High-definition television (HDTV) provides a resolution that is substantially higher than that of standard-definition television.

HDTV may be transmitted in various varieties:

• 1080p - 1920×1080p: 2,073,600 pixels (approximately 2.1 megapixels) per frame
• 1080i - typically either:
  • 1920×1080i: 1,036,800 pixels (approximately 1 megapixel) per field or 2,073,600 pixels (approximately 2.1 megapixels) per frame
  • 1440×1080i:^[1] 777,600 pixels (approximately 0.8 megapixels) per field or 1,555,200 pixels (approximately 1.6 megapixels) per frame
• 720p - 1280×720p: 921,600 pixels (approximately 0.9 megapixels) per frame

The letter "p" here stands for progressive scan while "i" indicates interlaced.

When transmitted at two megapixels per frame, HDTV provides about five times as many pixels as SD (standard-definition television).

History of high-definition television[link]

The term high definition once described a series of television systems originating from the late 1930s; however, these systems were only high definition when compared to earlier systems that were based on mechanical systems with as few as 30 lines of resolution.

The British high-definition TV service started trials in August 1936 and a regular service on 2 November 1936 using both the (mechanical) Baird 240 line and (electronic) Marconi-EMI 405 line (377i) systems. The Baird system was discontinued in February 1937.^[2] In 1938 France followed with their own 441-line system, variants of which were also used by a number of other countries. The US NTSC system joined in 1941. In 1949 France introduced an even higher-resolution standard at 819 lines (768i), a system that would be high definition even by today's standards, but it was monochrome only. All of these systems used interlacing and a 4:3 aspect ratio except the 240-line system which was progressive (actually described at the time by the technically correct term "sequential") and the 405-line system which started as 5:4 and later changed to 4:3. The 405-line system adopted the (at that time) revolutionary idea of interlaced scanning to overcome the flicker problem of the 240-line with its 25 Hz frame rate. The 240-line system could have doubled its frame rate but this would have meant that the transmitted signal would have doubled in bandwidth, an unacceptable option.

Colour broadcasts started at similarly higher resolutions, first with the US NTSC color system in 1953, which was compatible with the earlier B&W systems and therefore had the same 525 lines (480i) of resolution. European standards did not follow until the 1960s, when the PAL and SECAM colour systems were added to the monochrome 625 line (576i) broadcasts.

Since the formal adoption of digital video broadcasting's (DVB) widescreen HDTV transmission modes in the early 2000s the 525-line NTSC (and PAL-M) systems as well as the European 625-line PAL and SECAM systems are now regarded as standard definition television systems. In Australia, the 625-line digital progressive system (with 576 active lines) is officially recognized as high-definition.^[3]

Analog systems[link]

Early HDTV broadcasting used analog technology, but today it is transmitted digitally and uses video compression.

In 1949, France started its transmissions with an 819 lines system (768i). It was monochrome only, it was used only on VHF for the first French TV channel, and it was discontinued in 1985.

In 1958, the Soviet Union developed Тransformator,^[4] the first high-resolution (definition) television system capable of producing an image composed of 1,125 lines of resolution aimed at providing teleconferencing for military command. It was a research project and the system was never deployed in the military or broadcasting.^[5]

In 1979, the Japanese state broadcaster NHK first developed consumer high-definition television with a 5:3 display aspect ratio.^[6] The system, known as Hi-Vision or MUSE after its Multiple sub-Nyquist sampling encoding for encoding the signal, required about twice the bandwidth of the existing NTSC system but provided about four times the resolution (1080i/1125 lines). Satellite test broadcasts started in 1989, with regular testing starting in 1991 and regular broadcasting of BS-9ch commenced on 25 November 1994, which featured commercial and NHK programming.

In 1981, the MUSE system was demonstrated for the first time in the United States, using the same 5:3 aspect ratio as the Japanese system.^[7] Upon visiting a demonstration of MUSE in Washington, US President Ronald Reagan was most impressed and officially declared it "a matter of national interest" to introduce HDTV to the USA.^[8]

Several systems were proposed as the new standard for the US, including the Japanese MUSE system, but all were rejected by the FCC because of their higher bandwidth requirements. At this time, the number of television channels was growing rapidly and bandwidth was already a problem. A new standard had to be more efficient, needing less bandwidth for HDTV than the existing NTSC.

Demise of analog HD systems[link]

The limited standardization of analogue HDTV in the 1990s did not lead to global HDTV adoption as technical and economic reasons at the time did not permit HDTV to use bandwidths greater than normal television.

Early HDTV commercial experiments such as NHK's MUSE required over four times the bandwidth of a standard-definition broadcast—and HD-MAC was not much better. Despite efforts made to reduce analog HDTV to about 2× the bandwidth of SDTV these television formats were still distributable only by satellite.

In addition, recording and reproducing an HDTV signal was a significant technical challenge in the early years of HDTV (Sony HDVS). Japan remained the only country with successful public broadcasting analog HDTV, with seven broadcasters sharing a single channel.

Rise of digital compression[link]

Since 1972, International Telecommunication Union's radio telecommunications sector (ITU-R) has been working on creating a global recommendation for Analogue HDTV. These recommendations however did not fit in the broadcasting bands which could reach home users. The standardization of MPEG-1 in 1993 also led to the acceptance of recommendations ITU-R BT.709.^[9] In anticipation of these standards the Digital Video Broadcasting (DVB) organisation was formed, an alliance of broadcasters, consumer electronics manufacturers and regulatory bodies. The DVB develops and agrees on specifications which are formally standardised by ETSI.^[10]

DVB created first the standard for DVB-S digital satellite TV, DVB-C digital cable TV and DVB-T digital terrestrial TV. These broadcasting systems can be used for both SDTV and HDTV. In the US the Grand Alliance proposed ATSC as the new standard for SDTV and HDTV. Both ATSC and DVB were based on the MPEG-2 standard. The DVB-S2 standard is based on the newer and more efficient H.264/MPEG-4 AVC compression standards. Common for all DVB standards is the use of highly efficient modulation techniques for further reducing bandwidth, and foremost for reducing receiver-hardware and antenna requirements.

In 1983, the International Telecommunication Union's radio telecommunications sector (ITU-R) set up a working party (IWP11/6) with the aim of setting a single international HDTV standard. One of the thornier issues concerned a suitable frame/field refresh rate, the world already having split into two camps, 25/50 Hz and 30/60 Hz, related by reasons of picture stability to the frequency of their main electrical supplies.

The IWP11/6 working party considered many views and through the 1980s served to encourage development in a number of video digital processing areas, not least conversion between the two main frame/field rates using motion vectors, which led to further developments in other areas. While a comprehensive HDTV standard was not in the end established, agreement on the aspect ratio was achieved.

Initially the existing 5:3 aspect ratio had been the main candidate but, due to the influence of widescreen cinema, the aspect ratio 16:9 (1.78) eventually emerged as being a reasonable compromise between 5:3 (1.67) and the common 1.85 widescreen cinema format. (Bob Morris explained that the 16:9 ratio was chosen as being the geometric mean of 4:3, Academy ratio, and 2.4:1, the widest cinema format in common use, in order to minimize wasted screen space when displaying content with a variety of aspect ratios.^[11])

An aspect ratio of 16:9 was duly agreed at the first meeting of the IWP11/6 working party at the BBC's Research and Development establishment in Kingswood Warren. The resulting ITU-R Recommendation ITU-R BT.709-2 ("Rec. 709") includes the 16:9 aspect ratio, a specified colorimetry, and the scan modes 1080i (1,080 actively interlaced lines of resolution) and 1080p (1,080 progressively scanned lines). The British Freeview HD trials used MBAFF, which contains both progressive and interlaced content in the same encoding.

It also includes the alternative 1440×1152 HDMAC scan format. (According to some reports, a mooted 750-line (720p) format (720 progressively scanned lines) was viewed by some at the ITU as an enhanced television format rather than a true HDTV format,^[12] and so was not included, although 1920×1080i and 1280×720p systems for a range of frame and field rates were defined by several US SMPTE standards.)

Inaugural HDTV broadcast in the United States[link]

HDTV technology was introduced in the United States in the 1990s by the Digital HDTV Grand Alliance, a group of television, electronic equipment, communications companies consisting of AT&T Bell Labs, General Instrument, MIT, Philips, Sarnoff, Thomson, Zenith and the Massachusetts Institute of Technology. Field testing of HDTV at 199 sites in the United States was completed August 14, 1994.^[13] The first public HDTV broadcast in the United States occurred on July 23, 1996 when the Raleigh, North Carolina television station WRAL-HD began broadcasting from the existing tower of WRAL-TV south-east of Raleigh, winning a race to be first with the HD Model Station in Washington, D.C., which began broadcasting July 31, 1996 with the callsign WHD-TV, based out of the facilities of NBC owned and operated station WRC-TV.^[14][15][16] The American Advanced Television Systems Committee (ATSC) HDTV system had its public launch on October 29, 1998, during the live coverage of astronaut John Glenn's return mission to space on board the Space Shuttle Discovery.^[17] The signal was transmitted coast-to-coast, and was seen by the public in science centers, and other public theaters specially equipped to receive and display the broadcast.^[17][18]

European HDTV broadcasts[link]

The first HDTV transmissions in Europe, albeit not direct-to-home, begin in 1990, when the Italian broadcaster RAI and Japanese broadcaster NHK used the HD-MAC and MUSE HDTV technologies to broadcast the 1990 FIFA World Cup. The matches were shown in 8 cinemas in Italy and 2 in Spain. The connection with Spain was made via the Olympus satellite link from Rome to Barcelona and then with a fiber optic connection from Barcelona to Madrid. After some HDTV transmissions in Europe the standard was abandoned in the mid-1990s.

The first regular broadcasts started on January 1, 2004 when the Belgian company Euro1080 launched the HD1 channel with the traditional Vienna New Year's Concert. Test transmissions had been active since the IBC exhibition in September 2003, but the New Year's Day broadcast marked the official launch of the HD1 channel, and the official start of direct-to-home HDTV in Europe.^[19]

Euro1080, a division of the Belgian TV services company Alfacam, broadcast HDTV channels to break the pan-European stalemate of "no HD broadcasts mean no HD TVs bought means no HD broadcasts ..." and kick-start HDTV interest in Europe.^[20] The HD1 channel was initially free-to-air and mainly comprised sporting, dramatic, musical and other cultural events broadcast with a multi-lingual soundtrack on a rolling schedule of 4 or 5 hours per day.

These first European HDTV broadcasts used the 1080i format with MPEG-2 compression on a DVB-S signal from SES's Astra 1H satellite. Euro1080 transmissions later changed to MPEG-4/AVC compression on a DVB-S2 signal in line with subsequent broadcast channels in Europe.

The number of European HD channels and viewers has risen steadily since the first HDTV broadcasts, with SES's annual Satellite Monitor market survey for 2010 reporting more than 200 commercial channels broadcasting in HD from Astra satellites, 185 million HD-Ready TVs sold in Europe (£60 million in 2010 alone), and 20 million households (27% of all European digital satellite TV homes) watching HD satellite broadcasts (16 million via Astra satellites).^[21]

In December 2009 the United Kingdom became the first European country to deploy high definition content on digital terrestrial television (branded as Freeview) using the new DVB-T2 transmission standard as specified in the Digital TV Group (DTG) D-book. The Freeview HD service currently contains 4 HD channels and is now rolling out region by region across the UK in accordance with the digital switchover process.

Notation[link]

HDTV broadcast systems are identified with three major parameters:

• Frame size in pixels is defined as number of horizontal pixels × number of vertical pixels, for example 1280 × 720 or 1920 × 1080. Often the number of horizontal pixels is implied from context and is omitted, as in the case of 720p and 1080p.
• Scanning system is identified with the letter p for progressive scanning or i for interlaced scanning.
• Frame rate is identified as number of video frames per second. For interlaced systems an alternative form of specifying number of fields per second is often used.^{[citation needed]}

If all three parameters are used, they are specified in the following form: [frame size][scanning system][frame or field rate] or [frame size]/[frame or field rate][scanning system].^{[citation needed]} Often, frame size or frame rate can be dropped if its value is implied from context. In this case the remaining numeric parameter is specified first, followed by the scanning system.

For example, 1920×1080p25 identifies progressive scanning format with 25 frames per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i25 or 1080i50 notation identifies interlaced scanning format with 25 frames (50 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high.^{[citation needed]} The 1080i30 or 1080i60 notation identifies interlaced scanning format with 30 frames (60 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high.^{[citation needed]} The 720p60 notation identifies progressive scanning format with 60 frames per second, each frame being 720 pixels high; 1,280 pixels horizontally are implied.

50 Hz systems support three scanning rates: 25i, 25p and 50p. 60 Hz systems support a much wider set of frame rates: 23.976p, 24p, 29.97i/59.94i, 29.97p, 30p, 59.94p and 60p. In the days of standard definition television, the fractional rates were often rounded up to whole numbers, e.g. 23.976p was often called 24p, or 59.94i was often called 60i. 60 Hz high definition television supports both fractional and slightly different integer rates, therefore strict usage of notation is required to avoid ambiguity. Nevertheless, 29.97i/59.94i is almost universally called 60i, likewise 23.976p is called 24p.^{[citation needed]}

For commercial naming of a product, the frame rate is often dropped and is implied from context (e.g., a 1080i television set). A frame rate can also be specified without a resolution. For example, 24p means 24 progressive scan frames per second, and 50i means 25 interlaced frames per second.^[22]

There is no standard for HDTV colour support. Until recently the color of each pixel was regulated by three 8-bit color values, each representing the level of red, blue, and green which defined a pixel colour. Together the 24 total bits defining colour yielded just under 17 million possible pixel colors. Recently^{[update][when?]} some manufacturers have produced systems that can employ 10 bits for each colour (30 bits total) which provides for a palette of 1 billion colors, saying that this provides a much richer picture, but there is no agreed way to specify that a piece of equipment supports this feature. Human vision can only discern approximately 1 million colours so an expanded colour palette is of questionable benefit to consumers.

Most HDTV systems support resolutions and frame rates defined either in the ATSC table 3, or in EBU specification. The most common are noted below.

High-definition display resolutions[link]

At a minimum, HDTV has twice the linear resolution of standard-definition television (SDTV), thus showing greater detail than either analog television or regular DVD. The technical standards for broadcasting HDTV also handle the 16:9 aspect ratio images without using letterboxing or anamorphic stretching, thus increasing the effective image resolution.

A very high resolution source may require more bandwidth than available in order to be transmitted without loss of fidelity. The lossy compression that is used in all digital HDTV storage and transmission systems will distort the received picture, when compared to the uncompressed source.

Standard frame or field rates[link]

ATSC table 3 defines the following frame rates for digital high-definition television.^[23]

• 23.976 Hz (film-looking frame rate compatible with NTSC clock speed standards)
• 24 Hz (international film and ATSC high-definition material)
• 25 Hz (PAL, SECAM film, standard-definition, and high-definition material)
• 29.97 Hz (NTSC standard-definition material)
• 59.94 Hz (ATSC high-definition material)
• 60 Hz (ATSC high-definition material)

The optimum format for a broadcast depends upon the type of videographic recording medium used and the image's characteristics. For best fidelity to the source the transmitted field ratio, lines, and frame rate should match those of the source.

Although PAL, SECAM and NTSC frame rates technically apply only to standard definition television, not HD, with the roll out of HD, countries maintained the heritage of their former systems. HDTV in former PAL countries operates at a frame rate of 50 Hz and HDTV in former NTSC countries operates at 60 Hz.^[24]

Types of media[link]

Standard 35mm photographic film used for cinema projection has a much higher image resolution than HDTV systems, and is exposed and projected at a rate of 24 frames per second (frame/s). To be shown on standard television, in PAL-system countries, cinema film is scanned at the TV rate of 25 frame/s, causing a speedup of 4.1 percent, which is generally considered acceptable. In NTSC-system countries, the TV scan rate of 30 frame/s would cause a perceptible speedup if the same were attempted, and the necessary correction is performed by a technique called 3:2 Pulldown: Over each successive pair of film frames, one is held for three video fields (1/20 of a second) and the next is held for two video fields (1/30 of a second), giving a total time for the two frames of 1/12 of a second and thus achieving the correct average film frame rate.

Non-cinematic HDTV video recordings intended for broadcast are typically recorded either in 720p or 1080i format as determined by the broadcaster. 720p is commonly used for Internet distribution of high-definition video, because most computer monitors operate in progressive-scan mode. 720p also imposes less strenuous storage and decoding requirements compared to both 1080i and 1080p. 1080p-24 frame/s and 1080i-30 frame/s is most often used on Blu-ray Disc; as of 2011, there is still no disc that can support full 1080p-60 frame/s.

Contemporary systems[link]

Besides an HD-ready television set, other equipment may be needed to view HD television. In the US, cable-ready TV sets can display HD content without using an external box. They have a QAM tuner built-in and/or a card slot for inserting a CableCARD.^[25]

High-definition image sources include terrestrial broadcast, direct broadcast satellite, digital cable, IPTV, Blu-ray video disc (BD), and internet downloads. Sony's PlayStation 3 has extensive HD compatibility because of the Blu-ray platform, so does Microsoft's Xbox 360 with the addition of Netflix streaming capabilities, and the Zune marketplace where users can rent or purchase digital HD content.^[26] The HD capabilities of the consoles has influenced some developers to port games from past consoles onto the PS3 and 360, often with remastered graphics.

Recording and compression[link]

HDTV can be recorded to D-VHS (Digital-VHS or Data-VHS), W-VHS (analog only), to an HDTV-capable digital video recorder (for example DirecTV's high-definition Digital video recorder, Sky HD's set-top box, Dish Network's VIP 622 or VIP 722 high-definition Digital video recorder receivers, or TiVo's Series 3 or HD recorders), or an HDTV-ready HTPC. Some cable boxes are capable of receiving or recording two or more broadcasts at a time in HDTV format, and HDTV programming, some included in the monthly cable service subscription price, some for an additional fee, can be played back with the cable company's on-demand feature.

The massive amount of data storage required to archive uncompressed streams meant that inexpensive uncompressed storage options were not available in the consumer market until recently. In 2008 the Hauppauge 1212 Personal Video Recorder was introduced. This device accepts HD content through component video inputs and stores the content in an uncompressed MPEG transport stream (.ts) file or Blu-ray format .m2ts file on the hard drive or DVD burner of a computer connected to the PVR through a USB 2.0 interface.

Realtime MPEG-2 compression of an uncompressed digital HDTV signal is prohibitively expensive for the consumer market at this time, but should become inexpensive within several years (although this is more relevant for consumer HD camcorders than recording HDTV). Analog tape recorders with bandwidth capable of recording analog HD signals such as W-VHS recorders are no longer produced for the consumer market and are both expensive and scarce in the secondary market.

In the United States, as part of the FCC's plug and play agreement, cable companies are required to provide customers who rent HD set-top boxes with a set-top box with "functional" FireWire (IEEE 1394) upon request. None of the direct broadcast satellite providers have offered this feature on any of their supported boxes, but some cable TV companies have. As of July 2004^[update], boxes are not included in the FCC mandate. This content is protected by encryption known as 5C.^[27] This encryption can prevent duplication of content or simply limit the number of copies permitted, thus effectively denying most if not all fair use of the content.

See also[link]

• Ultra High Definition Television
• HDTV blur
• H.265
• List of digital television deployments by country

References[link]

External links[link]

Wikimedia Commons has media related to: High-definition television

Techno-History

• The Italian HDTV experience from 1980s to 2006 - in Italian - C.R.I.T./RAI
• High Definition Television: The Creation, Development and Implementation of HDTV Technology (McFarland & Company, 2012)
• The HDTV Archive Project

Ultra HDTV

• What is Ultra HDTV?

Standard HDTV

• Technology, Television, and Competition (New York: Cambridge University Press, 2004)
• Sony HD TV
• HDTV Store
• Images formats for HDTV, article from the EBU Technical Review.
• High Definition for Europe – a progressive approach, article from the EBU Technical Review.
• High Definition (HD) Image Formats for Television Production, technical report from the EBU
• HDTV in Germany: Lack of Innovation Management Leads to Market Failure, diffusion of HDTV in Germany from the DIW Berlin

Sarah Brightman
Sarah Brightman performing at the World Athletics Championships 2007 in Osaka
Background information
Born	(1960-08-14) 14 August 1960 (age 51)
Origin	Berkhamsted, Hertfordshire, England
Genres	Classical crossover, operatic pop, symphonic rock, symphonic metal, pop, new age, rock, dance, electronica, techno, folk, traditional
Occupations	Singer, actress, songwriter, dancer
Instruments	Vocals, piano, keyboards
Years active	1976–present
Labels	A&M (1993) East West (1995–2001) Angel/EMI (1997–2007) Manhattan/EMI (2008–present)
Website	www.sarah-brightman.com

Sarah Brightman (born 14 August 1960) is an English classical crossover soprano, actress, songwriter and dancer. She is famous for possessing a vocal range of over 3 octaves.^[1][2] She sings in many languages including English, Spanish, French, Latin, German, Italian, Russian, Hindi, Mandarin Chinese and Japanese.^[3]

Brightman began her career as a member of the dance troupe Hot Gossip and released several disco singles as a solo performer. In 1981, she made her West End musical theatre debut in Cats and met composer Andrew Lloyd Webber, whom she married. She went on to star in several Broadway musicals, including The Phantom of the Opera, where she originated the role of Christine Daaé. The Original London Cast Album of the musical was released in CD format in 1987 and sold over 40 million copies worldwide, making it the biggest-selling cast album of all time.^[4]

After retiring from the stage and divorcing Lloyd Webber, Brightman resumed her music career with former Enigma producer Frank Peterson, this time as a classical crossover artist. She is often credited as the creator of this genre and remains among the most prominent performers, with worldwide sales of more than 30 million records and 2 million DVDs, establishing herself as the world's best-selling soprano of all time.^[5][6][7] Her duet with the Italian tenor Andrea Bocelli, "Time To Say Goodbye", topped charts all over Europe and became the highest and fastest selling single of all time in Germany, where it stayed at the top of the charts for fourteen consecutive weeks and sold over 3 million copies.^[8][9] It subsequently became an international success selling 12 million copies worldwide.^[10] She has now collected over 180 gold and platinum sales awards in 38 different countries.^[11] In 2010 she was named by Billboard the 5th most influential and top-selling classical artist of the 2000s decade in the US.^[12]

Brightman is the first artist to have been invited twice to perform at the Olympic Games, first at the 1992 Barcelona Olympic Games where she sang "Amigos Para Siempre" with the Spanish tenor Jose Carreras with an estimated global audience of a billion people, and sixteen years later in Beijing, this time with Chinese singer Liu Huan, performing the song "You and Me" to an estimated 4 billion people worldwide.^[13] Since 2010, Brightman is Panasonic's global brand ambassador. Together they launched the song "Shall Be Done" at the 2010 Winter Games held in Vancouver, Canada.^[14] Brightman is the element of union in Panasonic's signing of Strategic Partnership Agreement with the UNESCO World Heritage Centre, as she stars the campaign "The World Heritage Special" that is being aired on the National Geographic Channel in 183 countries and areas.^[15]

In early 2012 Brightman was appointed as the UNESCO artist for peace for the period 2012–2014 for her “commitment to humanitarian and charitable causes, her contribution, throughout her artistic career, to the promotion of cultural dialogue and the exchanges among cultures, and her dedication to the ideals and aims of the Organization”.^[16]

In 2012 In conjunction with Virgin Galactic, The Brightman STEM Scholarship program (science, technology, engineering, and mathematics) was launched. It will help young women in the US pursue STEM education across their four year college careers.^[17]

Apart from music, Brightman has begun a film career, making her debut in Repo! The Genetic Opera (2008), a rock opera-musical film directed by Darren Lynn Bousman, and in autumn 2011 and early 2012 Stephen Evans' "First Night", starring opposite Richard E. Grant.^[18][19] In addition, she formed her own production company, Instinct Films, where her first film is in pre-production.^[20] Brightman is the world's richest female classical performer with a fortune of £30m (about US$49m).^[21]

Family and early life[link]

Brightman is the oldest of six children of businessman Grenville Geoffrey Brightman (1934^[22]–1992) and Paula Brightman. She was raised Berkhamsted, Hertfordshire, England. At age three, she began taking dance and piano classes and went on to perform in local festivals and competitions.^[23] At age 11, she successfully auditioned for the Arts Education School in Tring Park, a school specialising in performing arts.^[24] At 13, in 1973 Brightman made her theatrical debut in the musical I and Albert at the Piccadilly Theatre, London, playing one of Queen Victoria's daughters (Vickoria). In 1976 she was in the leading TV dance group Pan's People and was later recruited to lead Arlene Phillips' troupe Hot Gossip in 1977. The group had a disco hit in 1978 with "I Lost My Heart to a Starship Trooper", which sold half a million and reached number six on the UK charts. Brightman, now solo, released more disco singles under her own label, Whisper Records, such as "Not Having That!" and a cover of the song "My Boyfriend's Back".^[25] In 1979, Brightman appeared on the soundtrack of the movie "The World Is Full of Married Men" and sang the song "Madam Hyde".

1981–1989: Stage career[link]

In 1981, Brightman auditioned for the new musical Cats and was cast as Jemima. In rehearsals she met Andrew Lloyd Webber. After a year in Cats, Brightman took over from Bonnie Langford as Kate in The Pirates of Penzance at the Drury Lane Theatre, London, and appeared as Tara Treetops in Masquerade, a musical based on Kit Williams's book of the same title. On that year she left to play the title role in Charles Strouse's children's opera, Nightingale.^[26]

Enticed by a rave review, Webber went to watch her in the show one evening and was flabbergasted. It seemed inconceivable that he could have missed such vocal talent when she'd been in his show for a year. It would be an awakening that would alter more than just his perception of her. It would alter the course of their careers and lives. The two married in 1984, and Brightman appeared in many of Lloyd Webber's subsequent musicals including Song and Dance and the mass Requiem, the latter written for her.^[26]

Scarcely a year later, Brightman's crystalline recording of Pie Jesu rocketed up the charts, selling 25,000 copies^[26] on the first day of release and peaking at number 3, no mean feat for a song in Latin. With classical music permeating the Lloyd Webber household (Brightman was in heavy operatic training at the time), Lloyd Webber was moved to write the Requiem Mass as a tribute to young victims of war. Its Manhattan premiere, starring Placido Domingo and Brightman, was filmed by both PBS and the BBC for later broadcast. The LP eventually became UK's top selling classical album of the year and earned Brightman a Grammy nomination as Best New Classical Artist."^[27]

Brightman starred as Christine Daaé in Lloyd Webber's adaptation of The Phantom of the Opera. The role of Christine was written specifically for her.^[27] Lloyd Webber refused to open The Phantom of the Opera on Broadway unless Brightman played Christine. Initially, the American Actors' Equity Association balked, because of their policy that any non-American performer must be an international star. Lloyd Webber had to cast an American in a leading role in his next West End musical before Equity would allow Brightman to appear (a promise he kept in casting Aspects of Love). In the end, it was a compromise that more than paid off. "Phantom" chalked up a staggering $17 million in advance sales prior to opening night on 28 January 1988, and generated a public and media frenzy that is unmatched since.^[28] The original cast album was the first in British musical history to enter the music charts at number one. Album sales now exceed forty million worldwide and it is the biggest selling cast album of all time, and has gone six times platinum in the US, twice platinum in the UK, nine times platinum in Germany, four times platinum in the Netherlands, 21 times platinum in Korea and 17 times platinum in Taiwan.^[29]

After leaving Phantom, she performed in a tour of Lloyd Webber's music throughout England, Canada and the United States, and performed Requiem in the Soviet Union. Studio recordings from this time include the single "Anything But Lonely" from Aspects of Love and two solo albums: the 1988 album The Trees They Grow So High, a compilation of folk songs accompanied by piano, and the 1989 album The Songs That Got Away, a musical theatre compilation of songs cut from shows by composers such as Irving Berlin and Stephen Sondheim, also Brightman sang the song "Make Believe" at the end during the credits of the children's film "Grandpa"; Howard Blake wrote the music and lyrics.^[30]

By 1990, Brightman and Lloyd Webber separated. After their divorce, Brightman played the lead in Lloyd Webber's Aspects in London opposite Michael Praed, before transferring to Broadway.^[31] Her work in Aspects notwithstanding, Brightman steeled herself and set forth to find her own footing. Perhaps the most poignant declaration of independence came in the form of her second solo album from this period, an eclectic but personal collection of folk-rock songs that she had hand-picked. It was a departure from musical theatre and indeed, a departure for Webber himself. More tellingly, the album bore a most prescient title: As I Came of Age.^[26]

1990s: Solo career[link]

After her very successful stage career, Brightman decided to make a fresh start and embark on a solo career. In 1992, Brightman made an appearance with José Carreras at the Barcelona Olympic Games singing the theme song "Amigos Para Siempre" ("Friends forever") to a worldwide audience of 3 billion people. Following her appearance, Brightman travelled to Germany to work with co-producer Frank Peterson of “Enigma” fame The two collaborated on the album “Dive,” released in 1993 a water-themed pop album that featured "Captain Nemo", a cover of a song by the Swedish electronica band Dive.^[32] The album is considered Brightman's first success as a recording solo artist, receiving her first Gold award for exceptional sales in Canada.^[33]

Brightman and Peterson’s second collaboration yielded the pop rock album, Fly (1995). The album catapulted Brightman to fame across Europe, and she unveiled its hit track “A Question of Honor” – a mélange of electronic, rock, classical strings and excerpts from the Alfredo Catalani opera “La Wally”.^[34] The song and the video were introduced at the World Boxing Championship match between Germany's Henry Maske and Graciano Rocchigiani.

	"Question Of Honour" noicon Sample of the Single from Fly
Problems listening to this file? See media help.

"Time to Say Goodbye", taken from the album Timeless, released in 1997, was the second song Brightman debuted for Maske, this time at his retirement match. This duet with tenor Andrea Bocelli became an international hit and sold more than 3 million copies in Germany alone,^[35] became Germany's best-selling single, and was successful in numerous other countries; the album eventually sold over 12 million copies worldwide. It is regarded as one of Brightman's and Bocelli's, signature songs.

In March 1998, her own PBS special, Sarah Brightman: In Concert at the Royal Albert Hall, marked the point when she crossed from Billboard's Top Heat seekers chart to the Billboard 200 chart, with Time to Say Goodbye.^[36] The same year, Brightman starred A Gala Christmas in Vienna along side Placido Domingo, Helmut Lottie and Riccardo Cocciante singing traditional Christmas carols.^[37] On 7 April 1998 she was one of the guest stars in Andrew Lloyd Webber's 50th Birthday Celebration singing Hossanaa with Dennis O'Neill, Pie Jesu, Phantom of the Opera with Antonio Banderas, All I Ask of You with Michael Ball and Music of the Night.^[38]

With the success of Timeless, Brightman felt freer to put herself into her next endeavour. Brightman released her next album, Eden in 1998. She hand-selected each song and convinced the Academy Award-winning Italian composer Ennio Morricone to let her set lyrics to one of his film compositions, “Gabriel’s Oboe” from the film “The Mission” resulting in the now legendary “Nella Fantasia”.

The release of Eden also led to a concert tour of the same name, Brightman’s first world tour and a huge success. Eden reached No. 1 on the US Billboard Classical Crossover chart and No. 65 on the Billboard 200 charts and was certified Gold.

2000–2004: Further international success[link]

	"Deliver Me" noicon Sample of the Single from Eden
Problems listening to this file? See media help.

This article may contain wording that merely promotes the subject without imparting verifiable information. Please remove or replace such wording, unless you can cite independent sources that support the characterization. (May 2012)

Next came the album La Luna. For this album, Brightman chose songs drawing on influences as diverse as pop, vintage jazz, and high opera, in homages to Dvorak, Beethoven and Billie Holliday. La Luna also reached No. 1 on the US Billboard Top Internet Albums and peaked at No. 17, with 900.000 US sales reaching Gold.^[12] In 2000 Brightman’s PBS La Luna concert, she sang There for Me in a duet with an up and coming star, Josh Groban. At the end of 2001, Billboard magazine noted Brightman as the most important classical crossover artist from the UK.^[39]

In 2000, Brightman sold more records than Elton John and the Rolling Stones, becoming America's highest-selling and top touring British artist.^[40]

Brightman ventured for the first time into film acting in 2000 when she was part of the cast of the German film "Zeit der Erkenntnis", based on Rosamunde Pilcher book.^[41]

In 2001, Brightman released Classics, an anthology including highlights from three of Brightman's chart-topping releases along with seven new tracks; this was released worldwide except Europe. In the US the album peaked at No. 66 on the Billboard's 200 charts and promptly went Gold.^[42] It reached No. 2 on Billboard's Classical Crossover charts.

Her 2003 album Harem represented another departure: a Middle Eastern-themed album influenced by dance music. On Harem, Brightman collaborated with artists such as Ofra Haza and Iraqi singer Kazem al-Saher. Nigel Kennedy contributed violin tracks to the songs "Free" and "The War is Over", and Jaz Coleman contributed arrangements.^[27]

The album peaked at No. 29 on the Billboard 200 charts,^[43] No. 1 on the Billboard Classical Crossover chart, No. 1 on the Swedish Album Chart, and yielded a No. 1 dance/club single with the remix of the title track. Some time later, another single from the album (the ballad "Free", cowritten with Sophie B. Hawkins) became a second Top-10 hit on this chart. A year later of the album's release, Harem was referred as a multi-million seller in EMI's annual music sales report.^[44]

The albums Eden, La Luna and Harem were accompanied by live world tours which incorporated the theatricality of her stage origins. In both 2000 and 2001, Brightman was among the top 10 most popular British performers in the US, with concert sales grossing $7.2 million from 34 shows in 2000 and over $5 million from 21 shows in 2001.^[45] In 2004 the Harem tour grossed $60 million and sold 800,000 tickets.^[27]

2006–2008: Diva and Symphony[link]

Sarah Brightman performing during her Symphony World Tour in Auburn Hills.

Brightman released a DVD collection of her music videos on 3 October 2006 under the title of Diva: The Video Collection. The Singles Collection is the accompanying CD, released on the same date. The album marked the first time Brightman has released a greatest hits album in the United States; it reached No. 1 on the Billboard Classical Crossover chart. Her other reflective offerings for Europe were The Very Best of 1990-2000 and Classics: The Best of Sarah Brightman.

During this time, subsequent appearances include the Concert for Diana in July 2007, where she sang "All I Ask of You" from The Phantom of the Opera with Josh Groban. Around 15 million people from across the UK watched Concert for Diana at home, and it was broadcast to over 500 million homes in 140 countries; On 7 July 2007 Brightman performed four songs ("Nessun Dorma", "La Luna", "Nella Fantasia" and "Time to Say Goodbye") and debuted her single "Running" at the 2007 IAAF Championships in Osaka, Japan on 25 August.^[46] She also participated at the 2007 Macy's Thanksgiving Day Parade, where she performed "The Journey Home" on the Jolly Polly Pirate Ship.^[47] She recorded a duet with Anne Murray singing "Snowbird" on Murray's 2007 album Anne Murray Duets: Friends and Legends.^[48]

On May 2007, Brightman was invited along with Lesley Garrett to sing at the Wembley Stadium in London the anthem " Abide With Me before the FA Cup final between Chelsea and Manchester United.^[49]

At a dinner held at The Mansion House, on 10 September 2008, His Royal Highness the Prince of Wales highlighted the urgent need for action to halt tropical deforestation. The Prince invited Brightman to sing at the event they hosted to engage the financial community in the task of finding a solution to the problem of making rainforests worth more alive than dead. The music performed was Nella Fantasia (used in the soundtrack of the movie The Mission) and further declared a Hymn to the rainforests.^[50]

On 29 January 2008, Brightman released her first album in five years: Symphony, influenced by gothic music.^[51] In the United States, it became Brightman's most successful chart entry and also her highest ranked album on Billboard's "Top 200 Albums". It was also a No. 1 album on two other Billboard's charts: "Top Internet Albums" and "Top Classical Crossover Albums". The album moved there 32,033 copies in first week,^[52] according to Nielsen Soundscan. The album was a Multi-Platinum and a top 5 release in China, Taiwan, Canada, Mexico, Japan, and Poland, and a top 20 across Europe.^[53][54]

Featured on the album were artists Andrea Bocelli, Fernando Lima, and KISS vocalist Paul Stanley, who duets with Brightman on "I Will Be with You", the album version of the theme song to the 10th Pocket Monsters motion picture, Dialga VS Palkia VS Darkrai (Pokémon: The Rise of Darkrai).^[55] On 16 January 2008, she also appeared in concert at Vienna’s Stephansdom Cathedral, performing songs from her new album. Special guests who sang duets with Brightman include Italian tenor Alessandro Safina, Argentinean countertenor Fernando Lima, and British singer Chris Thompson.

Sarah Brightman performing in "Live Heart Concert" in China (2007).

She performed two songs, "Pie Jesu" and "There You'll Be", at the United States Memorial Day concert on 25 May 2008 held on the west lawn of the United States Capitol in Washington D.C.. The top-rated show was broadcast live on PBS before a concert audience of 300,000 and millions more at home, as well as to American troops serving around the world on the American Forces Radio and Television Network.^[56][57] Brightman made her feature film debut as Blind Mag in the rock musical film Repo! The Genetic Opera which was released on 7 November 2008.^[58][59][60] Brightman was cast in the film at the last minute after the original actress who was cast for the role was dropped.^[60] On 8 August 2008, Brightman was honoured to sing the Olympic theme song, "You and Me", with Chinese star Liu Huan in both Mandarin and English at the Beijing Olympics opening ceremony. The event appeased the already established supreme popularity and recognition of Brightman in the Asian country. The performance was broadcast to over five billion viewers. In the 26 hours after the performance, "You and Me" was downloaded 5.7 million times.^[61][62]

On 4 November 2008, Brightman released her first holiday album, entitled A Winter Symphony, the album debuted at number No. 38 on the Billboard Top 200 and scored a number six in the Top Holiday Albums, being the first entry for Brightman on this chart.^[63] To accompany Symphony and A Winter Symphony, Brightman embarked on a tour in Autumn 2008; "The Symphony World Tour" featured new and groundbreaking technology, with virtual and holographic stage sets that had never been seen before in any touring concert production.^[64]

2009–2010: Rise in Latin American and Asian markets[link]

Following her performance at the Beijing Olympics, Brightman was appointed as the Shanghai 2010 World Expo Promotion Ambassador in Britain. In anticipation of the Expo, she launched "Shanghai Week in London", which showcases the city's heritage and culture.^[65]

In response to persistent calls for a global release of the Symphony: Live in Vienna concert, EMI Music launched worldwide the PBS special which features Brightman's landmark performance at Vienna’s St. Stephen's Cathedral on 16 January 2008, in both audio and visual formats. The Symphony – Live in Vienna television special debuted on PBS in March 2008 during the network’s spring pledge drive and aired throughout the month. The album broke all-time records of sales in Taiwan and experienced success in certain Latin American markets.^[66]

The music of Brightman was featured in the movie Amarufi: Megami no hôshû (international title: Amalfi: Rewards of the Goddess), which was a special production to mark Fuji Television's 50th anniversary. The first Japanese movie to be shot entirely on location in Italy. In conjunction with the release of the movie Amalfi, Brightman released only in Japan an album titled Amalfi - Sarah Brightman Love Songs which reached Gold status in the aforementioned country.^[67][68]

Brightman performing in the Concert of the Pyramid in Chichen Itza, Mexico.

Autumn 2009 saw Brightman starting a new concert tour called Sarah Brightman In Concert covering Latin America with 13 sold-out performances in Mexico, Venezuela, Colombia, Peru, Chile, Argentina, and Brazil. The last venue of the tour, "The Concert of the Pyramid" featured Brightman performing a concert at the archaeological site of Chichen Itza, an UNESCO World Heritage Site and one of the New Seven Wonders of the World.^[69]

The year closed as Symphony: Live in Vienna was listed as the thirteenth best-selling album of the year in Mexico.^[70] (In 2008 she also had 2 top-selling albums in the country: Symphony and A Winter Symphony in the 29 and 83 spots respectively)^[71]

Given the increasing popularity of Brightman in Asia, the artist toured there in late 2010 with 5 gigs in Tokyo alone, followed by presentations on Kanazawa, Nagoya, Osaka in Japan, Macau in China and Seoul in South Korea. The singer headed to perform in private events in Canada and Ukraine as well as part of the tour.^[72][73][74]

On 3 November 2010, Brightman was invited to sing at the Tōdai-ji Buddhist temple complex located in the city of Nara, Japan. The temple is a listed UNESCO World Heritage Site as "Historic Monuments of Ancient Nara".^[75][76] The concert was recorded and later broadcasted nationwide by TBS network.^[77]

On 27 January 2011 Hunan Broadcasting System, China's second biggest television network after China Central Television (CCTV) invited Brightman to participate in their Spring Festival, analogous celebration to the New Year's celebrations in the Western countries. She sang Scarborough Fair -Brightman's evergreen song in China- and Nessun Dorma.^[78] For the first time it was revealed that Brightman charges an average of US$ 150,000 for interpretation in such events as Chinese media remarked.^[79] When announcing the arrival of Brightman in their country, local press took the opportunity to mention China's appreciation and gratitude for the singer by her donations for the development of that area of China after the Wenchuan earthquake.^[80]

Her popularity continues to rise remarkably in Asia, with high profile appearances and sales. Brightman was South Korea's best-selling international artist of 2010 with her album Diva: The Singles Collection charting the almost the whole year in the No. 1 spot ahead Mariah Carey, Michael Jackson, Eminem, among others. The album was released in 2006, but charted again in both 2009 and 2010 when Brightman toured there with the Symphony World Tour and Sarah Brightman In Concert With Orchestra. Diva was certified Double Platinum in South Korea. Also, her digital single "Nella Fantasia" has sold 2 million copies in the country.^[81]

In Argentina she dominates the charts and holds with her albums the #1,#2,#3,#4,#7,#8 and No. 11 positions on the country's top 20's list of the best-selling classical records of the year.^[82]

While receiving the UNESCO Artist for Peace Award, Brightman announced that she is recording a new studio album set for a late 2012 release and will embark on another World Tour in 2013.

Philanthropy[link]

Since January 2010, Brightman is Panasonic's global Brand Ambassador. Together they launched the song "Shall Be Done" at Panasonic's Olympic Pavilion at Live City Yaletown, the official celebration site of the 2010 Winter Games held in Vancouver, Canada. The lyrics of the song express Panasonic's vision for the next generation as well as Brightman's vision, infusing the spirit of 'ideas for life' of contribution for a sustainable society. The song has been used in a wide range of global promotional activities including stores, advertising, exhibitions and other events.

On February 8, 2012 Brightman accepted the UNESCO nomination to be an “Artist For Peace” Ambassador.^[83] Additionally, she is actively engaged in Panasonic's UNESCO World Heritage Centre endeavors, and stars in their The World Heritage Special campaign.

2010-Present[link]

Back in the United States she appeared on America's Got Talent's on September 2010 finale episode before that season's winner was revealed. Brightman was the celebrity guest duetting with ten year old contestant Jackie Evancho. ^[84]

On October 1 & 2 2011, she made a special appearance during the finale of The Phantom of the Opera at The Albert Hall; a fully staged production performed at the famous London venue - marking 25 years since the musical received its world premiere. Introduced as his "Angel of Music" by Andrew Lloyd Webber, Brightman performed the title song backed by five past, present and future Phantoms. The production front of an audience of 5,500 was broadcast live into cinemas around the globe including in the U.S, around Europe, Canada, Japan and Australia.^[85]

Awards[link]

Sarah Brightman has received over 180 Gold and Platinum sales awards in over 40 different countries around the world including United States, Australia, Japan, UK, China, Mexico, Canada and Germany.^[86]

Stage credits[link]

Musicals[link]

• I and Albert (as Vicky and street waif), 1973 Picadilly Theatre, London
• Cats (as Jemima), 1981 New London Theatre
• The Pirates of Penzance (as Kate), 1982
• Masquerade (as Tara Treetops), 1982
• Nightingale (as Nightingale), 1982 Buxton Festival and the Lyric, Hammersmith
• Song and Dance (as the girl), Palace Theatre in London on 28 April 1984
• The Merry Widow (as Valencienne), 1985
• The Phantom of the Opera (as Christine Daaé), 1986 Her Majesty's Theatre London, 1988 Broadway
• Aspects of Love (as Rose Vibert), 1990

Plays[link]

• Trelawny of the Wells (as Rose Trelawney), 1992
• Relative Values (as Miranda Frayle), 1993 Chichester Festival and Savoy Theatre
• Dangerous Obsession (as Sally Driscoll), 1994 Haymarket Theatre, Basingstoke
• The Innocents (as Miss Giddens), 1995 Haymarket Theatre, Basingstoke

Filmography[link]

• Granpa, 1989 animated children's film, singing "Make Believe" over the end credits
• Brokedown Palace, 1999 singing "Deliver me".
• Zeit der Erkenntnis, 2000 feature film (Germany), as herself
• Repo! The Genetic Opera, 2008 feature film, as Blind Mag
• Amarufi: Megami no hôshû (Amalfi: Rewards of the Goddess), 2009 feature film (Japan), as herself
• First Night (aka Cosi), 2010 feature film, as Celia

Selected discography[link]