevents Posa from stabbing her, and she exits in a vengeful rage. Posa asks Carlos to entrust to him any sensitive political documents that he may have, and, when Carlos agrees, they reaffirm their friendship.

Scene 2: In front of the Cathedral of Valladolid

Preparations are being made for an "Auto-da-fé", the public parade and burning of condemned heretics. While the people celebrate, monks drag the condemned to the woodpile. The royal procession follows, and the King addresses the populace, but Don Carlos brings forward six Flemish deputies, who plead with the King for their country's freedom. The people and the court are sympathetic, but the King, supported by the monks, orders the deputies' arrest. Carlos draws his sword against the King. The King calls for help but the guards will not attack Don Carlos. Posa steps in, and persuades Carlos to surrender his sword. The King then promotes Posa to Duke, the woodpile is fired, and, as the flames start to rise, a heavenly voice can be heard promising peace to the condemned souls.

Act 4[link]

[This Act is Act 3 in the 1883 revision]

Scene 1: Dawn in King Philip's study in Madrid

Alone, the King, in a reverie, laments that Elisabeth has never loved him, that his position means that he has to be eternally vigilant, and that he will only sleep properly when he is in his tomb in the Escorial (Aria: "Elle ne m'aime pas" / "Ella giammai m'amò"). The blind, ninety-year-old Grand Inquisitor is announced. The King asks if the Church will object to his putting his own son to death, and the Inquisitor replies that the King will be in good company: God sacrificed His own son. In return, the Inquisitor demands that the King have Posa killed. The King refuses to kill his friend, whom he admires and likes, but the Inquisitor reminds the King that the Inquisition can take down any king; he has destroyed other kings before. The King admits that he is powerless to save his friend and begs the Grand Inquisitor to forget about the whole discussion. The Grand Inqusitor replies "We'll see," and leaves. Elisabeth enters, alarmed at the apparent theft of her jewel casket, but the King produces it and points to the portrait of Don Carlos which it contains, and accuses her of adultery. She protests her innocence, and, when the King threatens her, she faints. He calls for help. Eboli and Posa appear, and a quartet ("Maudit soit le soupçon infâme" / "Ah, sii maledetto, sospetto fatale") develops. The King realises that he has wronged his wife. Posa resolves to save Carlos, though it may mean his own death. Eboli feels remorse for betraying Elisabeth; the latter, recovering, expresses her despair.

[This quartet was revised by Verdi in 1883]

The two women are left together.

[A duet, "J'ai tout compris", was cut before the première]

Eboli confesses not only that she stole the casket because she loved Carlos and he rejected her, but, worse, she has also been the mistress of the King. Elisabeth tells her that she must go into exile or enter a convent, and exits. Eboli, alone, curses the fatal pride that her beauty has bestowed on her, chooses the convent over exile, and resolves to try to save Carlos from the Inquisition (Aria: "O don fatal" / "O don fatale").

Scene 2: A prison

Don Carlos has been imprisoned. Posa arrives to tell him that he will be saved but that he himself will have to die, incriminated by the politically sensitive documents which Carlos had entrusted to him (Aria, part 1: "C'est mon jour suprème" / "Per me giunto è il di supreme"). A shadowy figure shoots Posa in the chest. As he dies, Posa tells Carlos that Elisabeth will meet him at Saint-Just on the following day, and says that he is content to die if his friend can save Flanders and rule over a happier Spain (Aria, part 2: "Ah, je meurs, l'âme joyeuse" / "Io morrò, ma lieto in core"). After his death, Philip enters, offering his son freedom. Carlos repulses him for having murdered Posa. The King sees that Posa has been killed, and cries out in his sorrow.

[A duet included at this point for Carlos and the King, cut before the première, was later re-used by Verdi for the Lacrimosa in his Requiem]

Bells ring, and Elisabeth, Eboli and the Grand Inquisitor arrive, while a crowd demands the release of Carlos and threatens the King. In the confusion, Eboli escapes with Carlos. The people are brave enough to threaten the King, but they are terrified by the Grand Inquisitor, and they instantly obey his angry command to quiet down and bow to the King.

[After the première, some productions ended this Act with the death of Posa; however, in 1883 Verdi provided a much shortened version of the insurrection, as he felt that otherwise it would not be clear how Eboli had fulfilled her promise to rescue Carlos]

Act 5[link]

[This Act is Act 4 in the 1883 revision]

The moonlit monastery of Yuste

Elisabeth kneels before the tomb of Charles V. She is committed to help Don Carlos on his way to fulfil his destiny in Flanders, but she herself longs only for death (Aria: "Toi qui sus le néant" / "Tu che le vanità"). Carlos appears and they say a final farewell, promising to meet again in Heaven (Duet: "Au revoir dans un monde où la vie est meilleure" / "Ma lassù ci vedremo in un mondo migliore").

[This duet was twice revised by Verdi]

Philip and the Grand Inquisitor enter: the King declares that there will be a double sacrifice, and the Inquisitor confirms that the Inquisition will do its duty. A short summary trial follows.

[The trial was omitted in 1883]

Carlos, calling on God, draws his sword to defend himself against the Inquisitor's guards, when suddenly, the Monk emerges from the tomb of Charles V. He grabs Carlos by the shoulder, and loudly proclaims that the turbulence of the world persists even in the Church; we cannot rest except in Heaven. Philip and the Inquisitor recognize the Monk's voice as that of the King's father, former-Emperor Carlo V ("Carlo Quinto") himself. Everyone screams in shock and terror, and the Monk/former-Emperor drags Carlos forcibly into the tomb and closes the entrance. The curtain falls.

Instrumentation[link]

• Strings: violins, violas, cellos, double basses
• Woodwinds: piccolo (doubling on flute), 2 flutes, 2 oboes (2nd doubling on English horn), 2 clarinets, 4 bassoons
• Brass: 4 horns, 3 cornet à pistons, 2 trumpets, 3 trombones, cimbasso
• Percussion: timpani, bass drum, cymbals, triangle, bells in F sharp and E flat
• Other: harp
• On-stage: clarinet in D, 2 clarinets in A, 4 horns, 2 flugelhorns, 2 trumpets, bass flugelhorn, 3 trombones, bombardon, double bass, harmonium, harp

Recordings[link]

See Don Carlos discography.

See also[link]

• Cultural depictions of Philip II of Spain

References[link]

Notes

Sources

• Budden, Julian (1984). The Operas of Verdi, Volume 3: From Don Carlos to Falstaff. London: Cassell. ISBN 0-304-30740-8.
• Phillips-Matz, Mary Jane (1994). Verdi: A Biography, Oxford and New York: Oxford University Press. ISBN 0-19-313204-4.
• Walker, Frank (1962). The Man Verdi. New York: Knopf. OCLC 351014. London: Dent. OCLC 2737784. Chicago: The University of Chicago Press (1982 paperback reprint with a new introduction by Philip Gossett). ISBN 9780226871325.

External links[link]

• Libretto (Italian)
• Vocal Scores (Italian and French, 4-act and 5-act versions)

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (February 2011)

Kenshin Iryo (born June 1, 1981), better known by his stage name Million Stylez, is a Swedish dancehall artist.

Kenshin Iryo was born on June 1, 1981 in Stockholm, Sweden. He grew up in the Stockholm suburb of Sollentuna, and has been living there for 26 years. He is half Japanese and half French and grew up mainly with immigrants from around the world, which contributed to his respect for other cultures. Stylez started experimenting with Hip Hop at the young age of nine, writing and recording rap tunes in Swedish on his cassette-player.

In the Summer of 2005, Million Stylez went to the finals in "Big Break" arranged by Irie FM and Red Stripe. It is an annual talent competition for upcoming artists in Jamaica with more than 1,200 talented applicants. After live shows (in St. Elizabeth, Montego Bay and Kingston), TV and radio-interviews he ended up winning fourth place. He was also the only non-Jamaican that ever had participated in the competition until the year after when Natasha (Denmark) won first place.

On March 1, 2006 he released his first single "Miss Fatty" through German distributor Soundquake, and was their number one selling song for several weeks. "Miss Fatty" was also received very well by radio stations like Hot97, Shade 45 (eminems satellite radio) BBC1Xtra, Kiss FM, NRJ, Voice etc. It has also been the number one track on Trace TV/radio that broadcasts to over 50 countries around the world. The video was shot in Cuba (Santiago de Cuba) and has over 11.000.000 views on YouTube so far.

Million Stylez released his debut album "From A Far" (2007) on KBC Music and includes musical genres ranging from Reggae, Dancehall and Hip Hop to some R&B influenced songs, as well as a "crunkhall" remix in a hidden track (produced by Nordic Steel). Most of the tunes contain conscious lyrics about his gratitude to God, life struggle, celebration, love and hate, war and peace and other issues.

Million has worked with many musical acts including Beyoncé, Loon, Smif N Wessun, Mr Vegas, Bunji Garlin, Lukie D, Loogaman, Alozade, J-Ro, Gentleman, and two of Sweden's biggest and most respected rappers such as Promoe and Ken Ring. He has also been the opening act for artists like Sean Paul, Beenie Man, Elephant Man, Ne-Yo, Fabolous, Nina Sky, Ryan Leslie, Fatman Scoop, Wayne Wonder, Mr Vegas, TOK, Anthony B, Ward 21, Alozade, Zumjay among others. He has recorded dubplates for big soundsystems and selectors like David Rodigan (the U.K.'s biggest and most known selector), Mighty Crown, Massive B, Sentinel, Robbo Ranx and Silver Star.

Million is at the moment touring internationally to promote his new album "Everyday" with musical guests including Busy Signal, Gentleman, and Don Carlos. He just came back from his U.S. branch of the tour and is currently working on new songs.

^[1][2]

Discography[link]

• Everyday (Album, Adonai Music 2010)produced By Maxime Emixam - ( Ya habibti )
• From A Far (Album, KBC Music 2007)
• Without U (Single, KBC Music)
• All Night (Single, KBC Music)
• Give me the strength (Single, KBC Music)
• This Is Da Style (Single)
• Miss Fatty (Single, Mumpy Ride)

Notes[link]

See also[link]

• Swedish hip hop
• Papa Dee
• Soundism

External links[link]

• Million Stylez on Last.fm
• www.myspace.com/millionstylezonline
• Million Stylez on Bling Bling Gwada

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (June 2010)

Karl Denson
Denson in Seattle 2003
Background information
Born	1956 (age 55–56)
Origin	San Diego, California
Genres	Jazz, Funk, Jam band
Occupations	Musician
Instruments	Saxophone, Flute, Vocalist
Associated acts	Karl Denson's Tiny Universe Karl Denson Trio The Greyboy Allstars Lenny Kravitz

Karl Denson (born 1956) is a funk and jazz saxophonist, flutist and vocalist from San Diego, California. He was a member of Lenny Kravitz's band^[1] and has co-founded and led The Greyboy Allstars. Denson has recorded with artists including Jack DeJohnette, Dave Holland, Blind Boys of Alabama, Blackalicious, Stanton Moore, and Jon Foreman of the rock band Switchfoot. As of 2007 he continues to lead his own Karl Denson's Tiny Universe and Karl Denson Trio (KD3).

Members of Karl Denson's Tiny Universe include Denson (saxophone, flute), Ron Johnson (bass), Chris Littlefield (trumpet), Brian Jordan (guitar), David Veith (keyboards) and John Staten (drums).

Newest guitar player D.J. Williams joins summer of 2011

KD3 is Denson with keyboardist Anthony Smith (Global Funk, Giant People) and drummer Brett Sanders (brother of John Staten).

Selected discography[link]

• Let Love Rule (album) (Lenny Kravitz) - (1989)
• Mama Said (Lenny Kravitz) - (1991)
• Blackened Red Snapper (solo album) - (1992)
• West Coast Boogaloo (The Greyboy Allstars) - (1995)
• Chunky Pecan Pie (Solo Album) - (1995)
• Herbal Turkey Breast - (1996)
• A Town Called Earth (The Greyboy Allstars) - (1997)
• The D Stands for Diesel - (1997)
• Live (The Greyboy Allstars) - (1999)
• The Bridge (Karl Denson's Tiny Universe) - (2002)
• Dance Lesson #2 - (2002)
• Flyin' the Koop (Stanton Moore) - (2002)

Steve Winwood, About Time (album), Different Light (song) (2005

• Once You're There (EP) (Karl Denson's Tiny Universe) - (2006)
• What Happened to Television? (The Greyboy Allstars) - (2007)^[2]
• Lunar Orbit (Karl Denson Trio) - (September 2007)
• Brother's Keeper (Karl Denson's Tiny Universe)- (2009)

References[link]

Notes[link]

• Interview at JamBase Retrieved August 26, 2007
• Greyboy Allstars at AllAboutJazz Retrieved August 26, 2007
• KD3 bio at JamBase
• Karl Denson at allmusic.com Retrieved January 29, 2009

External links[link]

• Karl Denson's Tiny Universe MySpace

This article about a jazz saxophonist from the United States is a stub. You can help Wikipedia by expanding it. v t e

This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (June 2009)

László Polgár (born 1946 in Gyöngyös), is a Hungarian chess teacher and father of the famous "Polgár sisters": Zsuzsa, Zsófia, and Judit. He authored well-known chess books such as Chess: 5333+1 Problems, Combinations, and Games and Reform Chess, a survey of chess variants.

László is an expert on chess theory and owns over 10,000 chess books. He is interested in the proper method of rearing children, believing that "geniuses are made, not born". Before he had any children, he wrote a book entitled Bring Up Genius!, and sought a wife to help him carry out his experiment. He found one in Klara, a schoolteacher, who lived in a Hungarian-speaking enclave in Ukraine. He married her in the USSR and brought her to Hungary. He home-schooled their three daughters, primarily in chess, and all three went on to become strong players. An early result was Susan's winning the Budapest Chess Championship for girls under 11 at the age of four. Also his daughter, Judit, could defeat him at chess when she was just five.^[1] He is an intense admirer of L.L. Zamenhof, the creator of the Esperanto language. Polgár's second language is Esperanto.

Published works[link]

• Nevelj zsenit! (Bring Up Genius!), 1989 (ISBN 963-01-9976-9) – Out of print.
• Minichess, 1995 (ISBN 963-450-805-7)
• Chess: 5334 Problems, Combinations, and Games, 1994 (ISBN 1-884822-31-2)
• Chess: Reform Chess, 1997 (ISBN 3-89508-226-0)
• Chess: Middlegames, 1998 (ISBN 3-89508-683-5)
• Chess: Endgames, 1999 (ISBN 3-8290-0507-5)
• Királynők és királyok. Sakk, Szerelem, Szex, 2004 (ISBN 963-216-008-8)
• Salom haver: Zsidó származású magyar sakkozók antológiája, 2004 (ISBN 963-214-570-4)
• PeCHESS ember elCHESSte, 2004 (ISBN 963-86531-1-6)
• Polgar Superstar Chess, 2004 (ISBN 963-216-009-6)
• Polgar Superstar Chess II, 2005 (ISBN 963-86531-4-0)
• I Love Superstar Chess, 2005 (ISBN 963-86738-5-0)
• Hatágú csillag. Sakk, képzőművészet és humor, 2005 (ISBN 963-86531-5-9)
• Biztonság. Sakk és humor, 2005 (ISBN 963-86531-9-1)
• Knight, 2005 (ISBN 963-86738-2-6)
• Queens, 2005 (ISBN 963-86738-0-X)
• Blanka: Miniaturaj ŝakproblemoj (White: Miniature chess problems), 2005 (ISBN 963-86531-7-5)
• Sakkmat(t)ek. Sakk, matematika, humor, 2005 (ISBN 963-86531-6-7)
• Eszperantó és sakk (Chess in Esperanto), 2006 (ISBN 963-86738-7-7)
• La stelita stel', 2006 (ISBN 963-87042-0-9)

See also[link]

• Boris Sidis - The psychologist and social scientist whose educational experiments are credited for the genius of his famous son William James Sidis.

References[link]

External links[link]

• Psychology Today: The Grandmaster Experiment
• Telegraph: Queen takes all
• Eduku geniulon! Web page about the Esperanto translation of Nevelj zsenit!

This Esperanto-related article is a stub. You can help Wikipedia by expanding it. v t e

Dmitri Hvorostovsky

Dmitri Aleksandrovich Hvorostovsky PAR (Дмитрий Александрович Хворостовский, born 16 October 1962), is a leading baritone opera singer from Russia.

Hvorostovsky was born in Krasnoyarsk in Siberia. He studied at the Krasnoyarsk School of Arts under Yekatherina Yofel and made his debut at Krasnoyarsk Opera House, in the role of Marullo in Rigoletto. He went on to win First Prize at both the Russian Glinka Competition in 1987 and the Toulouse Singing Competition in 1988. Hvorostovsky came to international prominence in 1989 when he won the BBC Cardiff Singer of the World competition, beating local favorite Bryn Terfel in the final round. His performance included Handel's "Ombra mai fu" and "Per me giunto...O Carlo ascolta" from Verdi's Don Carlo. His international concert recitals began immediately (London debut, 1989; New York 1990).

His operatic debut in the West was at the Nice Opera in The Queen of Spades (1989). In Italy he debuted at La Fenice as Eugene Onegin, a success that sealed his reputation, and made his American operatic debut with the Lyric Opera of Chicago (1993) in La traviata.

He has since sung at virtually every major opera house, including the Metropolitan Opera House (debut 1995), the Royal Opera House at Covent Garden, the Berlin State Opera, La Scala and the Vienna State Opera. He is especially renowned for his portrayal of the title character in Tchaikovsky's Eugene Onegin; The New York Times described him as "born to play the role."^[1]

In 2002, Hvorostovsky performed at the Russian Children's Welfare Society's major fund raiser, the "Petroushka Ball". He is an Honorary Director of the charity.^[2][3]

A tall man with a striking head of prematurely silver hair, Hvorostovsky has achieved international acclaim as an opera performer as well as a concert artist. He was cast in People magazine's 50 most beautiful people, a rare occurrence for a classical musician. His high, medium-weight voice has the typical liquid timbre of Russian baritones.

In recent years Hvorostovsky's stage repertoire has almost entirely consisted of Verdi operas such as Un ballo in maschera, La traviata and Simon Boccanegra; he has also appeared in Rigoletto and Il trovatore in a David McVicar production at The Met with Sondra Radvanovsky.^[4]

Recordings[link]

Hvorostovsky has made many CD recordings, first with Philips and then Delos, and has several performances recorded on DVD.

References[link]

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (December 2006)

External links[link]

Wikimedia Commons has media related to: Dmitri Hvorostovsky

• Hvorostovsky.com, official website including details of audio and video recordings
• Upcoming performances