Statement on the Death of Luciano Pavarotti September 6, 2007

Total Page:16

File Type:pdf, Size:1020Kb

Statement on the Death of Luciano Pavarotti September 6, 2007 1182 Sept. 6 / Administration of George W. Bush, 2007 eliminate the death tax, believing that leader- During these holy days, men and women are ship on these issues would foster growth and called to reflect on their faith and to honor prosperity for small businesses and commu- the blessings of creation. nities. As a member of the House Republican The enduring traditions of Rosh Hashanah leadership, Jennifer used her position to help remind us of the deep values of faith and strengthen women’s rights and protect chil- family that strengthen our Nation and help dren. guide us each day. As Jewish people around After leaving Congress, Jennifer continued the world come together to celebrate Rosh to be a strong advocate of commonsense con- Hashanah, it is a chance to look to the new servative values. year with hope and faith. Jennifer was most proud of her family. Our Laura and I send our best wishes for a thoughts and prayers are with Keith, Bryant, blessed Rosh Hashanah and shanah tovah. Reagan, and Angus. George W. Bush NOTE: An original was not available for Statement on the Death of verification of the content of this message. Luciano Pavarotti September 6, 2007 Remarks at the Asia-Pacific Luciano Pavarotti was one of the most ac- Economic Cooperation Business complished and acclaimed opera singers of Summit in Sydney all time. From singing with his father in a September 7, 2007 small church choir near Modena, Italy, to performing in sold-out stadiums in America Good morning—or should I say g’day. and all across the world, Pavarotti enter- [Laughter] Mr. Prime Minister, thank you tained audiences with his perfect pitch and for your introduction. Thank you for being charismatic interpretations. Both as a soloist such a fine host for the OPEC summit. I and as part of the Three Tenors, he sold mil- appreciate—APEC summit. [Laughter] He lions of records and won many prestigious invited me to the OPEC summit next year— awards. [laughter]—the APEC summit. I appreciate Pavarotti was also a great humanitarian, your friendship. I appreciate your leadership. using his magnificent talent to rally tremen- They refer to the Prime Minister around dous levels of support for victims of tragedies here as a battler. I know why. He’s coura- around the globe. His international vocal geous; he’s wise; he’s determined. America competition in Philadelphia and his school could ask for no better friend and more in Modena have encouraged and inspired steadfast ally than Prime Minister John How- generations of young artists to pursue their ard. dreams. I appreciate being back here in Australia, Laura and I join Luciano Pavarotti’s fans and I thank the people of Sydney for their across the world in mourning his loss. Our gracious hospitality. The Prime Minister kept thoughts and prayers are with the Pavarotti bragging about how beautiful Sydney is, and family. he’s right. It’s really a beautiful city, Mr. Prime Minister. Yesterday I had the privilege of visiting the Message on the Observance of Rosh Australian National Maritime Museum, Hashanah, 5768 which houses the bell from a great American September 6, 2007 naval vessel called the USS Canberra. This is the only American ship ever commissioned I send greetings to those around the world in tribute to an ally’s warship lost in battle. celebrating Rosh Hashanah. It was named by President Franklin Roo- The sound of the Shofar heralds the begin- sevelt to honor the men who gave their lives ning of a new year and a time of remem- aboard the Australian ship Canberra, which brance and renewal for the Jewish people. was lost during the Second World War. The VerDate Aug 31 2005 12:29 Sep 11, 2007 Jkt 211250 PO 00000 Frm 00020 Fmt 1244 Sfmt 1244 E:\PRESDOCS\P36SET4.007 P36SET4 ebenthall on PRODPC61 with PRESDOCST.
Recommended publications
  • Verdi Week on Operavore Program Details
    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
    [Show full text]
  • About the Exhibition Tenorissimo! Plácido Domingo in Vienna
    Tenorissimo! Plácido Domingo in Vienna May 17th, 2017 - January 8th, 2018 Lobkowitzplatz 2, 1010 Wien [email protected] T +43 1 525 24 5315 About the exhibition An unmistakable dark timbre, highly dramatic expressiveness, an impressive, vast repertoire – all this enraptures the fans of the Spanish crowd-pleaser with waves of enthusiasm. The Theatermuseum celebrates Plácido Domingo on the anniversary of his stage debut: He has been singing at the Vienna State Opera for 50 years. When the Tenor, then still considered as insider tip, made his debut at the State Opera in the title role of Verdi‘s Don Carlo, not only he took stage and cast in storm, but also the hearts of the Viennese audience – a true love relationship, unbroken till today. This performance contributed to an unparalleled career, taking him to the world‘s leading opera houses. Vienna has always been a very special “home port“ for the opera star. Here he performed 30 different roles in 300 shows and was awarded the title Austrian Kammersänger. The exhibition at the Theatermuseum documents the most important appearances of the “Tenorissimo“ in Vienna with original costumes and props, photographs and memorabilia, video and audio samples. The presentation portrays him also as baritone, the role fach on which he concentrated almost exclusively in the past 10 years, and refers to his activities as conductor, taking him regularly to the orchestra pit of the Vienna State Opera since the end of the 1970s. Without hesitation Plácido Domingo can be described as one of the most versatile, curious and longest serving representative of his musical genre.
    [Show full text]
  • A Culture of Recording: Christopher Raeburn and the Decca Record Company
    A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon.
    [Show full text]
  • CONDUCTOR Rico Saccani
    如 • 歌 • 文 • 化 Ruge Artists Management 扫描关注微信订阅号 CONDUCTOR Rico Saccani ARTISTIC ACHIEVEMENTS Rico Saccani is the most recently served as Music Director/Artistic Adviser of the Budapest Philharmonic Orchestra and was principal guest conductor of the Hungarian State Opera. He won top prize in the Herbert von Karajan International Conducting Competition in Berlin. He was immediately engaged to perform with the Berlin and Stuttgart Radio Orchestras, the Royal Danish Philharmonic and the Spoleto Festival. His opera debut came in 1985 in Verdi’s Un Giorno di Regno at the Teatro Filarmonico di Verona. La Traviata at the Paris Opera and the Vienna State Opera, Il Turco in Italia at the Rossini Festival in Pesaro plus La Bohème at the Philadelphia Opera with Luciano Pavarotti for the PBS American television network immediately followed. PERFORMANCES He has returned on numerous occasions as a guest conductor with the most important symphony orchestras around the globe, such as Bavarian Radio Orchestra, Czech Philharmonic Orchestra, Cologne Gurzenisch Symphony and Opera Orchestras, Houston Symphony, Oslo Philharmonic, Royal Philharmonic of Denmark, Tokyo Philharmonic, Yomiuri Symphony Orchestra. He has also worked with many of the world’s greatest solo artists, such as Alicia De Larrocha, Stephen Isserlis, Denis Matsouev, Sabine Meyer, Kun Woo Paik, Dimitri Sitkovetsky, Maxim Vengerov, Julian Lloyd-Weber, Pinchas Zuckerman, etc, as well renowned Beaux Arts Trio. Maestro Saccani has also appeared at the Hamburg State Opera, the Lyon Opera, the Monte-carlo Opera, the Arena de Nimes Festival, the Paris Opera Comique, Rome, Dresden and Cologne Operas. He made his Metropolitan Opera debut in Il Trovatore and re- engaged for the first international radio broadcast of Traviata and Aida.
    [Show full text]
  • The Blake Collection in Memory of Nancy M
    The Blake Collection In Memory of Nancy M. Blake BELLINI’S NORMA featuring CECILIA BARTOLI This tragic opera is set in Roman-occupied, first-century Gaul, features a title character, who although a Druid priestess, is in many ways a modern woman. Norma has secretly taken the Roman proconsul Pollione as her lover and had two children with him. Political and personal crises arise when the locals turn against the occupiers and Pollione turns to a new paramour. Norma “is a role with emotions ranging from haughty and demanding, to desperately passionate, to vengeful and defiant. And the singer must convey all of this while confronting some of the most vocally challenging music ever composed. And if that weren't intimidating enough for any singer, Norma and its composer have become almost synonymous with the specific and notoriously torturous style of opera known as bel canto — literally, ‘beautiful singing’” (“Love Among the Druids: Bellini's Norma,” NPR World of Opera, May 16, 2008). And Bartoli, one of the greatest living opera divas, is up to the challenges the role brings. (New York Public Radio’s WQXR’s “OperaVore” declared that “Bartoli is Fierce and Mercurial in Bellini's Norma,” Marion Lignana Rosenberg, June 09, 2013.) If you’re already a fan of this opera, you’ve no doubt heard a recording spotlighting the great soprano Maria Callas (and we have such a recording, too), but as the notes with the Bartoli recording point out, “The role of Norma was written for Giuditta Pasta, who sang what today’s listeners would consider to be mezzo-soprano roles,” making Bartoli more appropriate than Callas as Norma.
    [Show full text]
  • Enrico Caruso
    NI 7924/25 Also Available on Prima Voce ENRICO CARUSO Opera Volume 3 NI 7803 Caruso in Opera Volume One NI 7866 Caruso in Opera Volume Two NI 7834 Caruso in Ensemble NI 7900 Caruso – The Early Years : Recordings from 1902-1909 NI 7809 Caruso in Song Volume One NI 7884 Caruso in Song Volume Two NI 7926/7 Caruso in Song Volume Three 12 NI 7924/25 NI 7924/25 Enrico Caruso 1873 - 1921 • Opera Volume 3 and pitch alters (typically it rises) by as much as a semitone during the performance if played at a single speed. The total effect of adjusting for all these variables is revealing: it questions the accepted wisdom that Caruso’s voice at the time of his DISC ONE early recordings was very much lighter than subsequently. Certainly the older and 1 CAVALLERIA RUSTICANA, Mascagni - O Lola ch’ai di latti la cammisa 2.50 more artistically assured he became, the tone became even more massive, and Rec: 28 December 1910 Matrix: B-9745-1 Victor Cat: 87072 likewise the high A naturals and high B flats also became even more monumental in Francis J. Lapitino, harp their intensity. But it now appears, from this evidence, that the baritone timbre was 2 LA GIOCONDA, Ponchielli - Cielo e mar 2.57 always present. That it has been missed is simply the result of playing the early discs Rec: 14 March 1910 Matrix: C-8718-1 Victor Cat: 88246 at speeds that are consistently too fast. 3 CARMEN, Bizet - La fleur que tu m’avais jetée (sung in Italian) 3.53 Rec: 7 November 1909 Matrix: C-8349-1 Victor Cat: 88209 Of Caruso’s own opinion on singing and the effort required we know from a 4 STABAT MATER, Rossini - Cujus animam 4.47 published interview that he believed it should be every singers aim to ensure ‘that in Rec: 15 December 1913 Matrix: C-14200-1 Victor Cat: 88460 spite of the creation of a tone that possesses dramatic tension, any effort should be directed in 5 PETITE MESSE SOLENNELLE, Rossini - Crucifixus 3.18 making the actual sound seem effortless’.
    [Show full text]
  • Luciano Pavarotti 1 PHILLIP GEORGE
    21ST CENTURY MUSIC NOVEMBER 2007 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $84.00 per year; subscribers elsewhere should add $36.00 for postage. Single copies of the current volume and back issues are $10.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2007 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Typescripts should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors with access to IBM compatible word-processing systems are encouraged to submit a floppy disk, or e-mail, in addition to hard copy.
    [Show full text]
  • Itunes Store and Spotify Recordings
    iTunes Store and Spotify Recordings Bach Musique Baroque a la Cour Royale, track 18, Brandenburg Concerto No. 2 in F Major, BWV 1047: III. Allegro Assai (Wolfgang Bauer Consort, K&K Verlagsanstalt, 2011). iTunes: https://music.apple.com/us/album/brandenburg-concerto-no-2-in-f-major-bwv- 1047-iii-allegro/447106718?i=447107158 Spotify: https://open.spotify.com/track/4QMATTkod4tud0vNYoCANt?si=eRIlE2KcQX6AxDwtW- Qq1Q Beethoven Favorites from the Classics, Vol. 5: Beethoven’s Greatest Hits, track 3, Turkish March (From “The Ruins of Athens”) (Charles Gerhardt, National Philharmonic Orchestra, The Reader’s Digest Association, Inc., 2005). iTunes: https://music.apple.com/us/album/turkish-march-from-the-ruins-of- athens/75846662?i=75846543 Spotify: https://open.spotify.com/track/7qS7tnK86qiabeORPZ2qAy?si=oC0S1SEBTzGvMidbLG2I ng Chaminade Bernstein: Chaminade: Piano Music, track 15, 6 Romances sans paroles, Op. 76, 1. Souvenance (Mark Viner, Brilliant Classics, 2018). iTunes: https://music.apple.com/us/album/6-romances-sans-paroles-op-76-i- souvenance/1438094819?i=1438095092 Spotify: https://open.spotify.com/track/4k499jK6NeGqwXckmYbZ0H?si=m- WHnckPS8SqqzPE2OWOMQ Falla Guitar Duet Recital: Rost, Monica – Rost, Jurgen – Sor, F – Granados, E. – Albeni, I. – Moreno Torroba, F. – Tarrega, F. – Ruizz-Pipo, A., track 15, La ida breve: Danza Espanola No. 1 (arr. for 2 guitars) (Monika Rost & Jurgen Rost, Capriccio, 1989). iTunes: https://music.apple.com/us/album/la-vida-breve-danza-espanola-no-1-arr-for- 2-guitars/401010055?i=401010183 Spotify: https://open.spotify.com/track/6edhckDUfAjGt9iSv7nqxd?si=_OoJMcLxQR2pQdUIM9G WlA 1 Handel Handel: Messiah, disc 2, track 9, 42. Chorus” “Hallelujah” (Sir Georg Solti, Chicago Symphony Orchestra, Chicago Symphony Chorus & Margaret Hillis, Decca Music Group Limited, 1985).
    [Show full text]
  • Salisbury Symphony Orchestra Children's Concert
    SALISBURY SYMPHONY ORCHESTRA CHILDREN’S CONCERT FEATURING REALLY INVENTIVE STUFF DR. JEFFREY SCHOYEN, ARTISTIC DIRECTOR Saturday, March 11, 2017 Holloway Hall Auditorium 3 p.m. SPONSORED BY: , INC. All SSO concerts are made possible, in part, by a grant from the Salisbury Wicomico Arts Council, awarded by the Maryland State Arts Council and the National Endowment for the Arts. SU is an Equal Opportunity/AA/Title IX university and provides reasonable accommodation given sufficient notice to the University office or staff sponsoring the event or program. 27588 PEMBERTON DRIVE SALISBURY, MARYLAND 21801 T 800.772.1118 F 410.546.4977 1 Granger & Company, PA CERTIFIED PUBLIC ACCOUNTANTS 101 WILLIAMSPORT CIRCLE SALISBURY, MARYLAND 21804 T 410.749.5350 F 410.749.9442 [email protected] 2 3 ABOUT THE ARTISTS Michael Boudewyns, actor Sara Valentine, designer and director Michael Boudewyns and Sara Valentine are members of Really Inventive Stuff, and are super excited to make their Salisbury Symphony Orchestra debut. Heralded for their simple and creative style, Really Inventive Stuff combines the traditions of vaudeville and classic theatre with a generous sprinkling of spunk and derring-do to create delightful performances for all ages. Founded in 2004, Really Inventive Stuff has performed family concerts with orchestras internationally (Singapore), in Canada (Winnipeg, Victoria) and around the United States including, the National Symphony, Philadelphia, Utah, Saint Louis, Indian;apolis, Milwaukee, Seattle, Detroit, Kansas City, Charlotte, Rochester, Richmond, Texarkana, Hartford, Portland, Des Moines, Harrisburg, New Haven, Delaware, Princeton, Annapolis, Lincoln, Richardson, Illinois, Annapolis, Kennett, Newark, Symphony in C, the Symphony of Southeast Texas and the Westchester Philharmonic.
    [Show full text]
  • Underground Railroad: a Spiritual Journey View in Browser
    Kathleen Battle – Underground Railroad: A Spiritual Journey View in browser 50 E Congress Pkwy Lily Oberman Chicago, IL 312.341.2331 (office) | 973.699.5312 (cell) AuditoriumTheatre.org [email protected] Release date: August 15, 2017 LEGENDARY SOPRANO KATHLEEN BATTLE MAKES HER AUDITORIUM THEATRE DEBUT WITH UNDERGROUND RAILROAD: A SPIRITUAL JOURNEY The Five-Time Grammy Winner Performs Spirituals with Top Chicago Choral and Gospel Singers Kathleen Battle – Underground Railroad: A Spiritual Journey | September 30, 2017 Legendary soprano Kathleen Battle makes her debut at the Auditorium Theatre of Roosevelt University, the Theatre for the People, on Saturday, September 30, with the program Underground Railroad: A Spiritual Journey. The five-time Grammy award winner and opera star breathes new life into this program of spirituals inspired by the Underground Railroad, the secret network that helped bring 19th-century slaves to freedom. Battle will be backed by a hand-picked group of top Chicago choir singers, led by Jonita Lattimore, an adjunct professor of voice at Roosevelt University's Chicago College of the Performing Arts. “Kathleen Battle is one of the most legendary opera singers of all time,” says Tania Castroverde Moskalenko, Auditorium Theatre CEO. “To have her perform this inspirational program at our historic theatre, accompanied by the most talented Chicago voices, will be a very special occasion.” The program includes songs like "Swing Low, Sweet Chariot" and "Wade in the Water," as well as "I Been 'Buked" and "Lord, How Come Me Here." Battle performed a similar program when she made her triumphant return to the Metropolitan Opera in the fall of 2016 to rave reviews.
    [Show full text]
  • Decca Discography
    DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982.
    [Show full text]
  • An Aural Analysis of Bel Canto
    An aural analysis of bel canto: Traditions and interpretations as preserved through selected sound recordings Airlie Jane Kirkham Thesis submitted in fulfillment of the requirements for the degree of Master of Music Elder Conservatorium of Music Faculty of Humanities and Social Sciences The University of Adelaide May 2010 You created this PDF from an application that is not licensed to print to novaPDF printer (http://www.novapdf.com) 7 BIBLIOGRAPHY ABC. F M.Radio."History of Music part 2 – Bel Canto", in Sunday Afternoon Concert, 27 August 2006, 2.00-3.00p.m. Adams, Brian. La Stupenda: a Biography of Joan Sutherland. Australia: Hutchinson, 1980. Ashbrook, William. Donizetti. London: Cassell, 1965. Attaro, Monica. Interview. “Joan Sutherland.” ABC Sunday Profile, 27 March 2005. ABC radio. (18 March 2007). Braddon, Russell. Joan Sutherland. Sydney: Collins, 1962. Caruso, Enrico jr. and Andreas Farkas. Enrico Caruso. My Father and My Family. Oregon: Amadeus Press, 1990. Celletti, Rodolfo. A History of Bel Canto. Oxford: Clarendon Press, 1991. Chorley, Henry Fothergill. Thirty Years of Musical Recollections. London: Hurst and Blackett, 1862. Republished Brookfield VT USA: Ashgate, 1998. Crofton, Ian. ed. Concise Dictionary of Music. Great Britain: Collins, 1986, third edition. Crutchfield, Will. “The Bel Canto Connection.” Opera News. 62.1(1997): 30-36. Duey, Philip A. Bel Canto in its golden age: a study of its teaching concepts. New York: King’s Crown Press, 1951. Fucito, Salvatore and Barnet J. Beyer. Caruso and the Art of Singing. London: T. Fisher Unwin, 1922. Garcia, Manuel II. Hints on Singing. Trans. from the French. Beata Garcia. London: Ascherberg, Hopwood and Crew, 1894.
    [Show full text]