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/home/wordsd/public_html/ssc-core/libraries/dbsimple/Mysql.php:71 Steane Definition. Crossword Dictionary.



steane's examples

  • Steane Community Information Portal - Local & Online Information Portal for Weather, Jobs, Schools, Shops, Services, Advertising, Business, News, Events, Groups, Sports, Transport, Attractions, Traffic News, Hotels, Holiday and B&B Accommodation. — “Steane Community Information Portal - Instant Local & Global”,
  • D. M. STEANE. Fun: This review is from: Skate 2 (PS3) (Video Game) Skate was a reaction to sequels, a youthful breath of uncluttered thinking in the face of the incremental gimmickry that sent Tony Hawk tottering into stodgy middle age. That puts Skate 2 in an awkward position from the start. — “: D. M. STEANE's review of Skate 2 (PS3)”,
  • A handy guide to the singing voice and famous singers In his book, Voices, Singers and Critics (Duckworth 1992), the eminent writer on singing, John Steane, set out a detailed plan of the various voice types - the lists given in here are based on John Steane's plan. — “BBC - Cardiff Singer of the World 2005 - Guide to the singing”,
  • : Singers of the Century, Volume 2 (9781574670400): Steane J. B.: Books John Steane's experience and knowledge of singers is truly phenomenal, and he has an uncanny ability to convey a singer's special qualities through the printed page. — “: Singers of the Century, Volume 2 (9781574670400”,
  • Welcome to the official website of the Steane-Martin Family. "Steane-Mart" as we call it, is made up of descendants of Carl Makangai Steane and Samuel Luma Martin by birth and marriage. — “SteaneMart - Home”,
  • Rob Steane. Councillor for Wyreena - Maroondah City Council Copyright © 2010 Rob Steane - Councillor for Wyreena All Rights Reserved. Authorised by. — “Rob Steane - Councillor for Wyreena " Home”,
  • Steane Roller. Earlier, I promised some discussion of Andrew Steane s new paper: Context, spactime loops, and the interpretation of quantum mechanics. Steane's problem therefore reduces to picking a basis and a spacetime location. — “Steane Roller " Quantum Quandaries”,
  • Company: via Caroline Steane Associates, MrWeb ref 0905. Description: Leading below the line and marketing communications agency is looking to expand their established planning team. Company: via Caroline Steane Associates, MrWeb ref 0914. Description: As well as having a. — “MrWeb - Caroline Steane vacancies”,
  • View Paul Steane's (United Kingdom) professional profile on LinkedIn. LinkedIn is the world's largest business network, helping professionals like Paul Steane discover inside connections to recommended job candidates, industry experts, and. — “Paul Steane - United Kingdom | LinkedIn”,
  • For the service, repair and installation of all types of vending equipment including traditional and fully automatic machines. Steane Vending Services is a small local business, covering the Midlands area, committed to the repair of most types of coffee, snack, can or food machine and providing. — “Steane Vending Services - Home”,
  • Andrew Martin Steane is Professor of physics at the University of Oxford. "Quantum Computing" Reports on Progress in Physics 61: 117-173. Steane, A.M. (1998). — “Andrew Steane - Wikipedia, the free encyclopedia”,
  • An interactive web-based Biology resource including teaching/learning notes for GCSE ans AS/A level Biology (Key Stage 3 4 & 5 of the UK National Curriculum) Site author Richard Steane. The BioTopics website gives access to interactive resource material, developed to support the learning. — “BioTopics Website - Main Index Front Page”,
  • Professor Peter Steane B.Theol(UniMelb) GradDipEd(ACU) MEd(UNE) PhD(Griffith) PLEASE NOTE: Peter Steane was Professor of Management in the Graduate College of Management but is no longer employed at Southern Cross University. Peter's Personal. — “Peter Steane | Southern Cross University”,
  • Steane, Northamptonshire Tourist Information, including nearby Attractions and things to do, other Towns near Steane, nearby Hotels, Bed and Breakfasts and Holiday Cottages too. — “Steane, Northamptonshire Tourist Information on ”,
  • Find the meaning and origin of the Steane surname / last name in this family name dictionary. Family History Ideas. — “Steane Surname Origin & Last Name Meaning with Genealogy”,
  • Houses for Sale in Steane, Brackley from estate agents ranked by price or recency of the listing in Steane. — “Steane, Brackley Houses for Sale”,
  • Mr. Steane, who received his tuition in electricity of the day while he was a pupil of Doctor Berbeck's school in City Road, London, England, in 1850, made a keen study in electricity, following up with numerous investigations and experiments. — “GR Steane”,
  • Paul Steane's Home Page I have compiled some reports of my own overseas visits for your interest and information, and have also included some of my large collection of. — “Paul Steane's Home Page”,
  • Penguin Books, Harmondsworth, paperback reprint , 1973. Very Good paperback Complete Plays ed. J.B.Steane. by Marlowe, Christopher. Book Description. Penguin Books, Harmondsworth, paperback reprint, 1973. Very Good paperback. reprint : Any printing of a book which follows the original. — “Complete Plays Ed. J.B.Steane By Christopher Marlowe - Used”,
  • J.B. Steane: Books Elisabeth Schwarzkopf: A Career on Record by Alan Sanders and J.B. Steane (Hardcover - Oct 5 1995) 2 used from CDN$ 12.99. 10. Singers of the Century by J B Steane (Hardcover - Oct 22 1998). — “ J.B. Steane: Books”,

related images for steane

  • Baron Steane Stuart Morris Baron Steane kicked off the Stuart Morris Double with a patient well timed race ride to account for the restricted race rivals Mens Open Arnold Layne Dickie Barrett Arnold Layne follows up his Horseheath success with a smooth performance on better ground to land the open for Gerald
  • stl jpg 05 May 2009 16 27 29K steane jpg 10 Apr 2008 19 02 62K sly tippler jpg 09 Apr 2009 14 57 137K shows gif 01 Feb 2008 14 12 6 1K
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  • ETAPE 2 KRAGERÖ STEANE Loyne camping Dimanche 20 Juillet 2008
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  • WINDMILLS IN BUCKINGHAMSHIRE AND OXFORDSHIRE 1st ed 1976 Nr F C w A Contemporary Survey Large format Yellow pictorial card wraps B w photos B w maps Published by Stevenage Museum Click here for photo 586069 Steane John 5 00 GB pounds OXFORDSHIRE 1996 VG C w Pictorial card wraps B w photos Published by Pimlico
  • wienen drok dwaande mei moaie plaatsjes foar it nije nûmer fan Breteler en Syb van der Ploeg In moai gesicht wie it Hjir steane de hynders mei de beriders te wachtsjen op it startteken
  • White water lilies Telemark
  • Please identify this location Location was Smethwick Galton Bridge Correctly identified by Mark Grainger Paul Steane and Colin Davenport
  • bekend oer de hiele wrâd Ek op e merk oan it Gritsân is dy bân nog te fernimmen de kreamkes steane opsteld bylâns de grêft dy t eartiids it wichtigste oanfierwetter fan e stêd wie Boppe alles wat er yn Snits te dwaan falt kipet de Snitswike der út Yn dy wikeis der oerdeis hurdsilerij op e mar en jûns yn e stêd merke en feest
  • Amelia Steane aged 10 sent this picture
  • Comment Mercedes is already busily working away on an all new version of the 300SL in the form of the SLS AMG Gullwing so what s this one all about then
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  • right Glenn Barr Derek Shafer Jo Tyler Cole Jez Steane Sherrie Hulse Lynne Robb Julia Blakeway Hilary Harison Sarah Fisher Adam Sturman Hannah Simmonds Debbie McClurg Prefects 2009
  • Dr Joanne E Steane
  • 1
  • fit screen width | full size NAA A2430 1934 POL 1 p 119
  • Michael Townsend Dave Lodge Hannah Logan and Helen Steane
  • Front row Matthew McDonnell J P Stacey The 1998 Group From left to right Paul Barton Charles Donald Andrew Steane David Stevens David Lucas
  • in February of 1944 Margaret was a year aboard the vessel before signing on the M S Roseville for almost six months leaving in November of 1945 1944 May Maude Elizabeth Steane S S Viggo Hans*** Image Maude was the only fatality of the young women who served during the war years She was 28 when she signed on the Viggo Hans*** and had made only the one trip to
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  • is waard ferhege Menno kaam hjir yn 1524 as fikaris Yn de tsjerke steane twa oarspronklike banken út 1459 6 Yn de begjin perioade fan de dopers yn Nederlân binne in protte oanhingers om harren geloof ferfolge en deamakke Se kamen yn it geheim byinoar op efterôfplakken midden yn e greiden en soms yn in boat Ut dy earste tiid fan de dopers binne fansels gjin tsjerken
  • 15 12 Tjitte Jelle en Wytske Wij binne mei Sjoerd en Jan bij Almere 15 13 Sjoerd en Jan Freonen en freondinnen wij steane earne bij Almere Tjitte Jelle en Wytske ek 15 30 Jan en Sjoerd Wij hebben een lift richting Breda Gaat mooi
  • Restricted Baron Steane Stuart Morris Baron Steane kicked off the Stuart Morris Double with a patient well timed race ride to account for the restricted race rivals Mens Open Arnold Layne Dickie Barrett Arnold Layne follows up his Horseheath success with a smooth performance on better ground to land the open
  • oan de Boarn dan sil dat in greate oanwinst wêze foar ús doarp Op it Internet steane prachtige foto s fan it âlde fabryk sa as it d er rûn 1910 bystie Hjir ûnder kin jo se besjen
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  • Fortunately 1 and a half miles on the flat agreed with him and promising Dettori alike Tim Lane who made every yard to score And the jumping didn t look all bad either Restricted Baron Steane Stuart Morris Baron Steane kicked off the Stuart Morris Double with a patient well timed race ride to account for the restricted race rivals
  • Michael Townsend Dave Lodge Hannah Logan and Helen Steane
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  • Neal is fishing with Mr Howard Malcolm at a Bruny Island Camp Supper was great that night Goulburn Street photos of swimming carnivals football and class activities 1976 Awarding P F Life Membership at Goulburn Street Dorothy Steane Tasmanian Rhodes Scholar as student at Goulburn Street
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  • 10 00 GB pounds INNS AND ALE HOUSES OF ABINGDON 1550 1978 1st ed 1978 VG+ C w Red pictorial card wraps B w photos Corner clipped from front endpaper Published by J Smith J Carter Click here for photo 586069 Steane John 5 00 GB pounds OXFORDSHIRE 1996 VG C w Pictorial card wraps B w photos Published by Pimlico
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  • de Boarn dan sil dat in greate oanwinst wêze foar ús doarp Op it Internet steane prachtige foto s fan it âlde fabryk sa as it d er rûn 1910 bystie Hjir ûnder kin jo se besjen
  • business awards I have previously also been involved at Maroondah HomeBiz where I was on the Committee for a period of time My wife Linda Han*** is still in the Police Force a veteran of over 25 years Until recently she was Maroondah s Police Crime Prevention Officer Together we share a full
  • ETAPE 3 STEANE KOSVEIT Lundi 21 Juillet 2008
  • Steane s shot had beaten Chitty on his near post Sub Steve Abbott had two efforts deep into added time while the two Matts Lock and Townley worked tirelessly down the right flank Afterwards TeamBath manager Ged Roddy said The lads are devastated and they feel as though they ve let themselves down a bit but we re a young side and we got to deal with it as an
  • Enthusiast s Guide to Travelling the Railways of Europe BRATISLAVA Route Diagram and historical notes Key

related videos for steane

  • Part II - Your Favorites: FRANCO CORELLI THIS PART IS FOR YOUR FAVORITES! Please discuss this artist with your comments! Franco Corelli, Tenor (1921-2003) Umberto Giordano - Andrea Chenier Colpito qui m´avete... Un di all´azzuro spazio (Improviso) Conducted by Gabriele Santini (Recorded 1963) My personal opinion: On an old record-sleeve I found reviewer´s words about Franco Corelli: "Maybe his directness in his renditions scared some friends of pure Belcanto!" "Directness" is a hilarious understatement for one of the loudest tenor voices the world ever knew! In "Opera on Record", John Higgins wrote, that the 1964-recording of "Il Trovatore" was made with an unbalanced cast, personalized with Franco Corelli, who mixed brilliant high notes with strange sounds, and it would have been better, these sounds never had pass by the studio´s door. And a famous mezzo-soprano answered the question, what she most remembers of her performances with Corelli: "He was loud!". Christa Ludwig, who recorded with Callas and Corelli "Norma" was asked about Callas, and she answered: "Callas was polite and cooperative, the diva was... Corelli!" For John Steane, Corelli was the most exciting tenor after Giacomo Lauri-Volpi. I agree, Corelli was exciting, but for me it was an absurd and grotesque excitement. Just as Mario del Monaco, Corelli was a master of "Forte" and "Fortissimo", without any intuition for the musical line. One will never find subtle nuances, shades of color and finesse in his recordings. The voice always sounded like ...
  • Elisabeth Grümmer, "Connais-tu le pays?", Thomas: Mignon (rec. 1953) The great German soprano Elisabeth Grümmer (1911-1986) in Mignon's romanza, "Connais-tu le pays?" (sung here in German as "Kennst du das Land") from Thomas' Mignon. English translation of the sung text is included in the on-screen annotations in the video. The recording was made in 1953 for German Electrola. This version is my personal favorite. Among all recordings of the piece, this recording as well as Ernestine Schumann-Heink's 1907 version are the ones that truly bring out the essence of the spirit in the original verses by Goethe in "Wilhelm Meisters Lehrjahre" ('Wilhelm Meister's Apprenticeship", 1795-1796), the novel on which the libretto of Mignon is based. Grümmer has an additional advantage in the sense that her youthful-sounding voice is virtually ideal for the character of Mignon, who is actually a ***ager in Goethe's original story. As one commentor on Youtube reminds us (please see 100Singers' posting of Grümmer), John Steane concludes his chapter on Grümmer in his book "Singers of the Century" most touchingly. Her husband; "her one love," was a violinist & "it was the sound of his violin, the daily practice of the legato, cantabile style, that most influenced her concept of the singer's art. It's said she never fully & inwardly recovered from his death in an air raid during WWII, and when she returned to singing after the war, it was perhaps more than anything else to preserve the memory & perpetuate the sound of that violin." The following biographical ...
  • John B. Steane: "In Memoriam" "By shallow rivers, to whose falls. Melodious birds sing madrigals." (Christopher Marlowe: The Passionate Shepherd to his Love) Well-known music critic of Gramophone magazine, John Steane, died (17 March, 2011). His understanding of the voice and singers was outstanding. I have included here John McCormack singing "Sängers Trost", Op. 127, No. 1, by Robert Schumann. Here is a press release issued upon his death: John Steane, or JBS as he was known to many generations of Gramophone readers, died yesterday: he was 83. One of the most respected writers on the voice in the English language, JBS started writing for Gramophone in 1972. His entry into Gramophone's pages was at the suggestion of the celebrated record producer, Walter Legge, a great admirer of JBS's judgement and ability to characterise individual singer's vocal qualities. Very soon JBS was contributing a quarterly second-opinion column, 'Quarterly Retrospect', subtitled the 'Gramophone and the Voice', where he would offer his beautifully judged, invariably generous and always elegantly crafted thoughts about the vocal art on disc. A mine of information and knowledge on singers of the 20th century, JBS was an inveterate member of the audience of thousands of opera performances and song recitals and there were few singers of the past 60 years that he hadn't heard in the flesh -- and his thoughts on the great vocalists were gathered together in his now-classic 1974 book The Grand Tradition: Seventy Years of Singing ...
  • RAINBOW KISS?! A quite sick ***ual *** involving blood. Nothing more said. Enjoy :D
  • Lunateers play Nelson Grad Variety Show The Nelson High School Grad Variety Show, May 10th, 2007. The Lunateers closed the show with "The Final Countdown" after singing a little piece for us. Apologies for the break in video near the end, my memory card was full and I had to make a quick adjustment to catch the end of the song. Have to say, I definitely love when these guys sing! Alto Sax: Dan Leece Tenor Sax: Graeme Sylvia Baritone Sax: Rob Wagner Trumpet: Connor Kingston Trombone: Tyler Norton Guitar: Joel Cassady Guitar: Andrew Lynes Bass Guitar: Mike Deicont Drum Kit: Ben Craik Bongos/Tamborine/Cowbell: Derek Ketelaars Keyboard: Richard Steane
  • Maria Callas: A Documentary "The film [Bel Canto Society's Callas: A Documentary] shows the fascination of the woman and the artist, the interaction of the one with the other, and, in doing so, moves its audience with the strange mixture of glorious public achievement and deep personal unfulfilment....It's a film not to be missed, and the bonus footage sheds interesting light on its making, especially from John Ardoin, clearly one of its prime movers."--John Steane, Gramophone
  • Dave Steane - Following The Law MDPC Children's Message 6-13-10
  • Gigli, Berger, Traviata denunciation, from Ave Maria From the Bel Canto Society DVD (German Version) "The sight of Gigli singing impresses the memory: the mouth' opens cavernously and it is like the sudden exposure of the heart under surgery." --John Steane, reviewing this film in Opera Now Bel Canto Society's other titles star Bastianini, Barbieri, Bechi, Bergonzi, Bjoerling, Caballe, Callas, Caniglia, Cerquetti, Christoff, Cigna, Corelli, Corradi, Cossotto, Dal Monte, Del Monaco, Di Stefano, Eggerth, Filippeschi, Flagstad, Gencer, Gobbi, Kiepura, Lanza, Lauri-Volpi, Masini, Melchior, Peerce, Pinza, Olivero, Pons, Schipa, Schmidt, Siepi, Simionato, Stella, Stevens, Stignani, Supervia, Tagliavini, Tajo, Tauber, Tebaldi, Valletti, more.
  • Part II - Your Favorites: LISA DELLA CASA THIS PART IS FOR YOUR FAVORITES! Swiss soprano Lisa della Casa in this favorite-collection? Please give us your comment! Lisa della Casa, Soprano (born 1919) Richard Strauss - Arabella Und Du sollst mein Gebieter sein With George London, Baritone (1920-1985) Conductor: Georg Solti (Recorded 1957) My personal opinion: It´s not easy to estimate a singers assimilation with one single role. Was it a curse or a blessing for swiss born soprano Lisa della Casa to be Arabella, to be ONLY Arabella? No doubt, della Casa gave the standard for "Arabellissima": Cool elegance, coupled with the mystery of a sphinx. Not exactly it is a compliment to term Lisa della Casa "the ideal of a Strauss-singer". All heroines from this composer are psychograms of hidden defecits. "To sing Strauss, it doesn´t need a special technique. You need a special instrument with cutting intensity in the top register!", judged Lisa della Casa about her own efforts. Strauss and Mozart, the most important composers during her career. But Lisa della Casa was a different kind of a Mozart-singer, she wasn´t charming like Hilde Güden or soulful like Irmgard Seefried. Della Casa was a "Glamour-Soprano", singing with "Grandezza" and born to represent operatic-aristocrats (And she influenced her bosom buddy Anneliese Rothenberger). Steane: "Her voice has that touch of spring and silver, that Strauss loved and wrote for; her tone will float and soar. Her Elvira and Countess lack an element of command and dramatic ...
  • Nan Merriman sings "Chère Nuit" With the ever musical Gerald Moore at the piano, Nan Merriman sings this all too little known French treasure by Alfred Bachelet on a recording she made of French mélodies in 1954. The song is set to a poem by Eugene Adenis Colombeau. "Chère Nuit" (Beloved Night): "Soon the hour will be here. Behind the hills I see the sun that goes down and jealously hides her rays. I hear the souls of things singing, and the narcissus and the roses end me the sweetest perfumes. Beloved night of serene radiance, you who bring back my tender lover, ah, come down and veil the earth with your calm and charming mystery. My happiness is re-born under your wings, O night, more beautiful than any day: ah, arise and again make the dawn of my love shine forth. Beloved night! Ah, descend..." Link to my Nan Merriman playlist where you will find dozens of rare recordings and performances by this great artist: The famous music critic John B. Steane wrote a lengthy praise-filled review of Merriman's French songs and Spanish Songs recordings (both released in 1955). Here is just the opening: "A radiant creature, with a voice of summer, tender and passionate, reflective and zestful in turn, she has the delicacy and sensitivity for the French songs, the verve and flame for the Spanish, and the qualities, never inertly departmentalized, cross and interpenetrate in a wonderfully rich exercise of the complete vocal art." (from Gramophone magazine)
  • Fernando de Lucia, "Quando le sere al placido", Verdi, Luisa Miller (rec. 1908) Fernando de Lucia (1860-1925) in "Quando le sere al placido" from Verdi's Luisa Miller. The recording was made in May 1908. de Lucia was one of the most celebrated and widely admired Italian tenors before Caruso came to eminence (yet he lived long enough to sing at Caruso's funeral in 1921). His career straddled between the age of bel canto and the age of verismo. During his heyday, he was much sought after by composers such as Puccini, Mascagni and Giordano to create roles in their new operas. His singing epitomizes the 19th century style in which (in the words of John B. Steane) the singer took up the role of "the lord of creation" and maximized every opportunity given to him to "exploit his good or bad taste to the full." The liberties that de Lucia takes with the score may raise eyebrows, but all his recordings undoubtedly offer a fascinating glimpse into a way of singing that has long vanished into the pages of opera history. It's worth noting that he was the teacher of renowned French tenor Georges Thill.
  • Part III: Rare and unknown voices - TANCREDI PASERO Part III: Rare and unknown voices. Please open the bar to read more. Tancredi Pasero, Bass (1893-1983) Giuseppe Verdi DON CARLO Ella giammai m´amo (Recorded 1928) My personal opinion: Italian musicologist and critic Rodolfo Celletti (1917-2004) wrote, that Tancredi Pasero (1893-1983) was one of the three greatest basses of the 20th Century - alongside Ezio Pinza (1892-1957) and Nazzareno de Angelis (1881-1962), and the best King Philip on records (singing the great monolog for Fonotipia 1927, Columbia 1928 and Cetra 1936). Wikipedia termed his voice "noble" and John Steane stated: "His voice was made for royal figures". A fan admired "the unique beauty of his splendid bass" in his blog - an assessment I can´t share. Sorry to say this! I hear opulence and an impressive richness of tone, and so I agree with Steane. What I do not hear is a beautiful voice in a classical sense: The vibrato is too fast and full of fluttery intensity, the expression almost tearful. Some call it "great feeling", I call it lachrymose... But anyhow: The voice was sonorous and impressive by its eveness from the top to the bottom of the wide range. No wonder he added some baritone roles in later years (Escamillo). His repertory was similar to Pinza´s: Tancredi Pasero sang ao Oroveso in Bellinis NORMA, Raimondo in Donizettis LUCIA DI LAMMERMOOR, Verdi´s Miller, Ferrando, Fiesco, Sparafucile, Padre Guardino and Ramphis, and Alvise in LA GIOCONDA. He was BORIS, Basilio and Sarastro - and he also had ...
  • Part II - Your Favorites: LEONID SOBINOV THIS PART IS FOR YOUR FAVORITES! Lyric russian tenor Leonid Sobinov? What do you think about him? Please comment! Leonid Sobinov, Tenor (1872-1934) Alexander Gretchaninov - Dobrynya Nikitch Dobrynya´s Aria (Flowers were blooming) (Recorded 1910) My personal opinion: John Steane estimated, Leonid Sobinov possessed the best voice of all russian tenors in the Caruso-era (perhaps he overlooked Ivan Ershov), but Michael Scott blamed "the poverty of sound-colors". However, Sobinov´s voice was that of a typically russian tenor. When he gave his first performances as Harlekin in "Pagliacci", critics acclaimed the "extraordinary flexibility and elegance, combined with silvery timbré". Later, they praised his breathcontrol, his Legato and Cantabile. Such as many russian singers, Sobinov received his first musical experiences in a choir. He studied law and singing in Moscow with Dodonov and Alexandra Gorchakova, who helped him to reduce his strong and fast vibrato. She suggested that he attend an audition at the city's Bolshoi Theatre, and young Leonid obtained a contract. In 1897 he made his debut as Sinodal in Rubinstein´s "The demon" and his first aria demanded a dacapo. Not before 1899 he quit his profession as a lawyer. He enlarged his lyric operatic repertory (Faust, des Grieux, Lensky, Duke, Lohengrin, Walter, Alfredo - to name a few). He sang together with Feodor Chaliapin and worked with great russian actor Konstantin Stanislawsky. After a "Lohengrin"-Performance in 1909 ...
  • Fernando de Lucia, "Una furtiva lagrima", Donizetti, L'Elisir d'Amore (rec. 1917) Fernando de Lucia (1860-1925) in "Una furtiva lagrima" from Donizetti's L'Elisir d'Amore. The recording was made in June 1917. de Lucia was one of the most celebrated and widely admired Italian tenors before Caruso came to eminence (yet he lived long enough to sing at Caruso's funeral in 1921). His career straddled between the age of bel canto and the age of verismo. During his heyday, he was much sought after by composers such as Puccini, Mascagni and Giordano to create roles in their new operas. His singing epitomizes the 19th century style in which (in the words of John B. Steane) the singer took up the role of "the lord of creation" and maximized every opportunity given to him to "exploit his good or bad taste to the full." The liberties that de Lucia takes with the score may raise eyebrows, but all his recordings undoubtedly offer a fascinating glimpse into a way of singing that has long vanished into the pages of opera history. It's worth noting that he was the teacher of renowned French tenor Georges Thill.
  • A Silent Film - The Steane Session -Feather White Versão de piano da música Feather White- The Steane Session http
  • Adelina Patti, "Connais-tu le pays?", Thomas: Mignon (recorded in 1906) The great Adelina Patti (1843-1919), who gave her name to an era in the history of opera performing, here in Mignon's romanza, "Connais-tu le pays?" from Thomas' Mignon. The recording was made for G&T in June 1906. In his book "The Grand Tradition", John Steane singled out her recording of "Ah, non credea Mirarti" from Bellini's La Sonnambula and this recording (both made in the same month) for special mention. He commented that Patti's word coloring and wistful tenderness present "a genuine imaginativeness and involvement" and provide "a lesson in the valuable art of moulding a verse." It must be said that by the time of the advent of recording technology, Patti was already at the tail-end of an eventful career of more than 40 years and allowances have to be made where her vocal state is concerned. But what remains - her marvelous ability to bring imaginative and memorable touches to the music in hand through masterly phrasing and word-pointing - still inspires admiration.
  • Part II - Your Favorites: ETTORE BASTIANINI THIS PART IS FOR YOUR FAVORITES! Please discuss this artist with your comments! Ettore Bastianini, Baritone (1922-1967) Giuseppe Verdi - La Forza del Destino Invano Alvaro ti celasti al mondo With Mario del Monaco, Tenor (1915-1982) (Recorded 1955) My personal opinion: We have another fourth position, and accidentally all singers are Baritones: Titta Ruffo, Dietrich Fischer-Dieskau and Ettore Bastianini, whose international career until 1965 was cut short by his cancer disease. Two years later, Bastianini died only age 44. "In a career spanning little more than a dozen years, he came to typify the ideal Verdi baritone. His voice had a burnished, brazen quality that carried an inimitable thrill even if at times he lacked subtlety. His early training as a bass, before he shifted tessitura in 1952, seemed to give the lower reaches of his voice a stentorian heft that does not sound as if it could be comfortably carried up. Despite this he developed the most brilliant upper extension rising to a ringing top A flat. His diction was exemplary and he was handsome of physique; perhaps the only baritone who could properly measure up, physically and vocally, to Franco Corelli and Mario Del Monaco on stage." (Ralph Moore) Again John Steane, who wrote, that Ettore Bastianini was one of those singers, unable to sing a single syllable on more than one note without insert an aspiration. And furthermore, Steane claimed, that Bastianini never gave more than an ordinary rendition. But, what ...
  • Lynne Invades Oregon Lizzy's friend from Northern Ireland comes to Oregon for a vacation. Video memory.
  • Part II - Your Favorites: RAMON VINAY THIS PART IS FOR YOUR FAVORITES! Chilean singer Ramon Vinay among other favorites? Please comment! Ramon Vinay, Baritone and Tenor (1911, other sources 1912-1996) Giuseppe Verdi - Otello Niun mi tema s'anco armato mi vede (Recorded 1951) My personal opinion: What have Elena Nicolai, Renata Tebaldi and italian mezzo Gianna Pederzini in common? They all said, Ramon Vinay was a great personality, a great character, but his voice "anyway was shadowed". Ramon Vinay´s fame based on Otello. He began in 1931, after he was encouraged by his mother to learn to sing, as a baritone, singing in "La Favorita" in Mexico-City. When he appeared in 1943 at the New York City Opera as Don José, teacher René Maison had changed his voice into that of a tenor, but his timbré retained its baritonal color. One year later he initiated his major role, Otello again in Mexico-City - and some say, he was the best of all. Anyhow his Othello was choosen for his Metropolitan Opera debut in february 1946. About Vinays most famous recording, Otello with Toscanini, John Steane had reluctant words: "Genuine and powerful!", and that was all... Yes, for me Vinay (who also sang Tristan, Parsifal, Siegmund, Tannhäuser, Alfredo and Turiddu and - remarkable enough - after returning to baritone roles in 1962, Telramund, Jago (!) and Scarpia) was impressive, with the right vocal physiognomy for Otello (Del Monaco impersonated the caricature of an imitation). With Toscanini, Vinay gave more dramatic, more vehemence ...
  • Tenor Tino Pattiera & Soprano Meta Seinemeyer ~ Già nella notte densa (1928) Tenor Tino Pattiera (1890-1966) ~ Soprano Meta Seinemeyer (1895-1929) / Già nella notte densa / Otello (Verdi) / Recorded: November 5, 1928 -- John Steane, Opera on Record, vol. 1, p. 314: "In the 1920s at Dresden, evenings when Seinemeyer sang with Tino Pattiera were occasions looked forward to almost as eagerly as Melba-Caruso nights at Covent Garden." Visit Vicki Kondelik's superb website devoted to Meta Seinemeyer () ******************************
  • Bruce Steane: Evensong Bruce Steane is a little-known English composer who lived from 1866-1938. His "Evensong" is typical of romantic English organ music.
  • DpH: The Dyslexic PhD - Tutor's, Supervisor's, Peer's Perspective All of these individuals have provided enormous support during my PhD. This video shares their perspective on the approaches I have developed to overcome the challenges of dyslexia. This video is part of the series - 'DpH: The Dyslexic PhD'.
  • JB Steane comparing Callas to the rest JB Steane in Ian Burnside's BBC3 radio show Steane forgets to mention that Muzio had no trill!
  • Alma Gluck - Hippolyte & Aricie (Rameau): Rossignols Amoureux A request. Alma Gluck singing Rossignols Amoureux from Rameau's Hippolyte & Aricie for Victor in 1911. For those familiar only with her Carry Me Back to Old Virginny this should be a revelation. She was easy on the eyes too. The famous critic John Steane considers this her best record. An extraordinary vocal performance. Sorry about the sound. I rarely post using anything but 78's but I don't have this one had had to use an LP reissue.
  • Sound One SOUND ONE - Incredible, fun, passionate Ska band **************************** Band Members: Graeme Sylvia - Tenor Sax Andrew Racknor - Alto Sax Yvonne Moir - Baritone Sax Tyler Norton - Trombone Richard Steane - Keys Mike DeiCont - Bass Joel Cassady - Drums Steve Onotera - Guitar Sound One Myspace hanasvibe_ photography, poetry, music, life
  • Part II - Your Favorites: RICCARDO STRACCIARI THIS PART IS FOR YOUR FAVORITES! Let us know your thoughts about italian baritone Riccardo Stracciari! Riccardo Stracciari, Baritone (1875-1955) Giuseppe Verdi - Rigoletto Piangi fanciulla, piangi With Mercedes Capsir, Soprano (1895-1969) Conducted by Lorenzo Molajoli (Recorded 1928) My personal opinion: The redoubtably John Steane once wrote about italian baritone Riccardo Stracciari: "He made records to which one says at different times Fair, Good, Splendid, Excellent. But there is also the call of Great, and in my experience only one of the baritones provokes that. This is Pasquale Amato!" One opinion, that of a reviewer. Here is another: "While Ruffo could trump with the most unmatched baritone-voice I´ve ever heard, Stracciari was the first candidate for the most beautiful!" - so said Rosa Ponselle, who recorded with him the Trovatore-Duet "Mira, d´acerbe lagrime", a rendition sung with admirable drive. Stracciari, son of a sculptor, left many recordings, including two complete operas: Barbiere and Rigoletto (I took the duet with Mercedes Capsir from this), with little restrictions exemplary model-recordings. In most of his renditions the voice sounds quite free (up to As and G in Largo al factotum) with splendid coloratures. German critic Jürgen Kesting wrote, that as a Verdi-singer, Stracciari was in the first row. Wikipedia: "Stracciari sang in an era that was rich in outstanding operatic voices. But despite the high quality of the competition which he faced from ...
  • Steane Park Open Garden Day 13 sept 09 Created using Serif MoviePlus!
  • A Silent Film - The Steane Session - Sleeping Pills Versão de piano da música Sleeping Pills - The Steane Session http
  • Part II - Your Favorites: MIGUEL FLETA THIS PART IS FOR YOUR FAVORITES! Please discuss this artist with your comments! Miguel Fleta, Tenor (1897-1938) José Maria Lacalle - Amapola (Composed in 1924) (Recorded in 1925) My personal opinion: One of spains most famous tenors ever, the popular successor of Julián Gayarre (1844-1890). In the "Tenor Library" we find the following lines: "The short, but brilliant career of the Spanish tenor Miguel Fleta lasted for only six*** years, from his debut in Trieste 1919 until his retirement in 1935. He died three years later at the age of 41 only. With his death, his name escalated to the world of legends and those who cherished him spoke of the greatest tenor ever." The greatest tenor ever - Many´s the time we´ve heard that said... Even Miguel Fleta wasn´t flawless, his singing not everyone´s cup of tea. "He had the typical vibrato of a spanish singer, at the end of his career it degenerated to a tremolo" (William J. Dennis). John Steane described him as "the spanish Richard Tauber". I agree with this describtion of his voice, and I would like to add "...and the behavior of Mario Lanza and Jan Kiepura!" Sometimes, after a performance, he sang popular songs with piano accompaniment. Mannerism of a highly gifted singer who often, far too often was tearfully sentimental - for the taste of modern times. Fleta was born near Huesca, Spain, in 1897. At the age of 11 he began to study singing. At the age of 20 he first appeared on stage in a singing competition in Zaragoza. He was ...
  • 100 Greatest Singers: JOSÉ CARRERAS THIS PROJECT IS RESERVED ONLY FOR THE GREATEST! Do you think, Carreras belongs to this list? Please comment! José Carreras, Tenor (born 1946) Francesco Cilea L´Arlesiana E la solita storia del pastore (Recorded 1979) My personal opinion: When José Carreras came out in 1970 his voice promised wonderful things. The pure sound was fine lyric, consistent, irresistible and brought back memories of young di Stefano. Critic John Steane once wrote, Carreras is a fine calaf in Turandot, but sometimes there are moments, we fear he not only could loose his head but his voice too. I believe this was exactly the problem. Carreras had sung much too soon spinto roles, who shortened his vocal peaks. One reason certainly was Karajan, another to consist aside Domingo, who at the time was the leading tenor in public. But neither wrong parts nor his illness really couldn´t destroy the matter of fact, Carreras was a marvelous singer and with Pavarottis words the last great tenor. I do agree! I would like to give you one of his finest performances on record, Federicos Lamento,an aria his voice seems to be made for. Enjoy! THE COMPLETE OVERVIEW: GO TO "ALL SINGERS IN THIS LIST"
  • A Silent Film - The Steane Session - You Will Leave a Mark Versão de piano da música You Will Leave A Mark - The Steane Session http
  • Italian Coloratura Soprano Olimpia Boronat ~ Qui la voce (1904) (IMPROVED VERSION) Italian coloratura soprano Olimpia Boronat (1867-1934) / Qui la voce / I Puritani (Bellini) / Recorded: 1904 -- Comments to the previous posting: runupahill1 "Thank you! I never ever expected to hear the voice of Boronat, who sang mostly in Imperial Russia. Now I find that she did record a few arias by Donizetti, Bellini, Verdi, between 1904 and 1908. Thank you for bringing back to life this beautiful soprano spirit." merrihew "another new discovery" AulicExclusiva "A great favourite of mine. I listen again to this exquisite expressivity, a phrase like the high variant in the end at o rendetemi la speme: what poetry. Isn't that what singing is really about?" meltzerboy "Yes, there is a great deal to be said for the nine***th-century bel canto style. No superficial prettiness, but soulful expression through tone and technique." Kievest "Simply divine singing! A signature role for Madame Boronat, her clear, stunning voice is superb! Her sensitive musician-ship and marvelous expressivity are very much in evidence is this rare historic recording! She had an indefinable magic to her enchantment that is very compelling to my ears!" meltzerboy "John Steane criticizes this performance because Boronat takes a big breath in the first phrase and another in the second, emphasizes the word "soave" in the first phrase, displays "little exclamatory, half-sobbing inflections" later on, and separates the verb and its object as well as the notes in ...
  • 100 Greatest Singers: ELISABETH RETHBERG THIS PROJECT IS RESERVED ONLY FOR THE GREATEST! German born Elisabeth Rethberg in this collection? Please comment! Elisabeth Rethberg, Soprano (1894-1976) Giuseppe Verdi - Aida O patria mia (Recorded 1924) My personal opinion: "The greatest living soprano" said Arturo Toscanini after a performance of "Aida" at LaScala in 1929. It seems, Aida was her destiny. In 1922 Rethberg (at the time one of the leading sopranos of the Royal Opera House Dresden) traveled to New York. Time was short and she arrived for the rehearsal, sang "Ritorna vincitor" still wore her coat. An anecdote? Maybe, but Elisabeth Rethberg enchanted everyone. Two years later, after a Metropolitan-performance of Aida, Edwin Arthur (conductor of Flagstads "Mild und leise" in this collection) wrote: "They were two other artists with her, Martinelli and Marion Telva. I couldn´t believe, such sounds came out of human throats". The german Rethberg could hold her ground even against Ponselle. Author and music-critic Lawrence Gilman was enchanted by "fluent and smooth beauty of her voice". She sang Desdemona, Leonora (Forza), Santuzza, Donna Anna, Agathe, Elsa, Elisabeth (Don Carlo) and Pamina. Periodical she returned to Dresden for guest performances. British music-critic John Steane called Rethberg "a singer´s singer". Her vocal range and her versatelity were singular and brought back memories of Lilli Lehmann, but her voice wasn´t as warm as Ponselle´s. She always sounded a little bit teutonic. I select her ...
  • Eel Pie Island Open Day Eel Pie island is an amazingly magical community where in amongst the boats, the winches and the cranes you can find a number of artists studios as well as a other unusual and bohemian folk. The Open Day is perfect for exploring this little private haven. Cross the footbridge in to a new realm, where the unusual is the norm. A special community just 20 minutes by fast train from Twickenham to Central London. If you missed last weekends Open Day there is another open weekend on the 19th June. Bring your cheque book - there are some superb pieces of art to buy.
  • Part II - Your Favorites: TITTA RUFFO THIS PART IS FOR YOUR FAVORITES! Please discuss this artist with your comments! Titta Ruffo, Baritone (1877-1953) Ambroise Thomas - Hamlet Ô vin, dissipe la tristesse (Brindisi) - sung in italian - (Recorded 1907) My personal opinion: "Ma quello non era una voce, quello era un miracolo!" - It wasn´t just only a voice, it was a miracle! Giuseppe de Luca´s statement became equally popular as Tullio Serafin´s words he spoke to Walter Legge: "In my whole life, there were three wonders: Caruso, Ponselle and Ruffo." And Legge himself said, that Ruffo produced a greater sound-volume than any other singer. And the audience just called Ruffo "La voce del Leone" - The voice of a lion! Place position four for a singer, who retires from the operatic stage in 1931. And it means: We only know his voice by his recordings (and most of them are in bad sound). The legend of Titta Ruffo is a legend that lived on from one generation to the next. When Ruffo had his first successes in Italy, some elder singing coaches compared him with Antonio Magini-Coletti, the famous Verdi-Baritone in the 1850s. It was John Steane, who wrote, that the only baritone who reminds us of Ruffo perhaps was Gian-Giacomo Guelfi, but he was lesser controlled. For me the only successor of Ruffo was Gino Bechi. Extraordinary just like his giant volume was the extention of Ruffo´s voice: He could reached tenor-heights. In the book "Grosse Stimmen" by JM Fischer, you can read about an experiment in 1920 that Ruffo made ...
  • Part III: Rare and unknown voices - GIANNI POGGI Please open the bar to read more about this artist! Gianni Poggi, Tenor (1921-1989) Giacomo Puccini LA BOHÈME In un coupé? Con pariglia e livree! With Tito Gobbi, Baritone (1913-1984) Conducted by Antonio Votto (Recorded 1961) My personal opinion: This handsome gentleman is not the young Carlo Bergonzi, it is Gianni Poggi (1921-1989), another italian tenor who was omnipresent and is now a clear case for Part III. of this series. Do not missunderstood me: For many, Poggi is wellknown and in no way a rare singer. But it seems, his fame is not unclouded. And it seems also, some critics wanted to forget him, because in their opinion he had a strange signature feature: An ugly voice! John Steane: "To say, that his Rodolfo (in the infamous recording of LA BOHÈME under Votto) is indescribably bad would not be strictly accurate, but would nevertheless be kinder than any accurate description!". Another critic: "It may be, that we only know little about some tenors of the past, but it also may be, that we don´t want to know more about some of them!", and then he named Gianni Poggi, "...who produced with ´Dammi il bracio mia piccina` the worst tenor-sound in recording-history!" (Indeed it sounds in this very moment, that Rodolfo is supressing a sneeze!) And a simply opera-lover wrote in a review, that "Gianni Poggi makes a fairly dull, provincial lump of a Rodolfo!" Finally at last, in "Opern auf Schallplatten" you can read, that this BOHÈME was "not useful casted and sloppy ...
  • Part II - Your Favorites: ODA SLOBODSKAYA THIS PART IS FOR YOUR FAVORITES! Russian soprano Oda Slobodskaya? Please give your sentiments! Oda Slobodskaya, Soprano (1895, other sources 1888-1970) Sergei Rachmaninow - To the children With Ivor Newton, piano (Recorded around 1940) My personal opinion: In the mid-1970s, John Steane wrote in "The grand tradition", that Oda Slobodskaya was the last russian singer with a consistent voice. Nice, but trivial words about an artist that never came into focus of the masses. I didn´t know her before, and it seems, today she is a cult-legend, highly valued for her recordings of russian music. She gave her debut in 1916 (some say 1917) in "Pique Dame" at the Mariinsky Theatre and soon after she sang leading roles; of course Tatjana in "Eugen Onegin" but also Sieglinde (!) and Marguerite. In 1922 she came to Paris, one year after she escapted to Berlin. In Paris she performed Stravinsky´s "Mavra" - and she hated it, but "this opportunity was not to turned down", after that she hoofs in Vaudevilles. She came back to opera in 1931 - with Chaliapin in The Lyceum London (Elisabeth in Verdi´s "Don Carlo") and performed many russian operas with Sir Thomas Beecham. She made England her home and after her marriage she came to Covent Garden to sing Wagner again. She was singing at La Scala as well as touring South America. At the end of the 1930s, her vocal decline began - before (!) she made her first recordings for HMV. During the war, entertainment work returned and in the 1950s she ...
  • The Lunateers First Show The Lunateers performing Tokyo Ska Paradise Orchestra's "Stroke of Fate" at the Nelson High School Variety Show, on December 22, 2006. Contact the band at: -/thelunateers Filming and Editing by Matt Barnes. Alto Sax: Dan Leece Tenor Sax: Graeme Sylvia Baritone Sax: Jeremy Lin Trumpet: Connor Kingston Trombone: Tyler Norton Guitar(Stratocaster): Mike Sobot Guitar(Telecaster): Andrew Lynes Bass Guitar: Mike Deicont Drum Kit: Ben Craik Bongos: Derek Ketelaars Keyboard: Richard Steane
  • 2010 NABBA Mr TAS- Steane Walsh Posing Routine (WFF Class 2) The posing routine of WFF Class II competitor Steane Walsh at the 2010 NABBA/WFF Tasmanian Bodybuilding Championships held on the 3rd of October at the Grand Chancellor in Hobart. For more Bodybuilding Video's or the latest in Australian & Worldwide Bodybuilding visit
  • Part II - Your Favorites: EMMY DESTINN THIS PART IS FOR YOUR FAVORITES! Please give us your thoughts about Emmy Destinn (born Ema Destinová)! Emmy Destinn, Soprano (1878-1930) Giacomo Puccini - Madama Butterfly Con onor muore (Death of Butterfly) (Recording date unknow to me, can you help?) My personal opinion: "It took your breath away", judged british soprano Florence Easton when she heard Czech born Emmy Destinn with her rendition of "O patria mia", and Frances Alda added: "Nobody who sang Aida at my time could matched with her!" Homages for a soprano whose life was filmed and who was imaged on a banknote. Her name implies a singer-legend, her fame is equally legendary. But her recordings didn´t impress me much. Michael Scott found harder words: "All her recordings are disappointing!" John Steane criticized Destinn´s "lax treatment of music", and I believe this comes near to my own verdict. The material of her voice was exceptional and so was her career. Born 1878 in Prague, she first devoted herself to studying the violin, but when she was in her ***s, her voice was so rich and full that she changed her mind and determined upon an operatic career. Her voice teacher was Mrs. Dreger Loewe-Destinn, and later Ema used her teacher´s surname. After a short engagement in Dresden, Emma Destinn gave her debut as Santuzza in July 1898 at the Berlin Court Opera House - with 19! The Berlin public was on her side (she sang Carmen, Agathe, Elsa, Santuzza, Senta, Freia, Pamina and others), but great fame came in 1901 ...
  • Rc Drift The Hobby Shed Spaz, Alex, Andrew and Steane show
  • Emma Calvé & Charles Dalmorès, "Là-bas dans la montagne", Bizet: Carmen (Victor, 1908) The great French soprano Emma Calvé (1858-1942) and her compatriot, dramatic tenor Charles Dalmorès (1871-1939) in the duet between Carmen and Don Jose, "Non! tu ne m'aimes pas...Là-bas dans la montagne" from Act 2 of Bizet's Carmen. The recording was made for Victor Talking Machine & Co. on 20 March 1908. The late critic John B. Steane cited this particular recording as the one that most vividly captured Calvé's lengendary portrayal of the gypsy among the recordings of music from Carmen that Calvé committed to discs: "The record begins with the last bars of the Flower Song and Calvé's first phrases brood darkly, intuitively moving towards Carmen's next step. This, the incitement to desert and follow her to the mountains, is taken much more slowly than we usually hear it...the to make a much more seductive thing out of the otherwise innocent melody. It becomes dramatically hypnotic, and this, too, is the character that Calvé's record so very vividly confirms in the last phrases: her 'si tu m'aimes' in the last solo bars is so colored that for one or two seconds the effect is visual: we see the eyes, mouth and body, and for a moment hold ourselves as still as a poor Jose under the spell." (THE GRAND TRADITION, p.120)

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