Chancel area of Brown Memorial Presbyterian Church, Baltimore, Maryland, USA, with raised level

The groin-arched chancel of St. Matthew's German Evangelical Lutheran Church in Charleston, South Carolina

In church architecture, the chancel is the space around the altar in the sanctuary at the liturgical east end of a traditional Christian church building. It may terminate in an apse.

Following the exposition of the doctrine of transubstantiation at the fourth Lateran Council of 1215, clergy were required to ensure that the blessed sacrament was to be kept protected from irreverent access or abuse; and accordingly the area of the church used by the lay congregation was to be screened off from that used by the clergy. This distinction was enforced by the development of canon law, by which the construction and upkeep of the chancel was the responsibility of the rector, whereas the construction and upkeep of the nave was the responsibility of the parish.

As well as the altar, the chancel usually houses the credence table and seats for officiating and assisting ministers. In Anglican and Methodist churches it will usually include the choir. In some traditions, the pulpit and lectern may be in the chancel, but in others these functions are considered proper to the nave.

The chancel is typically raised somewhat above the level of the nave, where the congregation gathers. It may be separated from the nave by a rood screen, a rail, or an open space. In some churches, the congregation may gather on three sides or in a semicircle around the chancel.

The word "chancel" derives from the French usage of chancel from a Late Latin word cancelli meaning "lattice".^[1] This refers to the typical form of rood screens.

The chancel arch is the arch which separates the chancel (sanctuary or choir) from the nave of a church.

See also[link]

• Sanctuary
• Chancel repair liability

References[link]

Notes

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This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (September 2010)

Roland Gérard Barthes

250px
Born	(1915-11-12)12 November 1915 Cherbourg
Died	25 March 1980(1980-03-25) (aged 64) Paris
Era	20th-century philosophy
Region	Western Philosophy
School	Structuralism Semiotics Post-structuralism
Main interests	Semiotics, Literary theory
Notable ideas	Death of the author Writing degree zero
Influenced by Saussure · Marx · Nietzsche · Freud · Lacan · Sartre · Bataille · Michelet · Valéry
Influenced Michel Foucault · Julia Kristeva · James Wood · Eric de Kuyper
Signature

Roland Gérard Barthes (12 November 1915 – 25 March 1980) (French pronunciation: [ʁɔlɑ̃ baʁt]) was a French literary theorist, philosopher, critic, and semiotician. Barthes' ideas explored a diverse range of fields and he influenced the development of schools of theory including structuralism, semiotics, social theory, anthropology and post-structuralism.

Life[link]

Roland Barthes was born on 12 November 1915 in the town of Cherbourg in Normandy. He was the son of naval officer Louis Barthes, who was killed in a battle in the North Sea before his son was one year old. His mother, Henriette Barthes, and his aunt and grandmother raised him in the village of Urt and the city of Bayonne. When Barthes was eleven, his family moved to Paris, though his attachment to his provincial roots would remain strong throughout his life.

Barthes showed great promise as a student and spent the period from 1935 to 1939 at the Sorbonne, where he earned a license in classical letters. He was plagued by ill health throughout this period, suffering from tuberculosis, which often had to be treated in the isolation of sanatoria.^[1] His repeated physical breakdowns disrupted his academic career, affecting his studies and his ability to take qualifying examinations. It also kept him out of military service during World War II and, while being kept out of the major French universities meant that he had to travel a great deal for teaching positions, Barthes later professed an intentional avoidance of major degree-awarding universities, and did so throughout his career.^{[clarification needed]}

His life from 1939 to 1948 was largely spent obtaining a license in grammar and philology, publishing his first papers, taking part in a medical study, and continuing to struggle with his health. In 1948, he returned to purely academic work, gaining numerous short-term positions at institutes in France, Romania, and Egypt. During this time, he contributed to the leftist Parisian paper Combat, out of which grew his first full-length work, Writing Degree Zero (1953). In 1952, Barthes settled at the Centre National de la Recherche Scientifique, where he studied lexicology and sociology. During his seven-year period there, he began to write a popular series of bi-monthly essays for the magazine Les Lettres Nouvelles, in which he dismantled myths of popular culture (gathered in the Mythologies collection that was published in 1957).

Barthes spent the early 1960s exploring the fields of semiology and structuralism, chairing various faculty positions around France, and continuing to produce more full-length studies. Many of his works challenged traditional academic views of literary criticism and of renowned figures of literature. His unorthodox thinking led to a conflict with another French thinker, Raymond Picard, who attacked the French New Criticism (a label that he inaccurately applied to Barthes) for its obscurity and lack of respect towards France's literary roots. Barthes' rebuttal in Criticism and Truth (1966) accused the old, bourgeois criticism of a lack of concern with the finer points of language and of selective ignorance towards challenging theories, such as Marxism.

By the late 1960s, Barthes had established a reputation for himself. He traveled to the US and Japan, delivering a presentation at Johns Hopkins University. During this time, he wrote his best-known work, the 1967 essay "The Death of the Author," which, in light of the growing influence of Jacques Derrida's deconstruction, would prove to be a transitional piece in its investigation of the logical ends of structuralist thought. Barthes continued to contribute with Philippe Sollers to the avant-garde literary magazine Tel Quel, which was developing similar kinds of theoretical inquiry to that pursued in Barthes' writings. In 1970, Barthes produced what many^[who?] consider to be his most prodigious work, the dense, critical reading of Balzac’s Sarrasine entitled S/Z. Throughout the 1970s, Barthes continued to develop his literary criticism; he developed new ideals of textuality and novelistic neutrality. In 1971, he served as visiting professor at the University of Geneva.

In 1975 he wrote an autobiography titled Roland Barthes and in 1977 he was elected to the chair of Sémiologie Littéraire at the Collège de France. In the same year, his mother, Henriette Barthes, to whom he had been devoted, died, aged 85. They had lived together for 60 years. The loss of the woman who had raised and cared for him was a serious blow to Barthes. His last major work, Camera Lucida, is partly an essay about the nature of photography and partly a meditation on photographs of his mother. The book contains many reproductions of photographs, though none of them are of Henriette.

On 25 February 1980, Roland Barthes was knocked down by a laundry van while walking home through the streets of Paris. One month later he succumbed to the chest injuries sustained in that accident.^[2]

Writings and ideas[link]

Early thought[link]

Barthes's earliest ideas reacted to the trend of existentialist philosophy that was prominent in France during the 1940s, specifically to the figurehead of existentialism, Jean-Paul Sartre. Sartre's What Is Literature? (1947) expresses a disenchantment both with established forms of writing and more experimental, avant-garde forms, which he feels alienate readers. Barthes’ response was to try to discover that which may be considered unique and original in writing. In Writing Degree Zero (1953), Barthes argues that conventions inform both language and style, rendering neither purely creative. Instead, form, or what Barthes calls "writing" (the specific way an individual chooses to manipulate conventions of style for a desired effect), is the unique and creative act. A writer's form is vulnerable to becoming a convention, however, once it has been made available to the public. This means that creativity is an on-going process of continual change and reaction. Barthes regarded Albert Camus’s The Stranger as an ideal of this notion, thanks to its lack of embellishment or flair.

In Michelet, a critical analysis of the French historian Jules Michelet, Barthes developed these notions, applying them to a broader range of fields. He argued that Michelet’s views of history and society are obviously flawed. In studying his writings, he continued, one should not seek to learn from Michelet’s claims; rather, one should maintain a critical distance and learn from his errors, since understanding how and why his thinking is flawed will show more about his period of history than his own observations. Similarly, Barthes felt that avant-garde writing should be praised for its maintenance of just such a distance between its audience and itself. In presenting an obvious artificiality rather than making claims to great subjective truths, Barthes argued, avant-garde writers ensure that their audiences maintain an objective perspective. In this sense, Barthes believed that art should be critical and should interrogate the world, rather than seek to explain it, as Michelet had done.

Semiotics and myth[link]

Barthes's many monthly contributions that were collected in his Mythologies (1957) frequently interrogated specific cultural materials in order to expose how bourgeois society asserted its values through them. For example, the portrayal of wine in French society as a robust and healthy habit is a bourgeois ideal that is contradicted by certain realities (i.e., that wine can be unhealthy and inebriating). He found semiotics, the study of signs, useful in these interrogations. Barthes explained that these bourgeois cultural myths were "second-order signs," or "connotations." A picture of a full, dark bottle is a signifier that relates to a specific signified: a fermented, alcoholic beverage. However, the bourgeoisie relate it to a new signified: the idea of healthy, robust, relaxing experience. Motivations for such manipulations vary, from a desire to sell products to a simple desire to maintain the status quo. These insights brought Barthes in line with similar Marxist theory.

In The Fashion System Barthes showed how this adulteration of signs could easily be translated into words. In this work he explained how in the fashion world any word could be loaded with idealistic bourgeois emphasis. Thus, if popular fashion says that a ‘blouse’ is ideal for a certain situation or ensemble, this idea is immediately naturalized and accepted as truth, even though the actual sign could just as easily be interchangeable with ‘skirt’, ‘vest’ or any number of combinations. In the end Barthes' Mythologies became absorbed into bourgeois culture, as he found many third parties asking him to comment on a certain cultural phenomenon, being interested in his control over his readership. This turn of events caused him to question the overall utility of demystifying culture for the masses, thinking it might be a fruitless attempt, and drove him deeper in his search for individualistic meaning in art.

Structuralism and its limits[link]

As Barthes's work with structuralism began to flourish around the time of his debates with Picard, his investigation of structure focused on revealing the importance of language in writing, which he felt was overlooked by old criticism. Barthes's "Introduction to the Structural Analysis of Narratives" is concerned with examining the correspondence between the structure of a sentence and that of a larger narrative, thus allowing narrative to be viewed along linguistic lines. Barthes split this work into three hierarchical levels: ‘functions’, ‘actions’ and ‘narrative’. ‘Functions’ are the elementary pieces of a work, such as a single descriptive word that can be used to identify a character. That character would be an ‘action’, and consequently one of the elements that make up the narrative. Barthes was able to use these distinctions to evaluate how certain key ‘functions’ work in forming characters. For example key words like ‘dark’, ‘mysterious’ and ‘odd’, when integrated together, formulate a specific kind of character or ‘action’. By breaking down the work into such fundamental distinctions Barthes was able to judge the degree of realism given functions have in forming their actions and consequently with what authenticity a narrative can be said to reflect on reality. Thus, his structuralist theorizing became another exercise in his ongoing attempts to dissect and expose the misleading mechanisms of bourgeois culture.

While Barthes found structuralism to be a useful tool and believed that discourse of literature could be formalized, he did not believe it could become a strict scientific endeavour. In the late 1960s, radical movements were taking place in literary criticism. The post-structuralist movement and the deconstructionism of Jacques Derrida were testing the bounds of the structuralist theory that Barthes' work exemplified. Derrida identified the flaw of structuralism as its reliance on a transcendental signifier; a symbol of constant, universal meaning would be essential as an orienting point in such a closed off system. This is to say that without some regular standard of measurement, a system of criticism that references nothing outside of the actual work itself could never prove useful. But since there are no symbols of constant and universal significance, the entire premise of structuralism as a means of evaluating writing (or anything) is hollow.^{[citation needed]}

Transition[link]

Such groundbreaking thought led Barthes to consider the limitations not just of signs and symbols, but also of Western culture’s dependency on beliefs of constancy and ultimate standards. He travelled to Japan in 1966 where he wrote Empire of Signs (published in 1970), a meditation on Japanese culture’s contentment in the absence of a search for a transcendental signified. He notes that in Japan there is no emphasis on a great focus point by which to judge all other standards, describing the centre of Tokyo, the Emperor’s Palace, as not a great overbearing entity, but a silent and nondescript presence, avoided and unconsidered. As such, Barthes reflects on the ability of signs in Japan to exist for their own merit, retaining only the significance naturally imbued by their signifiers. Such a society contrasts greatly to the one he dissected in Mythologies, which was revealed to be always asserting a greater, more complex significance on top of the natural one.

In the wake of this trip Barthes wrote what is largely considered to be his best-known work, the essay “The Death of the Author” (1968). Barthes saw the notion of the author, or authorial authority, in the criticism of literary text as the forced projection of an ultimate meaning of the text. By imagining an ultimate intended meaning of a piece of literature one could infer an ultimate explanation for it. But Barthes points out that the great proliferation of meaning in language and the unknowable state of the author’s mind makes any such ultimate realization impossible. As such, the whole notion of the ‘knowable text’ acts as little more than another delusion of Western bourgeois culture. Indeed the idea of giving a book or poem an ultimate end coincides with the notion of making it consumable, something that can be used up and replaced in a capitalist market. “The Death of the Author” is sometimes considered to be a post-structuralist work, since it moves past the conventions of trying to quantify literature, but others see it as more of a transitional phase for Barthes in his continuing effort to find significance in culture outside of the bourgeois norms^{[citation needed]}. Indeed the notion of the author being irrelevant was already a factor of structuralist thinking.

[edit] Textuality and S/Z

Since there can be no originating anchor of meaning in the possible intentions of the author, Barthes considers what other sources of meaning or significance can be found in literature. He concludes that since meaning can’t come from the author, it must be actively created by the reader through a process of textual analysis. In his ambitious S/Z (1970), Barthes applies this notion in a massive analysis of a short story by Balzac called Sarrasine. The end result was a reading that established five major codes for determining various kinds of significance, with numerous lexias (a term created by Barthes to describe elements that can take on various meanings for various readers) throughout the text. The codes led him to define the story as having a capacity for plurality of meaning, limited by its dependence upon strictly sequential elements (such as a definite timeline that has to be followed by the reader and thus restricts their freedom of analysis). From this project Barthes concludes that an ideal text is one that is reversible, or open to the greatest variety of independent interpretations and not restrictive in meaning. A text can be reversible by avoiding the restrictive devices that Sarrasine suffered from such as strict timelines and exact definitions of events. He describes this as the difference between the writerly text, in which the reader is active in a creative process, and a readerly text in which they are restricted to just reading. The project helped Barthes identify what it was he sought in literature: an openness for interpretation.

Neutral and novelistic writing[link]

In the late 1970s Barthes was increasingly concerned with the conflict of two types of language: that of popular culture, which he saw as limiting and pigeonholing in its titles and descriptions, and neutral, which he saw as open and noncommittal. He called these two conflicting modes the Doxa and the Para-doxa. While Barthes had shared sympathies with Marxist thought in the past (or at least parallel criticisms), he felt that, despite its anti-ideological stance, Marxist theory was just as guilty of using violent language with assertive meanings, as was bourgeois literature. In this way they were both Doxa and both culturally assimilating. As a reaction to this he wrote The Pleasure of the Text (1975), a study that focused on a subject matter he felt was equally outside of the realm of both conservative society and militant leftist thinking: hedonism. By writing about a subject that was rejected by both social extremes of thought, Barthes felt he could avoid the dangers of the limiting language of the Doxa. The theory he developed out of this focus claimed that while reading for pleasure is a kind of social act, through which the reader exposes him/herself to the ideas of the writer, the final cathartic climax of this pleasurable reading, which he termed the bliss in reading or jouissance, is a point in which one becomes lost within the text. This loss of self within the text or immersion within the text, signifies a final impact of reading that is experienced outside of the social realm and free from the influence of culturally associative language and is thus neutral.

Despite this newest theory of reading, Barthes remained concerned with the difficulty of achieving truly neutral writing, which required an avoidance of any labels that might carry an implied meaning or identity towards a given object. Even carefully crafted neutral writing could be taken in an assertive context through the incidental use of a word with a loaded social context. Barthes felt his past works, like Mythologies, had suffered from this. He became interested in finding the best method for creating neutral writing, and he decided to try to create a novelistic form of rhetoric that would not seek to impose its meaning on the reader. One product of this endeavor was A Lover's Discourse: Fragments in 1977, in which he presents the fictionalized reflections of a lover seeking to identify and be identified by an anonymous amorous other. The unrequited lover’s search for signs by which to show and receive love makes evident illusory myths involved in such a pursuit. The lover’s attempts to assert himself into a false, ideal reality is involved in a delusion that exposes the contradictory logic inherent in such a search. Yet at the same time the novelistic character is a sympathetic one, and is thus open not just to criticism but also understanding from the reader. The end result is one that challenges the reader’s views of social constructs of love, without trying to assert any definitive theory of meaning.

Photography and Henriette Barthes[link]

Throughout his career, Barthes had an interest in photography and its potential to communicate actual events. Many of his monthly myth articles in the 50s had attempted to show how a photographic image could represent implied meanings and thus be used by bourgeois culture to infer ‘naturalistic truths’. But he still considered the photograph to have a unique potential for presenting a completely real representation of the world. When his mother, Henriette Barthes, died in 1977 he began writing Camera Lucida as an attempt to explain the unique significance a picture of her as a child carried for him. Reflecting on the relationship between the obvious symbolic meaning of a photograph (which he called the studium) and that which is purely personal and dependent on the individual, that which ‘pierces the viewer’ (which he called the punctum), Barthes was troubled by the fact that such distinctions collapse when personal significance is communicated to others and can have its symbolic logic rationalized. Barthes found the solution to this fine line of personal meaning in the form of his mother’s picture. Barthes explained that a picture creates a falseness in the illusion of ‘what is’, where ‘what was’ would be a more accurate description. As had been made physical through Henriette Barthes's death, her childhood photograph is evidence of ‘what has ceased to be’. Instead of making reality solid, it reminds us of the world’s ever changing nature. Because of this there is something uniquely personal contained in the photograph of Barthes’s mother that cannot be removed from his subjective state: the recurrent feeling of loss experienced whenever he looks at it. As one of his final works before his death, Camera Lucida was both an ongoing reflection on the complicated relations between subjectivity, meaning and cultural society as well as a touching dedication to his mother and description of the depth of his grief.

Posthumous publications[link]

A posthumous collection of essays was published in 1987 by François Wahl, Incidents.^[3] It contains fragments from his journals: his Soirées de Paris (a 1979 extract from his erotic diary of life in Paris); an earlier diary he kept (his erotic encounters with boys in Morocco); and Light of the Sud Ouest (his childhood memories of rural French life). In November 2007, Yale University Press published a new translation into English (by Richard Howard) of Barthes's little known work What is Sport. This work bears a considerable resemblance to Mythologies and was originally commissioned by the Canadian Broadcasting Corporation as the text for a documentary film directed by Hubert Aquin.

In February 2009, Éditions du Seuil published Journal de deuil (Journal of Mourning), based on Barthes' files written from 26 November 1977 (the day following his mother's death) up to 15 September 1979, intimate notes on his terrible loss:

The (awesome but not painful) idea that she had not been everything to me. Otherwise I would never have written a work. Since my taking care of her for six months long, she actually had become everything for me, and I totally forgot of ever have written anything at all. I was nothing more than hopelessly hers. Before that she had made herself transparent so that I could write.... Mixing-up of roles. For months long I had been her mother. I felt like I had lost a daughter.

He grieved his mother's death for the rest of his life: "Do not say mourning. It's too psychoanalytic. I'm not in mourning. I'm suffering." and "In the corner of my room where she had been bedridden, where she had died and where I now sleep, in the wall where her headboard had stood against I hanged an icon—not out of faith. And I always put some flowers on a table. I do not wish to travel anymore so that I may stay here and prevent the flowers from withering away."

Influence[link]

Roland Barthes's incisive criticism contributed to the development of theoretical schools such as structuralism, semiotics, and post-structuralism. While his influence is mainly found in these theoretical fields with which his work brought him into contact, it is also felt in every field concerned with the representation of information and models of communication, including computers, photography, music, and literature. One consequence of Barthes' breadth of focus is that his legacy includes no following of thinkers dedicated to modeling themselves after him. The fact that Barthes’ work was ever adapting and refuting notions of stability and constancy means there is no canon of thought within his theory to model one's thoughts upon, and thus no "Barthesism". While this means that his name and ideas lack the visibility of a Marx, Dewey, or Freud, Barthes was after all opposed to the notion of adopting inferred ideologies, regardless of their source. In this sense, after his work giving rise to the notion of individualist thought and adaptability over conformity, any thinker or theorist who takes an oppositional stance to inferred meanings within culture can be thought to be following Barthes’ example. Indeed such an individual would have much to gain from the views of Barthes, whose many works remain valuable sources of insight and tools for the analysis of meaning in any given man-made representation.

Key terms[link]

Readerly and writerly are terms Barthes employs both to delineate one type of literature from another and to implicitly interrogate ways of reading, like positive or negative habits the modern reader brings into one's experience with the text itself. These terms are most explicitly fleshed out in S/Z, while the essay "From Work to Text", from Image—Music—Text (1977) provides an analogous parallel look at the active and passive, postmodern and modern, ways of interacting with a text.

Readerly text[link]

A text that makes no requirement of the reader to "write" or "produce" their own meanings. The reader may passively locate "ready-made" meaning. Barthes writes that these sorts of text are "controlled by the principle of non-contradiction" (156), that is, they do not disturb the "common sense," or "Doxa," of the surrounding culture. The "readerly texts," moreover, "are products [that] make up the enormous mass of our literature" (5). Within this category, there is a spectrum of "replete literature," which comprises "any classic (readerly) texts" that work "like a cupboard where meanings are shelved, stacked, [and] safeguarded" (200).^[4]

Writerly text[link]

A text that aspires to the proper goal of literature and criticism: "... to make the reader no longer a consumer but a producer of the text" (4). Writerly texts and ways of reading constitute, in short, an active rather than passive way of interacting with a culture and its texts. A culture and its texts, Barthes writes, should never be accepted in their given forms and traditions. As opposed to the "readerly texts" as "product," the "writerly text is ourselves writing, before the infinite play of the world is traversed, intersected, stopped, plasticized by some singular system (Ideology, Genus, Criticism) which reduces the plurality of entrances, the opening of networks, the infinity of languages" (5). Thus reading becomes for Barthes "not a parasitical act, the reactive complement of a writing," but rather a "form of work" (10).

[edit] The Author and the scriptor

Author and scriptor are terms Barthes uses to describe different ways of thinking about the creators of texts. "The author" is our traditional concept of the lone genius creating a work of literature or other piece of writing by the powers of their original imagination. For Barthes, such a figure is no longer viable. The insights offered by an array of modern thought, including the insights of Surrealism, have rendered the term obsolete. In place of the author, the modern world presents us with a figure Barthes calls the "scriptor," whose only power is to combine pre-existing texts in new ways. Barthes believes that all writing draws on previous texts, norms, and conventions, and that these are the things to which we must turn to understand a text. As a way of asserting the relative unimportance of the writer's biography compared to these textual and generic conventions, Barthes says that the scriptor has no past, but is born with the text. He also argues that, in the absence of the idea of an "author-God" to control the meaning of a work, interpretive horizons are opened up considerably for the active reader. As Barthes puts it, "the death of the author is the birth of the reader."^[5]

Criticism[link]

In 1971, Barthes wrote "The Last Happy Writer", the title of which refers to Voltaire. In the essay he commented on the problems of the modern thinker after discovering the relativism in thought and philosophy, discrediting previous philosophers who avoided this difficulty. Disagreeing roundly with Barthes' description of Voltaire, Daniel Gordon, the translator and editor of Candide (The Bedford Series in History and Culture), wrote that "never has one brilliant writer so thoroughly misunderstood another."

Bibliography[link]

Works

• (1957) Mythologies, Seuil: Paris.
• (1964) Éléments de sémiologie, Communications 4, Seuil: Paris.
• (1967) Système de la mode, Editions du Seuil: Paris.
• (1970) L'Empire des signes, Skira: Paris.
• (1970) S/Z, Seuil: Paris.
• (1972) Le Degré zéro de l'écriture suivi de Nouveaux essais critiques, Editions du Seuil: Paris.
• (1973) Le plaisir du texte, Editions du Seuil: Paris.
• (1975) Roland Barthes, Éditions du Seuil: Paris
• (1977) Poétique du récit, Editions du Seuil:Paris.
• (1978) Préface, La Parole Intermédiaire, F. Flahault, Seuil: Paris
• (1979) Sur Racine, Editions du Seuil: Paris
• (1980) Recherche de Proust, Editions du Seuil: Paris.
• (1980) La chambre claire : note sur la photographie. - [Paris] : Cahiers du cinéma : Gallimard : Le Seuil, 1980.
• (1980) Sade, Fourier, Loyola, Editions du Seuil: Paris.
• (1981) Essais critiques, Editions du Seuil: Paris.
• (1982) Litérature et réalité, Editions du Seuil: Paris.
• (1988) Michelet, Editions du Seuil: Paris.
• (1993) Œuvres complètes, Editions du Seuil: Paris.
• (2009) Carnets du voyage en Chine by Roland Barthes.^[6]
• (2009) Journal de deuil by Roland Barthes.^[6]

Translations to English

• The Fashion System (1967), University of California Press:Berkeley.
• Writing Degree Zero (1968), Hill and Wang:New York. ISBN 0-374-52139-5
• Elements of Semiology (1968), Hill and Wang:New York.
• Mythologies (1972), Hill and Wang:New York.
• The Pleasure of the Text (1975), Hill and Wang:New York.
• S/Z: An Essay (1975), Hill and Wang, ISBN 0-374-52167-0
• Sade, Fourier, Loyola (1976), Farrar, Straus and Giroux: New York.
• Image, Music, Text (1977), Hill and Wang:New York.
• Roland Barthes by Roland Barthes (1977) (In this so-called autobiography, Barthes interrogates himself as a text.)
• The Eiffel Tower and other Mythologies (1997), University of California Press:Berkeley. (first published 1979)
• Camera Lucida: Reflections on Photography (1981), Hill and Wang :New York.
• Critical Essays (1972), Northwestern University Press
• A Barthes Reader (1982), Hill and Wang, New York.
• Empire of Signs (1983), Hill and Wang
• The Grain of the Voice: interviews 1962-1980 (1985), Jonathan Cape: London.
• The Responsibility of Forms : Critical essays on music, art, and representation (1985), Basil Blackwell:Oxford.
• The Rustle of Language (1986), B.Blackwell:Oxford.
• Criticism and Truth (1987), The Athlone Pr.:London.
• Michelet (1987), B.Blackwell:Oxford.
• Writer Sollers (1987), University of Minnesota Press:Minneapolis.
• Roland Barthes (1988), Macmillan Pr.:London.
• A Lover's Discourse : Fragments (1990), Penguin Books:London.
• New Critical Essays (1990), University of California Press:Berkeley.
• Incidents (1992), University of California Press:Berkeley.
• On Racine (1992), University of California Press:Berkeley
• The Semiotic Challenge (1994), University of California Press Berkeley.
• The Neutral: Lecture Course at the Collège de France (1977–1978) (2005), Columbia University Press:New York.
• The Language of Fashion (2006), Sydney:Power Publications.
• What is Sport (2007), Yale University Press: London and New Haven. ISBN 978-0-300-11604-5
• Mourning Diary (2010), Hill and Wang: New York.
• The Preparation of the Novel: Lecture Course at the Collège de France (1978–1979) (2011), Columbia University Press:New York.

Works on Roland Barthes[link]

• Graham Allen, Roland Barthes, London: Routledge, 2003.
• Réda Bensmaïa, The Barthes Effect: The Essay as Reflective Text, trans. Pat Fedkiew, Minneapolis: University of Minnesota Press, 1987.
• Louis-Jean Calvet, Roland Barthes: A Biography, trans. Sarah Wykes, Bloomington: Indiana University Press, 1994. ISBN 0-253-34987-7 (This is a popular biography)
• Jonathan Culler, Roland Barthes: A Very Short Introduction, Oxford: Oxford University Press, 2001.
• Paul de Man, "Roland Barthes and the Limits of Structuralism", in Romanticism and Contemporary Criticism, ed. E.S. Burt, Kevin Newmark, and Andrzej Warminski, Baltimore: Johns Hopkins University Press, 1993.
• Jacques Derrida, "The Deaths of Roland Barthes," in Psyche: Inventions of the Other, Vol. 1, ed. Peggy Kamuf and Elizabeth G. Rottenberg, Stanford: Stanford University Press, 2007.
• D.A. Miller, Bringing Out Roland Barthes, Berkeley: University of California Press, 1992. (A highly personal collection of fragments, aimed at both mourning Barthes and illuminating his work in terms of a "gay writing position.")
• Michael Moriarty, Roland Barthes, Stanford: Stanford University Press, 1991. (Explains various works of Roland Barthes)
• Jean-Michel Rabate, ed., Writing the Image After Roland Barthes, Philadelphia: University of Pennsylvania Press, 1997.
• Mireille Ribiere, Roland Barthes, Ulverston: Humanities E-Books, 2008. Downloadable from http://www.humanities-ebooks.co.uk/Catalogue/Barthes.html (A comprehensive introduction to Barthes's work)
• Susan Sontag, "Remembering Barthes", in Under the Sign of Saturn, New York: Farrar, Straus and Giroux, 1980.
• Susan Sontag, "Writing Itself: On Roland Barthes", introduction to Roland Barthes, A Barthes Reader, ed. Susan Sontag, New York: Hill and Wang, 1982.
• Steven Unger. Roland Barthes: Professor of Desire. Lincoln: University of Nebraska Press, 1983.
• George R. Wasserman. Roland Barthes. Boston: Twayne Publishers, 1981.

See also[link]

Francis Lalanne

Francis Lalanne (born Francis-José Lalanne on 8 August 1958 in Anglet) is a French singer, songwriter and poet. He is the brother of composer Jean-Félix Lalanne and film director René Manzor.

Free Art[link]

He opposed the HADOPI law^[1] in 2009 and has supported the French free software community saying that the purpose of art is not to make money but conscience, and it is the duty of any author to promote the free dissemination of this conscience^[2]. He wrote the book « Révoltons-nous », published on August 2011 under the free art license^[3].

Discography[link]

Studio albums[link]

• 1979: Rentre chez toi
• 1980: Francis Lalanne
• 1981: Toi mon vieux copain
• 1982: Celle qui m'a emmené
• 1984: Amis d'en France
• 1985: Coup de foudre
• 1986: Mai 86
• 1988: De Corazón
• 1990: Avec toi
• 1992: Tendresses
• 1994: Les Inédits
• 1996: Face cachée
• 2000: Sans papiers
• 2003: D'une vie à l'autre
• 2005: Reptile
• 2009: Ouvrir son cœur
• 2010: Blaïte music

Live albums[link]

• 1983: Lalanne à Pantin
• 1993: Zénith 93
• 2006: Au Casino de Paris

Compilations[link]

• 1995: Flash-Back
• 2007: Best of

Publications[link]

• 1986: Ajedhora, Flammarion.
• 1993: Le Roman d'Arcanie, Les Belles Lettres.
• 1994: Les Carnets de Lucifer, Les Belles Lettres.
• 1995: Le Journal de Joseph, Éditions du Rocher.
• 1997: D'Amour et de Mots, Les Belles Lettres. Tristan Tzara prize in 1997.
• 1999: Éliade ou l'Idéale, Les Belles Lettres.
• 2000: Le Petit Livre de l'Enfant, Éditions du Rocher, with co-author Stella Sulak.
• 2003: Drac. ou le Soliloque du Vampire, Les Belles Lettres.
• 2004: Les Carnets de Lucifer – Mon Journal Intime, Les Belles Lettres.
• 2006: Skizogrammes, Pantoums, Éditions Bibliophane.
• 2008: Mère Patrie, Planète Mère, Éditions Pascal Petiot. Lauriers Verts award at La Forêt des Livres in 2008.
• 2009: La bataille Hadopi, In Libro Veritas (group of authors)^[1].
• 2009: Mise en Demeure à Monsieur le Président de la République Française, Jean-Claude Gawsewitch Éditeur.
• 2011: Révoltons-nous, Éditions In Libro Veritas^[3].

Filmography[link]

Cinéma

• 1995: Marie de Nazareth by Jean Delannoy
• 2008: Astérix at the Olympic Games, by Frédéric Forestier and Thomas Langmann
• 2008: Disco, by Fabien Onteniente
• 2010: Orso - La Marche de l'Enfant Roi, by Magà Ettori: Senator Vasco

As a voice actor

• 1996: The Hunchback of Notre Dame: French voice of Quasimodo
• 2002: The Hunchback of Notre Dame II: French voice of Quasimodo

References[link]

• Dominique Lacout, Francis Lalanne, Éditions du Rocher, 1993. ISBN 978-2-268-01596-5

See also[link]

Wikimedia Commons has media related to: Francis Lalanne

Related Articles[link]

• Music of France
• Chanson française

External links[link]

• Francis Lalanne at the Internet Movie Database
• Francis Lalanne on Myspace

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Dame Kiri Jeanette Te Kanawa, ONZ, DBE, AC (pronounced /ˌkɪri tɨ ˈkɑːnəwə/; born 6 March 1944, Gisborne, New Zealand) is a New Zealand / Māori soprano who has had a highly successful international opera career since 1968. Acclaimed as one of the most beloved sopranos in both the United States and Britain^[1][2] she possesses a warm full lyric soprano voice, singing a wide array of works in multiple languages from the 17th to the 20th centuries. She is particularly associated with the works of Mozart, Strauss, Verdi, Handel and Puccini.^[3]

Te Kanawa's voice has been described as having "a vibrant but mellow quality that is ample in size without being overly heavy or forced"^{[citation needed]}. Music critics have consistently praised the freshness and warmth of her voice^{[citation needed]}. The sheer beauty of Te Kanawa's voice made her one of the leading operatic sopranos internationally of the 1970s and 1980s. She found particular success in portraying princesses, noble countesses and other similar characters on stage, as her naturally dignified stage presence and physical beauty complemented these roles well.^[3]

Although she now only rarely sings in operas, Te Kanawa still frequently performs in concert and recital, while giving masterclasses and supporting young opera singers in launching their careers.^[4]

Personal life[link]

Kiri Te Kanawa was born as Claire Mary Teresa Rawstron in Gisborne on New Zealand's North Island. She has Māori and European ancestry, but little is known about her birth parents, as she was adopted as an infant by Thomas Te Kanawa, a Māori, and his wife, Nell. She was educated at Saint Mary's College Auckland and formally trained in operatic singing by Sister Mary Leo, RSM. Te Kanawa began her singing career as a mezzo-soprano, but later developed into a soprano.^[5] Her recording of the "Nuns' Chorus" from the Strauss operetta Casanova was New Zealand's first gold record.

Kiri met Desmond Park on a blind date in London in August 1967, and they married six weeks later in St Patrick's Cathedral, Auckland.^[6] They adopted two children, Antonia (1976) and Thomas (1979) who was named after Kiri's adoptive father. The couple divorced in 1997.^[7]

Career[link]

In her teens and early 20s, Te Kanawa was a pop star and popular entertainer at clubs in New Zealand,^[8] and regularly appeared in newspapers and magazines (see right).In 1965 she won the Mobil Song Quest with her performance of "Vissi d'arte" from Puccini's Tosca. In 1963, she was runner-up to Malvina Major in the same competition. As the winner, she received a grant to study in London. In 1966, she then won the prestigious Australian Melbourne Sun-Aria contest, which Major had also won the previous year. Both students had been taught by Sister Mary Leo.

Early years in London[link]

In 1966, without an audition, she enrolled at the London Opera Centre to study under Vera Rózsa and James Robertson, who reputedly said Te Kanawa lacked a singing technique when she arrived at the school but did have a gift for captivating audiences.^[9] She first appeared on stage as the Second Lady in Mozart's The Magic Flute, as well as in performances of Purcell's Dido and Aeneas in December 1968 at the Sadler's Wells Theatre. She also sang the title role in Donizetti's Anna Bolena. In 1969, she sang Elena in Rossini's La donna del lago at the Camden Festival; and also was offered the role of the Countess in The Marriage of Figaro after an audition of which the conductor, Colin Davis, said, "I couldn't believe my ears. I've taken thousands of auditions, but it was such a fantastically beautiful voice." Praise for her Idamante in Mozart's Idomeneo led to an offer of a three-year contract as junior principal at the Royal Opera House Covent Garden where she made her debut as Xenia in Boris Godunov and a Flower Maiden in Parsifal in 1970.^[10] Under director John Copley, Te Kanawa was carefully groomed for the role of the Countess for a December 1971 opening.

International career[link]

Meanwhile, word of her success had reached John Crosby at the Santa Fe Opera, a summer opera festival in New Mexico, then about to begin its fifteenth season. He cast her in the role of the Countess in The Marriage of Figaro, which opened on 30 July 1971. The performance also featured Frederica von Stade in her debut as Cherubino. "It was two of the newcomers who left the audience dazzled: Frederica von Stade as Cherubino and Kiri te Kanawa as the Countess. Everyone knew at once that these were brilliant finds. History has confirmed that first impression." ^[11] They have maintained their friendship since.

On 1 December 1971 at Covent Garden, Kiri Te Kanawa repeated her Santa Fe performance and created an international sensation as the Countess: "with "Porgi amor" Kiri knocked the place flat."^[12] It was followed by performances as the Countess at the Opéra National de Lyon and San Francisco Opera in autumn 1972. She sang her first Desdemona in Glasgow in 1972 while her Metropolitan Opera debut in 1974 as Desdemona in Otello took place at short notice, replacing an ill Teresa Stratas at the last minute. She sang at the Glyndebourne Festival in 1973, with further débuts in Paris and (1975), Sydney (1976), Milan (1978), Salzburg (1979) and Vienna (1980). In 1982 she gave her only stage performances as Tosca in Paris. In 1989 she added Elisabeth de Valois in Don Carlos to her repertory at Chicago, and in 1990 the Countess in Capriccio, sung first at San Francisco and with equal success at Covent Garden, Glyndebourne and the Metropolitan in 1998.

In subsequent years, she performed at the Lyric Opera of Chicago, Paris Opera, Sydney Opera House, the Vienna State Opera, La Scala, San Francisco Opera, Munich and Cologne, adding the Mozart roles of Donna Elvira, Pamina, and Fiordiligi, in addition to Italian roles such as Mimi in Puccini's La bohème. She played Donna Elvira in Joseph Losey's 1979 film adaptation of Don Giovanni.

She was seen and heard around the world in 1981 by an estimated 600 million people^{[citation needed]}. when she sang Handel's "Let the Bright Seraphim" at the wedding of Charles, Prince of Wales, and Lady Diana Spencer.^[13]

In 1984, Leonard Bernstein decided to re-record the musical West Side Story, conducting his own music for the first time. Generally known as the "operatic version", it starred Te Kanawa as Maria, José Carreras as Tony, Tatiana Troyanos as Anita, Kurt Ollman as Riff, and Marilyn Horne as the offstage voice who sings "Somewhere". It won a Grammy Award for Best Cast Show Album in 1985 and the recording process was filmed as a documentary.

Te Kanawa has a particular affinity for the heroines of Richard Strauss. Her first appearance in the title role in Arabella was at the Houston Grand Opera in 1977, followed by the roles of the Marschallin in Der Rosenkavalier and the Countess in Capriccio. Many performances were given under the baton of Georg Solti and it was with him that she made her first recording of The Marriage of Figaro.

In recent years Te Kanawa's appearances on the opera stage have become more infrequent, although she remains busy as a concert singer. She appeared in performances in Samuel Barber's Vanessa with the Washington National Opera and the Los Angeles Opera in November/December 2004. In February 2010 she played the part of The Duchess of Krakenthorp in Donizetti's La fille du régiment at the Metropolitan Opera, and sang a tango. In April 2010 she sang the Marschallin in Der Rosenkavalier by Richard Strauss in two performances at the Cologne Opera in Germany. Te Kanawa has also appeared as a Pennington Great Performers series artist with the Baton Rouge Symphony Orchestra in 2004. It is said, this would be the end of her operatic career, but obviously this is not certain.

Honours[link]

Kiri Te Kanawa was created a Dame Commander of the Order of the British Empire in 1982, invested as an Honorary Companion of the Order of Australia in 1990 and awarded the Order of New Zealand in the 1995 Queen's Birthday Honours List. She has also received honorary degrees from the following universities in the UK: Bath, Cambridge, Dundee, Durham, Nottingham, Oxford, Sunderland, Warwick as well as these universities worldwide: Chicago, Auckland and Waikato as well as being honorary fellow of Somerville College, Oxford and Wolfson College, Cambridge. She is also patron of Ringmer Community College, a school in the South-East of England situated not far from Glyndebourne.

On 12 June 2008 she received the Edison Classical Music Award during the Edison Classical Music Gala (formerly: 'Grand Gala du Disque') in the Ridderzaal in The Hague.

Kiri Te Kanawa Foundation[link]

Kiri founded the Kiri Te Kanawa Foundation with the vision "that talented young New Zealand singers and musicians with complete dedication to their art may receive judicious and thoughtful mentoring and support to assist them in realising their dreams."^[14]

The foundation manages a trust fund to provide financial and career scholarships to young New Zealand singers and musicians.

The Kiri Prize[link]

In January 2010, Dame Kiri and BBC Radio 2 launched an initiative to find a gifted opera singer of the future. The initiative was the BBC Radio 2 Kiri Prize competition.^[15]

Following regional auditions of over 600 aspiring opera singers, 40 were invited to attend masterclasses in London with Dame Kiri, mezzo-soprano Anne Howells and conductor Robin Stapleton. From these masterclasses fifteen singers were selected for the semi-finals which were broadcast on 5 consecutive weeks on BBC Radio 2’s Friday Night Is Music Night. The semi-finalists were accompanied by the BBC Concert Orchestra, conducted by Martin Yates, Richard Balcombe and Roderick Dunk and their performances were judged by Dame Kiri, Anne Howells, Robin Stapleton and director John Cox.

Five singers went through to the final which was broadcast on Radio 2 on Friday 3 September 2010. The winner - soprano Shuna Scott Sendall - performed with Dame Kiri and José Carreras at BBC Proms In The Park in Hyde Park, London on Saturday 11 September 2010 and was given the opportunity to attend a three-week residential course at the Solti Te Kanawa Accademia in Italy.

Controversy[link]

In a 2003 interview with the Melbourne-based Herald Sun she criticised the high rate of welfare dependence among the Māori people, angering some of her compatriots.^[16] In 2007, Te Kanawa was sued for breach of contract by event management company Leading Edge, after cancelling a concert with Australian singer John Farnham. She cancelled after learning that his fans sometimes threw their underwear on stage, which he would then proudly display.^[17] She won the suit, but her Mittane company which employs and manages her was ordered to pay A$102,000 in court costs.^[18][19]

Career highlights[link]

• Moved to Auckland and studied under Sister Mary Leo 1959-1965 at St Mary's College.
• Had New Zealand's first gold disc, with a popular operatic aria.
• Was 2nd to Dame Malvina Major in the Mobil Song Quest in 1963, and won it in 1965.
• Won the Melbourne Sun-Aria in 1965, and was awarded an Arts Council of Great Britain bursary to study at the London Opera Centre.
• Made her US debut at Santa Fe Opera with her performance as the Countess in Le nozze di Figaro in summer 1971, and became internationally famous at the Royal Opera House, Covent Garden in London after singing the role on 1 December 1971.
• In 1977 she appeared at the Royal Opera House in a German/English production of Die Fledermaus. The New Year's Eve performance, conducted by Zubin Mehta, was recorded for television with the cast was virtually duplicated on the later DVD release. The performance was broadcast on TV in the US on New Year's Eve 1979.
• Sang at the San Francisco Opera, the Metropolitan Opera in New York and La Scala in Milan, Italy.
• In 1981 sang at the wedding of Prince Charles and Lady Diana Spencer in St Paul's Cathedral, London.
• She won a Grammy Award for Best Opera Recording in 1984, for Mozart's "Le nozze di Figaro". It was produced by Christopher Raeburn and the London Philharmonic Orchestra was conducted by Georg Solti. Also featuring were Thomas Allen, Kurt Moll, Lucia Popp, Samuel Ramey and Frederica von Stade.
• Created Dame Kiri Te Kanawa in 1982, and returned to New Zealand to sing several times, including the New Year millennium concert at Gisborne in January 2000.
• In 1984, made a special recording of West Side Story in the leading role of Maria with José Carreras as Tony, and conducted by Leonard Bernstein.
• In 1986, again partnered José Carreras in the recording of the musical South Pacific.
• In 1994 celebrated her 50th birthday, culminating in a spectacular Birthday Concert at the Royal Albert Hall, London. Long awaited return to the Metropolitan Opera as Arabella.
• November 1999, released a new album, Maori Songs.
• Sang in her last opera, Vanessa, in 2004, but continues with recitals and concerts and organising the Kiri Te Kanawa Foundation, to help young music students.
• On 15 March 2006, Te Kanawa played a role in the 2006 Commonwealth Games. She sang a medley of "Happy Birthday" to Queen Elizabeth II, in recognition of her upcoming birthday, and "God Save the Queen".
• 2 December 2007, sang to the Queen and the Duke of Edinburgh at the Royal Variety Performance. Her performance included leading the National Anthem, God Save the Queen
• 28 June 2008, she sang Summertime in duet with Portuguese fado singer star Mariza, at Casino Estoril.
• 19 July 2008, sang her last American concert with the Chicago Symphony Orchestra at Ravinia Park.
• 19 June 2009, inducted into the Hollywood Bowl Hall of Fame, performing solo works, and duets with Frederica von Stade and Josh Groban to a crowd of 18,000
• 6 February 2010, returned to the Metropolitan Opera as the Duchess of Krakenthorp in La Fille du Régiment - typically a non-singing character part, but an art song by Argentine composer Alberto Ginastera was interpolated into the production for her to sing.
• April 2010, returned to the Cologne Opera House in Germany for two final performances of the Marschallin in Rosenkavalier.

Discography[link]

• 1972 - Mozart - Exsultate Jubilate - (Exsultate Jubilate, Vesperae Solennes De Confessore, Kyrie In D Minor, Ave Verum Corpus ), Te Kanawa, London Symphony Orchestra and Chorus, Sir Colin Davis [Philips] (also re-issued 1986)
• 1972 - Mozart - Don Giovanni - as Donna Elvira in a studio recording with Covent Garden Royal Opera House Chorus and Orchestra, Colin Davis
• 1973 - My Favourite Things [Hallmark, SHM 3218]
• 1975 - Bizet - Carmen - as Micaëlla in a studio recording with the London Philharmonic Orchestra, Georg Solti
• 1976 - Mozart - Le nozze di Figaro - Te Kanawa (Contessa Almaviva), Freni (Susanna), Prey (Figaro), Fischer-Dieskau (Conte Almaviva), Ewing (Cherubino), Begg (Marcellina), Montarsolo (Don Bartolo), Wiener Philharmoniker, conductor Karl Böhm [DVD]
• 1977 - Duruflé - Requiem/Danse Lente - Te Kanawa, Nimsgern, Ambrosian Singers, Desborough School Choir, Andrew Davis, New Philharmonia Orchestra [CBS Schallplatten GmbH]
• 1977 - Mozart - Così fan tutte - as Fiordiligi in a studio recording under Alain Lombard
• 1978 - Mozart - Die Zauberflöte - as Pamina in a studio recording under Alain Lombard
• 1979 - Strauss - Four Last Songs - London Symphony Orchestra, Andrew Davis [CBS Masterworks]
• 1979 - Brahms - A German Requiem - Variations On A Theme By Haydn - Chicago Symphony Orchestra & Chorus, Kiri Te Kanawa, Sir Georg Solti, Bernd Weikl, Margaret Hillis [London Records]
• 1981 - Gay - The Beggar's Opera - as Polly Peachum in a studio recording with National Philharmonic Orchestra, Richard Bonynge
• 1981 - Mozart - Le nozze di Figaro - as Contessa Almaviva in a studio recording with London Philharmonic Orchestra, Georg Solti
• 1981 - Puccini - La rondine - as Magda de Civry in a studio recording with the London Symphony Orchestra, Lorin Maazel
• 1981 - Mozart Concert Arias - Kiri Te Kanawa, Wiener Kammerorchester, Gyorgy Fischer [London/Decca Jubilee 417756]
• 1983 - Canteloube - Chants D'Auvergne (Songs of The Auvergne) / Villa-Lobos - Bachianas Brasileiras [Polygram SXDL 7604]
• 1983 - Mozart Opera Arias - London Symphony Orchestra, Sir Colin Davis [Philips], [Polygram 5414319]
• 1983 - Verdi & Puccini - London Philharmonic Orchestra, John Pritchard [CBS 37298]
• 1984 - Come To The Fair - Folk Songs & Ballads - with the Medici String Quartet and members of the National Philharmonic Orchestra, Douglas Gamley [EMI EMC 222]
• 1984 - Puccini - Tosca - as Floria Tosca in a studio recording under Georg Solti
• 1984 - Ave Maria - a collection of religious favorites with the English Chamber Orchestra and the Choir of St. Paul's Cathedral, London
• 1984 - A Portrait of Kiri Te Kanawa [CBS SBR 236068]
• 1985 - Handel - Messiah - with Anne Gjevang, Keith Lewis, Gwynne Howell, Chicago Symphony Orchestra & Chorus, Sir Georg Solti [3xLP, Album + Box, London Records]
• 1985 - Leonard Bernstein West Side Story - a recording of Bernstein's music for the Broadway production West Side Story, with José Carreras singing the part of Tony and Leonard Bernstein himself conducting the orchestra and chorus [Polygram 415253]
• 1985 - A Room With A View (OST) - the Verdi and Puccini arias "O mio babbino caro" (Gianni Schicchi) and "Chi bel sogno di Doretta" (La Rondine) in the Merchant Ivory film A Room with a View [DRG CDSBL 12588]
• 1986 - Richard Strauss -Arabella - as Arabella in a studio recording with Covent Garden Royal Opera House Chorus and Orchestra, Jeffrey Tate
• 1986 - Gounod -Faust - sang the role of Marguerite in a studio recording with the Bavarian Radio Symphony Orchestra and Chorus, Colin Davis
• 1986 - South Pacific - London Studio Cast, Kiri Te Kanawa, Mandy Patinkin, José Carreras and Sarah Vaughan
• 1986 - Kiri - Blue Skies - with Nelson Riddle And His Orchestra [Polygram/Decca 414 666-1 ]
• 1986 - Christmas with Kiri (with Philharmonia Orchestra of London and Chorus, Carl Davis) London Classic / Polygram
• 1987 - Puccini Manon Lescaut - sang the title role in a studio recording with Teatro Comunale di Bologna, Riccardo Chailly
• 1987 - Alan Jay Lerner and Frederick 'Fritz' Loewe - My Fair Lady - a studio cast recording with Te Kanawa singing the role of Eliza Doolittle and Jeremy Irons singing the role of Henry Higgins [Polygram 421200]
• 1987 - Kiri Sings Gershwin - a collection of George Gershwin songs with the New Princess Theater Orchestra, John McGlinn [EMI]
• 1987 - Portrait [Polygram 417645]
• 1987 - Beethoven - Symphonie No.9 - Te Kanawa, Hamari, Burrows, Holl, London Symphony Chorus, London Symphony Orchestra, Eugen Jochum [EMI]
• 1988 - Mozart - Così fan tutte - recorded the role of Fiordiligi again this time with Vienna State Opera, James Levine
• 1988 - Bach - Matthäus-Passion - Te Kanawa, von Otter, Rolfe Johnson, Krause, Blochwitz, Bär, Chicago Symphony Orchestra, Sir Georg Solti [Box, Album + 3xCD, Decca]
• 1988 - Gabriel Fauré - Requiem · Pelléas Et Mélisande · Pavane - Te Kanawa, Milnes, Choeur De L'Orchestre Symphonique De Montreal, Orchestre Symphonique De Montréal, Charles Dutoit [Decca]
• 1989 - Verdi - Simon Boccanegra - recorded the role of Amelia Grimaldi in a studio recording with La Scala, Milan, Georg Solti
• 1989 - Songs Of Inspiration - Kiri Te Kanawa, Mormon Tabernacle Choir, Utah Symphony Orchestra, Julius Rudel [London/Decca/Polygram 425431]
• 1989 - Mozart - Die Zauberflöte - recorded the role of Pamina again this time with Neville Marriner and the Academy of St. Martin in the Fields
• 1990 - Johann Strauss II - Die Fledermaus - sang the part of Rosalinde with Vienna State Opera, André Previn
• 1990 - Mozart - Le nozze di Figaro - re-recorded the role of Contessa Almaviva in a studio recording with the Metropolitan Opera, James Levine
• 1990 - Richard Strauss - Der Rosenkavalier - sang the role of the Marschallin with the Semperoper Dresden under Bernard Haitink
• 1990 - Mozart - Der Schauspieldirector - sang the role of Mademoiselle Silberklang with the Vienna Philharmonic under John Pritchard
• 1990 - Ave Maria - Kiri Te Kanawa, English Chamber Orchestra, Choir of St Paul's Cathedral, Barry Rose [Philips 412629]
• 1990 - Kiri In Recital - Liszt, Obradors, Ravel - Kiri Te Kanawa, with Roger Vignoles (Piano) [London/Decca 425820 ]
• 1991 - Richard Strauss - 4 Letzte Lieder and other songs - with Georg Solti and the Vienna Philharmonic
• 1991 - The Kiri Selection
• 1991 - Kiri Sings Kern
• 1991 - Bernard Herrmann - Citizen Kane - The Classic Film Scores Of Bernard Herrmann - Kiri Te Kanawa, Joaquin Achucarro, National Philharmonic Orchestra, Charles Gerhardt [RCA Victor, BMG Classics]
• 1991 - World In Union (Single, 7") - (Rugby Union World Cup Theme Song) [Columbia]
• 1992 - Paul McCartney and Carl Davis - Paul McCartney's Liverpool Oratorio (Movement VII: Crises)
• 1992 - Tchaikovsky - Eugene Onegin - sang the role of Tatyana in a studio recording with Welsh National Opera under Charles Mackerras
• 1992 - Verdi La traviata - sang the role of Violetta in a studio recording with the Maggio Musicale Fiorentino, Zubin Mehta
• 1992 - Kiri Sidetracks: The Jazz Album
• 1992 - Mahler - Symphony No. 4, Kiri Te Kanawa, Chicago Symphony Orchestra, Georg Solti [Decca]
• 1993 - Wagner -Tannhäuser - sang the role of Elisabeth in a studio recording with the London Philharmonia Orchestra and the Ambrosian Singers, Marek Janowski
• 1993 - Mozart Arias (Grand Voci) [Decca]
• 1993 - Classics - Mozart, Handel, Gounod, Schubet, Strauss [Philips 434725]
• 1994 - Mozart - Great Mass in C minor - (chorus master: Laszlo Heltay) [Philips]
• 1994 - Heart to Heart - with Malcolm McNeill
• 1994 - Puccini - La bohème - recorded the title role in a studio recording with the London Symphony Orchestra, Kent Nagano
• 1994 - The Sorceress - arias from Handel operas with Hogwood and The Academy of Ancient Music
• 1994 - Kiri! Her Greatest Hits Live [Decca 443600]
• 1995 - Christmas with Kiri Te Kanawa: Carols from Coventry Cathedral - Kiri Te Kanawa, Michael George, BBC Philharmonic Orchestra, Robin Stapleton [Teldec]
• 1996 - Richard Strauss Capriccio - recorded the role of the Countess in a studio recording with Wiener Philharmoniker, Ulf Schirmer, Decca/London
• 1996 - Franz Schubert - Lieder - Judith Raskin, Kiri Te Kanawa, Elly Ameling, Peter Pears, Judith Blegen [Sony Classical]
• 1997 - French Songs and Arias
• 1997 - Sole et amore - Puccini Arias - Te Kanawa, Vignoles, Orchestre de L'Opera National de Lyon, Kent Nagano [Erato]
• 1998 - Bizet - Carmen - Highlights - Troyanos, Domingo, Te Kanawa, London Philharmonic Orchestra, Georg Solti [Decca]
• 1998 - The Greatest Classical Stars On Earth - Plácido Domingo, Kiri Te Kanawa, Luciano Pavarotti, Lesley Garrett, Nigel Kennedy (2CD, Compilation) [Decca]
• 1999 - Maori Songs - Kiri Te Kanawa, (Air New Zealand) [EMI Classics 5 56828-2]
• 1999 - Greatest Hits [EMI Classics]
• 2001 - Kiri (also known as Kiri - The Best Of)
• 2003 - The Very Best Of
• 2004 - Kiri - A Portrait
• 2005 - The Best of Kiri Te Kanawa (20th Century Masters - The Millennium Collection)
• 2006 - Kiri Sings Karl - Songs of Mystery & Enchantment (with Karl Jenkins) – arranged and conducted by Karl Jenkins

References[link]

Notes

Sources

• Encyclopædia Britannica Online, "Dame Kiri Te Kanawa" Accessed 7 July 2008
• Fingleton, David (1982). Kiri Te Kanawa: A Biography. Collins. ISBN 0-00-216365-9. 
• Gilbert, Susie; and Jay Shir (2003). A Tale of Four Houses: Opera at Covent Garden, La Scala, Vienna and the Met since 1945. London: HarperCollins. ISBN 0-00-255820-3. 
• Jenkins, Garry; and Stephen d'Antal (1998). Kiri: Her Unsung Story. London: HarperCollins. ISBN 0-00-255942-0. 
• Lebrecht, Norman (2000). Covent Garden: The Untold Story: Dispatches from the English Culture War, 1945-2000. London: Simon & Schuster. ISBN 0-684-85143-1. 
• Scott, Eleanor (1976). The First Twenty Years of the Santa Fe Opera. Santa Fe, New Mexico: Sunstone Press. 

External links[link]

• Kiri Te Kanawa Discogs discography
• Kiri Te Kanawa operadis opera discography recordings
• Kiri Te Kanawa Michael Storrs Music management
• "Kiri Te Kanawa: IMG Artists". http://www.imgartists.com/?page=artist&id=369. 
• "Kiri Te Kanawa: Famous New Zealanders". Christchurch City library. http://library.christchurch.org.nz/Childrens/FamousNewZealanders/Kiri.asp. 
• Kiri Te Kanawa at the Internet Movie Database
• Kiri Te Kanawa Foundation NZ based charitable trust

For the New Zealand opera singer, see Kiri Te Kanawa

There are at least four different people called Te Kanawa.

Te Kanawa, ancestor of Ngāti Te Kanawa[link]

One is the ancestor of the Ngāti Te Kanawa iwi of the Tainui confederation of iwi. He was born before 1700 and lived in Hangatiki.

Te Kanawa of Ngāti Maniapoto[link]

Another was a chief of the Ngāti Maniapoto, another Tainui iwi. He was alive in the early 19th century. Te Kanawa was a warlord of Maniapoto; he settled disputes with a taiaha within Tainui or outside Tainui. Some of these disputes were boundary disputes, hence the Ngāti Hari connection. The boundary line between Tu Wharetoa and Maniapoto and the marae Hia Kaitupeka by Taumarunui. He is represented by an amo on their carved meeting house.

Te Kanawa of Ngati Katoa[link]

Another was a chief of the Ngāti Katoa. He was killed in the campaign known as Putu-karekare (or Patu-karekare, or Te Karekaernga), which was fought at Kawhia in the time when Ngāti Katoa were the tangata whenua. This was before Te Rauparaha had left Kawhia around 1820.

Sources[link]

Angela Ballara: "Taua".

Pei Te Hurunui: "King Potatau"

Te Kanawa of Ngāti Mahuta and Ngāti Naho[link]

Another was a chief of the Ngāti Mahuta and Ngāti Naho iwi, and was one of the principal chiefs of the Waikato Māori. He was a close confederate of Pōtatau Te Wherowhero, the first Māori King, and lived from c. 1770 to c. 1860. He was also known as Tuhoro Te Kanawa and was signatory to the treaty signing at Kawhia. He was one of the eight chiefs who sat with Pōtatau at Haurua Pā, which stood where the Waitomo golf links are now.

His mother was Te Rahuruake (according to Pei Te Hurunui in his book King Potatau, p. 120) and his sister was Parekohu. He also had a daughter or niece, Te Rangiata.

Tuhoro Te Kanawa is the only descendant that has blood line links to Te Kanawa of Ngāti Te Kanawa. Tuhoro Te Kanawa was one of the paramount chiefs of Ngāti Maniapoto confederation and Ngāti Kinohaku.

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