title: Maria Callas

texts: she already knew the score, even though she had only looked at the first act. She admitted to having seen the second act of the opera and having seen the music. She was cast in the role immediately. <mask>'s mentor and supporter was Serafin. According to Lord Harewood, Tullio Serafin has had a more distinguished career than any other Italian conductor. <mask> said that working with Serafin was the "really lucky" opportunity of her career, because he taught her that there must be an expression. The justification of music was taught to me by him.I drank all I could from this man there. The great turning point in <mask>'s career occurred in Venice in 1949. Margherita Carosio, who was going to sing Elvira in I puritani at the Teatro la Fenice, fell ill while she was engaged to sing Die Walkre. Unable to find a replacement for Carosio, Serafin told <mask> that she would be singing Elvira in six days, and when she protested that she did not know the role, he told her "I guarantee that you." It would have been cause enough for surprise to attempt to essay them both in the same season, but they didn't. Before the performance actually took place, one incredulous critic snorted, "We hear that Serafin has agreed to conduct I puritani with a dramatic Soprano." Can we expect a new


title: Maria Callas

type: paraphrased

texts: edition of La traviata with a male voice?The miracle that <mask> accomplished was acknowledged by one critic after the performance. Her interpretation has a warmth that one would not find in other Elviras. Franco Zeffirelli said that what she did in Venice was incredible. To realize the size of her achievement, you need to be familiar with opera. It was as if someone asked Beverly Sills, one of the great coloratura Sopranos of our time, to substitute for Birgit Nilsson, who is famous for her greatWagnerian voice. It is doubtful if any of the many roles <mask> undertook had a more far-reaching effect. <mask>'s career was changed by her first appearance in bel canto and she went on to perform in Lucia di Lammermoor, La traviata, Armida, La sonnambula, and Il pirata.She opened a new door for all the singers in the world, a door that had been closed. Behind it was sleeping a great idea of interpretation. Those who follow her have been given the chance to do things that were impossible before her. I have never dreamed that I am compared with <mask>. It is not right. <mask> is much larger than me. On a few days' notice, <mask> learned and performed Cherubini's Medea, as well as Rossini's Armida.In a 1952 RAI recital, <mask> opened with "Lady Macbeth's letter scene", followed

masks:
Maria Callas
Callas
Callas
Callas
Callas
Callas
Callas


title: Maria Callas

texts: by the "Mad Scene" from Lucia di Lammermoor. <mask> did not make her official debut at Teatro alla Scala in Milan until 1951. Antonio Ghiringhelli, the general manager of La Scala, disliked <mask> so much that he replaced him in the role of Aida. Menotti said that Ghiringhelli promised him any singer he wanted for the premiere of The Consul, but when he suggested <mask>, Ghiringhelli said that he wouldn't have <mask> at La Scala except as a guest artist. Ghiringhelli had to relent as <mask>'s fame grew, and especially after her success in I vespri Siciliani in Florence. Many new productions were mounted for <mask> by directors such as Herbert von Karajan, Margherita Wallmann and Franco Zeffirelli. Visconti stated later that he began directing opera because of Callas, and that he directed her in new productions of La vestale, La traviata, La sonnambula, Anna Bolena and Iphigénie en Tauride.Franco Corelli's debut at La Scala was arranged by <mask>, and he sang Licinio in Spontini's La vestale opposite <mask>'s Julia. In Rome, the two had sung together for the first time. Corelli had earned great respect from <mask>, who, in Mr Corelli, finally had someone with whom she could act. The two singers performed in several productions at La Scala, singing opposite each other.

masks: Callas Callas Callas Callas Callas Callas Callas Callas Callas


title: Maria Callas

texts: Throughout <mask>'s career, their partnership continued. She traveled to Argentina to sing at the Teatro Coln after she married Meneghini. <mask> made her South American debut on May 20, 1949.The roles of Aida, Turandot and Norma were directed by Serafin. She only appeared on this stage once. Her debut in the United States was five years later in Chicago in 1954. Her Metropolitan Opera debut, opening the Met's seventy-second season on October 29, 1956, was again with Norma, but was preceded by an unflattering cover story in Time magazine, which rehashed all of the Callas clichés, including her temper. On November 21, 1957, <mask> gave a concert to open the Dallas Civic Opera, and helped establish that company with her friends from Chicago, Lawrence Kelly andNicola Rescigno. She further consolidated this company's standing when, in 1958, she gave "a towering performance as Violetta in La traviata, and that same year, in her only American performances of Medea, gave an interpretation of the title role worthy of Euripides." <mask>'s Metropolitan Opera contract was canceled due to a feud with Bing.The situation gave Allen Oxenburg an opportunity for his own company, the American Opera Society, and he approached her with a contract to perform. A January 1959 performance in

masks: Callas Callas Callas Callas


title: Maria Callas


title: Maria Callas

texts: 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217During a lunch break while recording Lucia in Florence, Serafin commented to <mask> that she was eating too much and allowing her weight to become a problem. Gobbi suggested that she step on the weighing machine outside the restaurant to see if she was heavy. She became rather silent as a result of the result. In 1968, <mask> told Edward Downes that during her first performance in Cherubini's Medea in May 1953, she realized that she needed a leaner face and figure to do dramatic justice to this as well as the other roles she was undertaking. She says that her vocalizing was getting heavy because she was getting so heavy. I was working too hard, I was tiring myself, and I was perspiring too much. I couldn't move freely because I wasn't well.I was heavy and uncomfortable to move around because I was tired of playing a game and playing this beautiful young woman. It was uncomfortable and I didn't like it. If I'm going to do things right, I need to diet and put myself into a presentable state. Rescigno called her "possibly the most beautiful lady on the stage" after she lost almost everything. After losing weight, <mask> was an "astonishing,

masks: Callas Callas Callas


title: Maria Callas

texts: svelte, striking woman" who showed no signs of being fat. <mask> filed a lawsuit because of rumors that she lost weight by eating "physiologic pasta", and that she had swallowed a tapeworm. <mask> stated that she lost the weight by eating salads and chicken.The loss of body mass made it more difficult for her to support her voice and INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals She was both gifted and beautiful, said Gobbi. Every role she undertook was invested with fresh magic because of her awareness of this. I am not prepared to say what it did to her. She blossomed into an artist unique in her generation and outstanding in the whole range of vocal history. Callas's voice was controversial and bothered many as it thrilled and inspired. A great singer needs an instantly recognizable voice, according to Walter Legge.The Italian critic Rodolfo Celletti stated that the timbre of <mask>'s voice, considered solely as sound, was ugly. I believe


title: Maria Callas

texts: that part of her appeal was due to the fact that it lacked those elements which are described as velvet and varnish. Why? Because of its lack of varnish, velvet and richness, this voice could acquire such distinctive colors and timbres as to be unforgettable. According to Ira Siff's review of <mask>'s 1951 live recording of I vespri Siciliani, <mask> had a flawed voice and was unattractive by conventional standards. One can hear a rich, spinning sound when listening to her entrance in this performance. The middle register displays no of the "bottled" quality that became more and more pronounced as Callas matured."<mask>'s mentor used to refer to her as 'Una Grande vociaccia', but it means a big voice, a great voice." A voice that is ugly in a way. In one of her last interviews, <mask> said that she didn't like the sound of her own voice, but that she was able to listen to it. I don't like the kind of voice I have so I have to do it. I don't like listening to myself. When we recorded San Giovanni Battista in a church in Perugia in 1949, it was the first time I had ever listened to a recording of my singing. I cried my eyes out when they made me listen to the tape.Even though I don't like my voice, I'm able to accept it and be detached and objective about it so I can say,


title: Maria Callas

texts: "Oh, that was really well sung." It is difficult to speak of the voice of Callas. Her voice was special. The first time you listen to a string instrument, it can be a bit strange. When you become friends with this kind of sound, it becomes a magical quality. This was Callas. Since in her prime, Callas's voice has been difficult to place in the modern vocal classification or Fach system because of the heavy roles she had to perform.Serafin said that the woman can sing anything written for the female voice. According to Michael Scott, <mask>'s voice was a natural high Soprano, and going by evidence of <mask>'s early recordings,Rosa Ponselle felt the same. According to music critic John Ardoin, Callas was the reincarnation of the 19th-century sfogato or "unlimited Soprano", a reference to the famous bel canto operas. He believes that <mask> was a natural mezzo-Soprano whose range was extended through training and willpower, resulting in a voice which lacked the homogeneity of scale once so prized in singing. There were parts of their voices that were not under control. Many who heard Pasta remarked that her uppermost notes seemed to come from ventriloquism, a charge which would be made against Callas. There was a portion of the scale which differed from the rest in quality


title: Maria Callas

texts: and remained to the last 'under a veil' according to the writings of Henry Chorley.She had to compose her instrument and give it flexibility from the uncouth materials. Her studies to acquire execution must have been great, but the volubility and brilliancy gained a character of their own. There was a breadth, an evenness and solidity in her shake, which gave every passage a significance beyond the reach of lighter and more spontaneously singers. As soon as she opened her lips, the best of her audience were held in thrall, without being able to analyze what made up the spell. <mask> seems to have seen the similarities between herself and Pasta, as well as the fact that she started as a natural opera singer. In 1957, she described her early voice as dark and almost black, and in 1968 she said she was not a true opera singer. She told James that it's study, that she can sing the heaviest roles as well as lightest roles.You know, I'm doing nothing special. Even Lucia, Anna Bolena, Puritani, all of them were created for one type of Soprano, the type that sang Fidelio. I was singing Anna Bolena and Sonnambula at the same time as Giuditta Pasta was singing in the 19th century. I'm not doing anything extraordinary. You wouldn't ask a pianist to play everything. I had a


title: Maria Callas

texts: wonderful teacher and this is nature. I was a heavy voice, a dark voice, and I was always kept on the light side.She trained me to keep my voice strong. Rodolfo Celletti said that <mask>'s voice was penetrating. The volume was not powerful or small. Her voice could be heard anywhere in the auditorium because of the penetration, which bordered on the ugly because it frequently contained an element of harshness. Celletti wrote that <mask> had a dark voice. The critic for Musical Courier wrote after her first performance of Medea that she displayed a vocal generosity that was barely believable. Richard Bonynge stated in a 1982 Opera News interview that before she slimmed down, she was a huge voice.<mask> had a big voice and it poured out of her. At the bottom of the range, you couldn't tell who was who. The big sound was taken up to the top by her. After losing weight, <mask>'s voice became a "dramatic Soprano with an exceptional top", as one Chicago critic described the voice in Lucia, according to Michael Scott's book. <mask>'s vocal range was short, from F-sharp (F3) below middle C (C4) heard in "Arrigo! "Ah parli a un core" from I vespri Siciliani to E-natural (E6) above high C (C6) is heard in the final act of Rossini's opera. Whether or not <mask> ever sang a high

masks: Callas Callas Callas Callas Callas Callas


title: Maria Callas

texts: F-natural in performance has been open to debate.Rock Ferris said after her June 11, 1951 concert in Florence that her high E's and F's are taken full voice. The presumed E-natural at the end of Rossini's Armida, a poor-quality bootleg recording of uncertain pitch, has been referred to as a high F by Italian musicologists and critics. The final note of Armida could not have been an F because it was in the key of E, according to Callas expert Dr. Robert Seletsky. The final note in "Merc, dilette amiche" from the 1951 Florence performances of I vespri Siciliani is not a high F as claimed by Eve Ruggieri. In a 1969 French television interview with on the program L'invitée du dimanche, he spoke about Callas's voice going to high F, but he also talked about her lower register extending to C3. <mask>'s voice was noted for its three distinct registers: her low or chest register was extremely dark and powerful, and she used this part of her voice for dramatic effect, often going into this register much higher on the scale than most Sopranos. Her middle register had a peculiar and highly personal sound, as if she were singing into a jug, and was noted for its veiled or "bottled" sound.Walter Legge said that the sound was caused by the "extraordinary formation of her upper palate,


title: Maria Callas

texts: shaped like a Gothic arch, not the Romanesque arch of the normal mouth". In contrast to the light flute-like sound of the typical coloratura, she would attack these notes with more vehemence and power. There were no musical or technical difficulties in this part of the voice which she could not execute with ease. Her runs were smooth and accurate, even in the trickiest intervals. There isn't a bar in the whole range of nineteenth-century music for high Soprano that tested her powers. She was able to execute a diminuendo on the high E-flat, which Scott describes as "a feat unparalleled in the history of the gramophone." Celletti says that Callas seemed to use another voice in these soft passages.In long held notes without ornamentation, her mezza voce could achieve such moving sweetness that the sound seemed to come from on high. I don't know where it came from. <mask>'s own contemporaries were amazed by the combination of size, weight, range and agility. One of the choristers in I vespri Siciliani recalled, "My God!" She sounded like our deepest contralto, Cloe Elmo. She took an E-flat before the evening was over. It was twice as strong as Toti Dal Monte's.Giulietta Simionato said that the first time they sang together was in Mexico in 1950, where she sang the top E-flat


title: Maria Callas

texts: in the second-act finale of Aida. It was like a star in the opera house. The chance for Tebaldi to sing the Soprano coloratura with this voice was the most fantastic thing. This was very special. Absolutely! "Unfortunately, it was only in quick music, particularly descending scales, that she completely mastered the art of joining the three almost incompatible voices into one unified whole, but until about 1960," Walter Legge writes. According to Rodolfo Celletti, her voice had a guttural quality in certain areas of her range.I would go so far as to say that her voice had such resonances as to make one think of a ventriloquist. There was a problem between the middle and upper register. The sound around the F and G was not quite right, as though the voice were not functioning properly. Celletti says that even if Callas produced an unpleasant sound, the technique she used for these transitions was perfect. The critic says, "<mask>'s 'faults' were in the voice and not in the singer; they are so to speak, faults of departure but not of arrival." Celletti distinguishes between the natural quality of the voice and the technique. In 2005, Ewa Podle said of <mask>, "Maybe she had three voices, maybe she had three ranges, I don't know."Nothing disturbed me. She gave me everything

masks: Callas Callas


title: Maria Callas

texts: that I bought. Why? She used her voices and her register to tell us something. Much has been said about her voice, and no doubt the discussion will continue. No one could deny the harsh or "squashed" sounds or the wobble on the very high notes. These and others were the accusations made at the time against Pasta and Malibran, two geniuses of song.Both were tried in their day. ... Few singers have made history like these two did. The thoughts of Artistry <mask> can be found at Wikiquote. <mask> was a controversial artist. <mask> considered herself the first instrument of the orchestra, despite being dismissed as a singer. Grace Bumbry stated, "If I followed the musical score when she was singing, I would see every tempo marking, every dynamic marking, everything being adhered to, and at the same time, it was something that was very beautiful and moving.""If the public could understand how deeply and utterly musical <mask> is, they would be stunned," said Victor de Sabata to Walter Legge. One of her colleagues described <mask> as having an innate architectural sense of line-proportion and a sense of rhythm within the rhythm. Celletti says, "We must not forget that she could tackle the whole gamut of ornamentation: staccato, trills, half-trills, gruppetti, scales, etc." The

masks: Callas Callas Callas Callas Callas


title: Maria Callas

texts: fusion of dynamic range and timbre is the essential virtue of <mask>'s technique. mastery means total freedom of choice in its use, not being a slave to one's abilities, but rather being able to use them at will as a means to an end. While reviewing the many recorded versions of "perhaps Verdi's ultimate challenge", the aria "D'amor sull'ali rosee" from Il trovatore, <mask> articulates all of the trills. The chiaroscuro through her tone is part of the wonder in this performance.The way she connects the voice from note to note, phrase to phrase, lifting and gliding is one of the ways that chiaroscuro is created. This is not a sloppy swoop because it is musically precise. <mask> uses more portamento in this aria than any other singer. She sees the aria as a whole, "as if in an aerial view", as Sviatoslav Richter's teacher observed of his most famous student. Callas had a gift for language and the use of language in music. She always knew which word to emphasize and which syllable to use. Michael Scott said, "If we listen attentively, we note how her perfect legato enables her to suggest by musical means even the exclamation marks and commas of the text."She had the ability to perform the most difficult music easily, but she also had the ability to use each ornament as an


title: Maria Callas

texts: expression rather than a firework. The Soprano said she was most interested in how she gave the runs and the words. I was always floored by that. I always heard her say something. That is an art. Walter Legge states that her taste, elegance and deeply musical use of ornamentation were her most admirable qualities. Changes of color were pure magic and there were innumerable exquisite portamentos from one note to its nearest neighbor.She was the supreme mistress of bel canto. Ira Siff remarked, "When I saw the final two Toscas she did in the old Met, I felt like I was watching the actual story on which the opera had later been based." <mask> was not a realistic or verismo style actress: her physical acting was merely "subsidiary to the heavy Kunst of developing the psychology of the roles under the supervision of the music, of singing the acting... Through her use of the voice flying the text upon the notes, all this was musically appointed. Augusta Oltrabella said, "<mask> was an actress in the expression of the music, and not vice versa." Matthew Gurewitsch says that the essence of her art was refinement. It seems odd for a performer to use the term.She was capable of the grand gesture, still, judging strictly from the evidence of her recordings, we know (and her few


title: Maria Callas

texts: existing film clips confirm) that her power flowed not from excess but from unfaltering truth in the moment. It flowed from being irreproachable. According to people, Callas would distort a vocal line for dramatic effect. Singers snarl, growl, whine, and shriek in the throes of passion. Callas wasn't one of them. She found everything she needed in the notes. "It's enough to hear her, I'm positive!" stated Ewa Podle.She was able to say everything with her voice. I can see everything in front of my eye. "For me, she was extremely stylized and classic, yet at the same time, human, but on a higher plane of existence," says opera director Sandro Sequi. She was the greatest opera singer because realism was foreign to her. She was wasted in verismo roles because opera is the least realistic of theater forms. Early nineteenth-century opera requires highly stylized acting and is not merely the antithesis of reality. Callas had a perfect face.Her big features spoke volumes from a distance. In regards to <mask>'s physical acting style,Nicola Rescigno states, "<mask> had a way of transforming her body for the exigencies of a role, which is a great triumph." Everything would slope down in La traviata. Her arms were like those of the great ballerinas. Everything in Medea was not

masks: Callas Maria


title: Maria Callas

texts: straight. She used a walk that was like a tiger's walk. She was never in a hurry.She was very powerful but also very stylized. Her gestures were small. I don't think she did more than 20 gestures. She was able to stand for 10 minutes without moving a hand or finger. Callas was so focused on her colleagues that it seemed that the drama was all in her head, according to Edward Downes. It was <mask>'s quiet listening that made the dramatic impact in Chicago. She knew what he was singing.When one wants to find a gesture, when they want to find how to act onstage, all they have to do is to the music, according to Callas. The composer has seen that before. You will find every gesture if you really listen with your soul and ears. The artist <mask>'s most distinguishing quality was her ability to breathe life into the characters she portrayed, or in the words of Matthew Gurewitsch, "most mysterious among her many gifts, Callas had the genius to translate the minute particulars of a life into tone of voice." Her secret is in her ability to transfer to the musical plane the suffering of the character she plays, the nostalgic longing for lost happiness, the anxious fluctuation between hope and despair, between pride and supplication, between irony and generosity. The most diverse


title: Maria Callas

texts: and opposite of sentiments, cruel deceptions, ambitious desires, burning tenderness, grievous sacrifice, all the torments of the heart, acquire in her singing that mysterious truth, which is the primary attraction of opera. It was a flawed voice.<mask> sought to capture in her singing not just beauty but a whole humanity, and within her system, the flaws feed the feeling, the sour plangency and the strident defiance becoming aspects of the canto. She bent the defects of her voice into advantages. "If melodrama is the ideal unity of the trilogy of words, music, and action, it is impossible to imagine an artist in whom these three elements were more together than Callas." Reality was on stage during <mask>'s performances. The auditorium, the audience, and me stood behind me. Only truth, life itself, transpired on stage. It was hard to enjoy any other artist after hearing and seeing <mask>, because she infused every part she sang and acted with such incredible personality.One move of her hand was more than another artist could do. <mask> was the last great artist according to Antonino Votto. When you think that this woman was nearly blind, you should know that she stood a good 150 feet from the podium. Her sensitivity! She always came in with my downbeat even if she

masks:
Callas
Callas
Maria Callas
Callas


title: Maria Callas

texts: couldn't see. She was a complete artist when we practiced. It's foolish to talk about her as a voice.She is a complex of music, drama, and movement. There is no one like her. She was a phenomenon. There was an alleged rivalry between <mask> and Tebaldi. The difference between <mask>'s often unconventional vocal qualities and Tebaldi's classically beautiful sound resurrected an argument as old as opera itself, namely, beauty of sound versus the expression of sound. In 1951, Tebaldi and <mask> were booked for a vocal recital in Brazil. <mask> was incensed that Tebaldi took two encores.The two women were said to have engaged in verbal barbs in each other's direction, as a result of this incident, which began the rivalry in the mid-1950s. Tebaldi was quoted as saying "I have one thing that <mask> doesn't have: a heart" while <mask> was quoted in Time magazine as saying that comparing her with Tebaldi was like "comparing Champagne with Cognac...No... with Coca Cola". However, witnesses to the interview stated that <mask> only said "champagne with cognac", and that it was a bystander who quipped "No... with Coca-Cola." The latter comment was attributed to <mask> by the Time reporter. These two singers should not have been compared. Tebaldi was trained in the early 20th century

masks:
Callas
Callas
Maria Callas
Callas
Callas
Callas
Callas
Callas


title: Maria Callas

texts: Italian school of singing just as firmly as <mask> was in the 19th century bel canto. Tebaldi considered herself a lyric Soprano, whereas <mask> was a dramatic Soprano.In the early years of her career, <mask> sang heavy dramatic roles and later in her career on bel canto, whereas Tebaldi sang late Verdi and verismo roles. They both had roles in La Gioconda, but Tebaldi only performed it late in her career. <mask> made comments about Tebaldi and the alleged rivalry. During an interview with Norman Ross Jr. in Chicago, <mask> said, "I admire Tebaldi's tone; it's beautiful." I wish I had her voice. According to Francis Robinson of the Met, Tebaldi asked him to recommend a recording of La Gioconda in order to help her learn the role. He was aware of the rivalry and recommended Zinka Milanov's version.He went to visit Tebaldi a few days later and found her listening to <mask>'s recording. She asked why he didn't tell her that <mask>'s was the best. <mask> visited Tebaldi after seeing a performance of Lecouvreur at the Met. In 1978, Tebaldi spoke warmly of her late colleague and summarized the rivalry: This rivality was really building from the people of the newspapers and the fans. I think it was a good thing for both of us, because the publicity was so big and it created a

masks: Callas Callas Callas Callas Callas Callas Maria Callas


title: Maria Callas

texts: lot of interest in me and <mask>. I don't know why they put this kind of rivality because the voice was different. She was not normal.When I was a young artist, I stayed near the radio every time I heard something about <mask>. <mask>'s voice was damaged due to the heavy roles she undertook in her early years. Giulietta Simionato, Callas's close friend and frequent colleague, stated that she felt that the early heavy roles led to a weakness in the diaphragm and difficulty in controlling the upper register. It wasn't the heavy roles that hurt <mask>'s voice, but the lighter ones, according to Louise Caselotti, who worked with <mask> prior to her Italian debut. <mask>'s heavy use of the chest voice may have led to stridency and unsteadiness with the high notes. Meneghini wrote in his book that <mask>'s voice could have been affected by her early menopause. Carol Neblett once said that a woman is only as good as her hormones.It was a loss of physical strength and breath-support that led to <mask>'s vocal problems, according to critic Henry Pleasants. The production of focused tone can no longer be supported by the singer's respiratory functions without it. The breath escapes, but it is no longer the power behind the tone. When the singer sings lightly, and a voice spread

masks: Maria Maria Callas Callas Callas Callas Callas Callas


title: Maria Callas

texts: when under pressure, the sound is a breathy one. Joan Sutherland, who heard <mask> throughout the 1950s, said in an interview that it was a wonderful shock when she heard it. You shivered down the spine. She lost weight and it was a bigger sound.She tried very hard to recreate the sound she had when she was fat. The body seemed to be too frail to support the sound that she was making when she lost the weight. It was so exciting. It was very exciting. I don't think Callas was heard after 1955 by anyone. Michael Scott believes that Callas's rapid and progressive weight loss was the cause of her loss of strength and breath support. The sounds were forced beyond the singer's capacity to support or sustain.Photos and videos of <mask> show a very upright posture with her shoulders held back. The Opera Quarterly noted that you can watch the constantly sinking, depressed chest and hear the resulting deterioration of the recital that was broadcasted on television in May 1960. The continual change in posture has been shown to be a sign of a progressive loss of breath support. The recordings of Callas from the late 1940s to 1953 show no decline in the fabric of her voice, no loss in volume, and no unsteadiness in the upper register. "<mask>'s voice since last season has improved a


title: Maria Callas

texts: great deal, the second passagio on the high B-natural and C has now completely cleared." <mask>' performance of Medea a year later shows her as secure and free a voice as she will be at any point in her career. She handles the tessitura like an eager thoroughbred because she has a brilliant ring.After her 80 pound weight loss, the instrument would lose its warmth and become thin and acidulous, but the altitudinous passages would to her no longer come easily. The top notes began to appear at this time. Walter Legge, who produced nearly all of Callas's EMI/Angel recordings, states that <mask> "ran into a patch of vocal difficulties as early as 1954." Some felt that the voice had benefited from the weight loss. There is a slight unsteadiness in some of the sustained upper notes, but to me her voice is more beautiful in color than it used to be. Critics felt that her voice had changed for the better, that it had become a more precise instrument, at her performance of the same opera in London in 1957, her first performance at Covent Garden after the weight loss. Many of her most acclaimed appearances are from the year 1954.<mask>'s friend and colleague, Tito Gobbi, thought that <mask>'s vocal problems were due to her state of mind. I think she lost her confidence. She felt


title: Maria Callas


title: Maria Callas

texts: so dramatic. Deborah Voigt has lost a lot of weight and still sounds great. It can be hard on the voice if one doesn't develop another musculature for support after using the weight. You can't say how much emotional turmoil will take. I was told by someone who knew her that the way Callas held her arms allowed her to push and create some kind of support. It wouldn't have been an issue if she were a Soubrette.The stuff that requires the most strength is what she was singing. After losing 135 pounds, music critic Peter G. Davis wrote about Deborah Voigt and compared her voice to that of <mask>. <mask>'s technical problems are not showing up in Voigt's voice: Her voice continues to be supported and under control. There is a noticeable lack of quality at the very center of the instrument, together with a slight acidity and tightening of the tone that has taken the youthful bloom off. She explained how her weight loss affected her breathing and breath support. There isn't as much of me around now that I have a different body. The way my throat feels is unaffected by my diaphragm function.I have to think about it more now. I have to keep my ribs open. If my breath starts to stack, I have to remind myself. The weight would kick in when I took a breath. It doesn't do that now.


title: Maria Callas

texts: If I don't remember to get rid of the old air and re-engage the muscles, the breath starts stacking, and that's when you can't get your phrase, you crack high notes. Callas attributed her problems to a loss of confidence, even though she did not make a connection between her weight and her breath support.In an April 1977 interview with journalist, she stated that her best recordings were made when she was skinny, not slim, because she worked a lot and couldn't gain weight back. When I was skinny as a nail, I had my greatest successes. The first time I was in Paris, I was skinny. Really skinny. <mask> talked to Peter Dragadze about her vocal problems, saying that she never lost her voice, but that she lost strength in her diaphragm. I lost my courage and boldness because of those organic complaints. Even though I have been to all the doctors, my sound boxes have not been working well.I overstrained my voice and that caused it to wobble. Whether <mask>'s vocal decline was due to ill health, early menopause, over-use and abuse of her voice, loss of breath-support, or weight loss will continue to be debated. Whatever the cause, her singing career was effectively over by the age of 40, and even at the time of her death at 53, Walter Legge said, "she ought still to have been


title: Maria Callas

texts: singing magnificently". <mask> was very ill at the time of her death and INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals According to their findings, presented at the University of Bologna in 2010, <mask> had dermatomyositis, a rare disease that causes a failure of the muscles and ligaments. She may have been showing signs of this disease as far back as the 1960s. The initial report by Mario Giacovazzo, who diagnosed Callas with dermatomyositis in 1975, was cited by Fussi and Paolillo.Inflammation and immunosuppressive agents affect heart function. At an event hosted by the journal Il Saggiatore Musicale, Fussi and Paolillo presented documentation showing when and how her voice changed. They used modern audio technology to analyze live Callas studio recordings from the 1950s through the 1970s. She was losing the top half of her range. <mask>'s posture seemed strained and weakened in the video recordings Fussi


title: Maria Callas

texts: observed. She lost a lot of weight in 1954. Fussi and Paolillo looked at restored footage of the "walkout" in Rome, which led to harsh criticism of <mask>.She lacked control and her voice was tired as a result of the analysis. She claimed that she had bronchitis and  tracheitis, and that the dermatomyositis was causing her muscles to weaken. <mask>'s career was marked by a number of scandals. After a performance of Madama Butterfly in Chicago in 1955, <mask> was confronted by a process server who handed her papers about a lawsuit brought by a man who claimed to be her agent. <mask> had her mouth turned in a furious snarl. The myth of <mask> as a diva and a Tigress was created by the photo that was sent around the world. Time ran a damaging cover story about <mask> just before her debut at the Metropolitan Opera, with special attention paid to her difficult relationship with her mother and some unpleasant exchanges between the two.At the Edinburgh International Festival in 1957, <mask> was starring in La sonnambula. Due to the great success of the series, La Scala decided to put on a fifth performance. <mask> told the La Scala officials that she had already committed to a previous engagement, a party thrown for her by her friend, and that she was physically exhausted.

masks: Callas Callas Callas Callas Callas Callas Callas Callas


title: Maria Callas

texts: There will be a fifth performance with <mask> billed as Amina. <mask> went to Venice. She was accused of walking out on the festival despite fulfilling her contract. The press was not told that the additional performance was not approved by <mask>.She started her international career after taking over the part. Italy's president, Giovanni Gronchi, was to attend the opening of the Rome Opera House season with <mask>. <mask> told the management that she was not well and that they should have a backup ready. "No one can double Callas," she was told. She decided to go ahead with the opera after she felt better on the day of the performance. <mask> sounded ill on the bootleg recording of the first act. She decided to cancel after the first act because she felt that she couldn't complete the performance.pandemonium broke out after she was accused of walking out on the president of Italy. <mask> was admitted to the hospital and the President's wife called to tell her she was sick. The endless stream of press coverage made the situation worse. The newsreel had a narration that said "Here she is in rehearsal, sounding perfectly healthy", followed by "If you want to hear Callas, don't get". She usually stays at the end of the rehearsals. After the Edinburgh incident, <mask>'s


title: Maria Callas

texts: relationship with La Scala became strained, and this effectively severed her major ties with her artistic home. <mask> and Bing had a discussion about her season at the Met.She was supposed to perform in two very different operas, one of which requires completely different singers. Before the opening of Medea in Dallas, Bing sent a telegram to <mask> to end her contract because she couldn't reach an agreement with the Met. The headlines of "Bing Fires Callas" appeared in newspapers around the world. "That night, she came to the theater, looking like an empress: she wore an ermine thing that draped to the floor, and she had every piece of jewellery she ever owned," said Rescigno. She said, "You all know what's happened." I need the help of every one of you tonight, because it is a very difficult night for me. She gave a performance that was historical.Bing said that <mask> was the most difficult artist he had ever worked with. You can get around other artists. You couldn't get around. She knew what she wanted and why. Bing sneaked into La Scala in September 1959 to listen to <mask> record La Gioconda for EMI, despite his admiration for <mask>. <mask> and Bing reconciled in the mid 1960s, and <mask> returned to the Met for two performances of Tosca with her friend. In her

masks: Callas Callas Callas Callas Callas Callas Callas


title: Maria Callas

texts: final years as a singer, she sang in Paris, New York, and London, as well as her last performance on stage on July 5, 1965, at Covent Garden.A live television transmission of act 2 of the Covent Garden Tosca of 1964 was broadcast in Britain on February 9, 1964, giving a rare view of <mask> in performance. This is now on DVD. In 1969 the Italian filmmaker Pier Paolo Pasolini cast <mask> in her only non-operatic acting role, as the Greek mythological character of Medea, in his film by that name. According to the account in Ardoin's Callas, the Art and the Life, <mask> fainted after a day of running back and forth on a mudflat in the sun. As <mask>'s only film appearance, the film documents her stage presence. <mask> taught a series of master classes at the New York school. The basis of the 1995 play Master Class can be found in these classes.<mask> and Giuseppe Di Stefano performed together in Europe, the U.S., South Korea, and Japan in 1974. This was a musical disaster due to the worn out voices of the performers. The tour was a huge hit. The two performers had appeared together many times in their prime. Her last public performance was in Japan. While still married to Giovanni Battista Meneghini, <mask> was introduced to Greek shipping magnate Aristotle Onassis at a


title: Maria Callas

texts: party given in her honor after a performance in Donizetti's Anna Bolena. <mask> left her husband in November 1959 after the affair received a lot of publicity.According to Michael Scott, Onassis was not sure why <mask> abandoned her career, but that he offered her a way out of a career that was made increasingly difficult by scandals and by vocal resources that were diminishing at an alarming rate. In 1963, Franco Zeffirelli asked <mask> why she hadn't practiced her singing, and she replied that she had been trying to fulfill her life as a woman. Nicholas Gage, <mask> and Onassis had a child who died hours after he was born, according to one of her biographers. Meneghini states in his book that <mask> was unable to have children. The birth certificates Gage used to prove he was a secret child were issued in 1998, twenty-one years after <mask>'s death, according to various sources. Other sources claim that <mask> had at least one abortion. <mask> gave up her U.S. citizenship at the American Embassy in Paris to end her marriage to Meneghini.She was only a Greek citizen after her renunciation, and under Greek law, a Greek could only marry in a Greek Orthodox church. She divorced her in Greece because she had married in a Roman Catholic church. She no longer had to pay taxes

masks:
Callas
Callas
Callas
Callas
Maria Callas
Callas
Callas
Callas


title: Maria Callas

texts: on her income as a result of the renunciation. The relationship ended in 1968. In her memoir, the Onassis family's private secretary, Kiki, writes that even while Aristotle was withJackie, he frequently met with <mask> in Paris, where they resumed their affair. <mask> died of a heart attack at the age of 53 on September 16, 1977. The funerary liturgy was held at St. Stephen's Greek Orthodox Cathedral in Paris.Her ashes were placed in the columbarium at the Pre Lachaise Cemetery after she was cremated. She wanted them to be scattered over the Aegean Sea off the coast of Greece in the spring of 1979. I was asked if it was worth it to <mask>. John Ardoin, <mask>'s friend, said that she was a lonely, unhappy, often difficult woman. There are times when there are people who are blessed and cursed with an extraordinary gift, in which the gift is almost greater than the human being. <mask> was one of them. It was almost as if her wishes, her life, her own happiness were all subservient to this incredible, incredible gift that she was given.I know that's why I admire her; I think that's why singers admire her. She paid a heavy price for her career. I don't think she understood why she did what she did. She knew she had an effect on people. It wasn't something that she could live

masks:
Maria
Callas
Maria Callas
Callas
Callas


title: Maria Callas

texts: with happily or gracefully. I once told her that she must be <mask>. It's terrible to be <mask>as, because it's a question of trying to understand something you can never really understand, she said.It was done by instinct because she couldn't explain what she did. According to several <mask> biographers, Vasso Devetzi, a female Greek pianist near the same age as <mask>, acted as her agent during her last years. In her 1990 book Sisters, Iakintha (Jackie) <mask> claims that the Maria Callas Foundation was created after hundreds of thousands of dollars were taken from her. In the play Master Class, <mask> is portrayed as a glamorous, commanding, larger-than-life, caustic, and funny pedagogue holding a voice master class. She retreats into recollections about the glories of her own life and career after being dismayed and impressed by the students who parade before her. The recollections play several selections of Callas singing. The R.E.M. mentions <mask>."E-Bow the Letter" was released as a single on August 27, 1996. She was featured in a Think different advertisement in 1997. Franco Zeffirelli produced and directed a movie in 2002. <mask> was played by Fanny Ardant in a fictionalized film. The last months of <mask>'s life were depicted when she lip-synced to her 1964

masks:
Maria Callas
Maria Call
Callas
Callas
Callas
Callas
Maria Callas
Callas
Callas


title: Maria Callas

texts: recording of Carmen. <mask> was awarded a Lifetime Achievement Award in 2007. She was voted the greatest Soprano of all time in the same year.The 10 Greek <mask> coin was created to commemorate the 30th anniversary of <mask>' death. The National emblem of Greece with her signature is depicted on the reverse of the coin. On the 85th anniversary of <mask>'s birth, a group of Greek and Italian officials unveiled a plaque in her honor at the Flower Hospital. The plaque reads "<mask> was born in this hospital on December 2, 1923." The halls heard the musical notes of her voice for the first time. To the great interpreter of the universal language of music. In 2012 <mask> was voted into the Hall of Fame.<mask> was named in her memory. The Minor Planet Center published the official naming citation. The documentary Maria by Callas depicts <mask>'s life and work in her own words, using her interviews, letters, and performances to tell her story. <mask> has been mentioned by a number of non-operatic singers as a great musical influence. Giselle's song "The Canary" from her debut album Not Ready to Grow Up is inspired by the relationship between <mask> and Onassis. The instrumental "Callas Went Away" was released by Enigma in 1990 and used samples of <mask>'s voice. The track has a

masks:
Callas
Maria Callas
Maria Callas
Callas
Maria Callas
Callas
Mariacallas
Callas
Callas
Callas
Callas


title: Maria Callas

texts: sample of La bohme.<mask> in Concert was presented in the United States, Puerto Rico, Mexico, and Europe. The statue of <mask> at the base of the Acropolis in Athens was ridiculed in cartoons and generated a social media storm. Unless otherwise stated, all recordings are in mono. Live performances can be found on multiple labels. Warner Classics released the Maria Callas Remastered Edition, consisting of her complete studio recordings totaling 39 albums in a boxed set. Vittorio Gui conducted a live performance of Verdi, Nabucco, in December 1949. <mask> sings Verdi's original high D flat in her 1951 San Carlo performance.This was her only performance of the complete opera, as she never appeared on stage. Verdi, Un ballo in maschera, conducted by Antonino Votto, studio recording for EMI, September 1956. Cherubini, Médée, was recorded in the studio in September 1957 for Ricordi. In this performance, <mask> Rescigno. It is her only performance of the role and her only performance of the complete opera.The recitatives were added after Bizet's death. <mask>'s performance caused Harold C. Schonberg to wonder if he should have sung a different type of role. The studio recording of "Tosca" was done in December 1964. The studio recording for EMI was conducted byNicola Rescigno.

masks: Callas Callas Callas CallasNicola Callas


title: Maria Callas

texts: The Greek Years is a book about the Unknown <mask>. The 14th issue of the opera biography series was published by Amadeus Press. Seletsky wrote "The Performance Practice of <mask>as: Interpretation and Instinct" in The Opera Quarterly.587–603. "Callas at EMI: Remastering and Perception", "A Callas Recording Update", and "A Callas Recording Update...updated" were written by Seletsky. pp. 243–265; 21/2 2005; pp. 389–389; 21/3, pp. There was a count of                             Maria: Callas Remembered was written by Stancioff. An intimate portrait of the private callas in New York.The Maria Callas Museum has public domain music

masks:
Callas
Maria Call


title: Bob McGrory

texts: <mask> was a Scottish footballer who played in the Football League for Burnley and was later a manager. <mask> played for Dumbarton before moving to England. In May 1921, after only three appearances for the Clarets, he signed for the Potters City. He became an indispensable part of Tom Mather's first team and was made club captain. He was a player for 15 seasons and did not score a goal. In his first season in charge, he guided the team to a 4th place finish. World War II disrupted what could have been a successful spell forStoke, but in the first season after the war they made their first real attempt to win the First Division, but an ongoing dispute with Stanley Matthews saw him leave for Blackpool just before the end of the season.<mask> ended his association with the club in 1952. He left Merthyr Tydfil after one season due to ill health and died a year later. <mask> began his career as an apprenticeship joiner on a shipyard. He only played boys brigade football before signing for Dumbarton in 1914. He missed only a dozen of the possible224 Scottish Football League games over the course of six seasons with the Sons and began to attract interest from south of the border. He made three appearances for the Clarets in the 1920-21 season but failed to become a regular. He joined the company on April 23, 1921.<mask> didn't like the look of the city so he didn't join. He lived in Stoke-on-Trent for 31 years, regardless of whether this was true or not. <mask> was described as'stout-hearted' and played with 'an absence of flurry' no matter what the situation was. He gained the reputation as a fearless man-marker, and if 'dour' described McGrory's approach on the field, it aptly summed

masks:
Robert Gerald McGrory
McGrory
McGrory
McGrory
McGrory
McGrory


title: Bob McGrory

texts: up the non-nonsense Scot's personality off it. After a poor start at Hull City, with <mask> a major influence at the back, the team lost only two of their next 27 matches. In 1921–22, the run allowed the team to get promoted to the First Division. <mask> was one of the few players who coped with the top-flight as they were demoted back to the Second Division.He did not lose his position as club captain for ten years. The Third Division North title was won by <mask>'s drive. He played 101 league games in a row. Billy Spencer, McGrory's long-time full-back partner, replaced him in the first team during the 1932–33 title winning season. In the second half of the season, despite <mask>'s absence, the Potters picked up more points than any other team. <mask> appeared in all 42 league matches at the age of 41 when he was promoted to assistant manager in 1934. <mask> accepted the job that was offered to him by the chairman after the manager of the club left.<mask>'s club record for appearances would last for 24 years. <mask>'s managerial style was abrasive, unlike that of his predecessor. <mask> implemented a policy of blooding young talent because of the financial problems the club had in the past. The emerging Freddie Steele beat out Tommy Sale in the middle and he replaced himself with Charlie Scrimshaw. In <mask>'s first season in charge, the young players developed into one of the most exciting teams in the country and they finished fourth with 47 points. Stanley Matthews, who had become an England international and a very high-profile player, was the most well known player at the time, however tensions soon surfaced between <mask> and Matthews. <mask> took every opportunity to

masks: McGrory McGrory McGrory McGrory McGrory McGrory McGrory McGrory McGrory McGrory McGrory McGrory


title: Bob McGrory

texts: avenge the injustice of <mask> losing his place in the side to Matthews.The maximum signing-on fee was wanted by Matthews in 1937. Matthews was 21 days over the deadline to sign his contract when <mask> refused. Tensions between the pair came to a head in February of 1938 when Matthews handed in a transfer request. The directors of the club met with the fans at the King's Hall to make a decision on Matthews' future. Matthews repeated his request to leave. Matthews wrote to the local paper thanking the fans for their support and forged an uneasy truce with the management and board. When Matthews joined the club in 1947, he pledged to do his best for his hometown club.During World War II, he was the manager ofStoke and they found a number of younger players. The first attempt to win the English league title was made in 1946–47. <mask>'s feud with Matthews came back to haunt him and he was allowed to join Blackpool for $11,500. The final match of the season was againstSheffield United and they lost 2–1. <mask> ended his 31 year stay atStoke City in May 1952 after two consecutive battles to stay in the league. <mask>'s tenure lasted just one season after he was tempted out of retirement by Merthyr Tydfil, who were trying to get into the Football League. He died in Glasgow.The Manager of the Third Division North and Second Division of the Football League honours the player. Scottish football players are associated with the F.C. The players are from Britannia F.C. Merthyr Tydfil F.C. is managed by managers. The managers of the English Football League are Dumbarton F.C. The players are from Partick Thistle F.C. Football managers from the English Football League and Scottish Football

masks:
Bobby Liddle
McGrory
McGrory
McGrory
McGrory


title: Jean-Jacques Lefranc, Marquis de Pompignan

texts: The <mask> was a French man of letters and erudition, who published a considerable output of theatrical work, poems, literary criticism, and polemics. His life and career, as well as his literary and other works are noteworthy today because of their location at the very center of the French Enlightenment; and although some of the positions he took are also considered to have been formative contributions to the counter-Enlightenment tendencies that were being articulated The culture of the time, which embraced a period in which tensions that were to explode in the French Revolution five years after his death were still held in check, is the focus of the prolific volumes of literary works. As a result of his maiden speech at the Académie franaise in 1760, Lefranc became known as the "enemy of Voltaire". After his death, his library of 25,000 volumes was sold and turned into founding collections for three Toulouse institutions. He created one of the earliest and most extensive parcs  Fabriques after building a neo-classical chateau at Pompignan. Although the park has been neglected, the extensive hydrological system still functions, and the chateau is in good order today.The center of the Lefranc's landscape park was chosen as the location for the planned Bordeaux-Toulouse TGV and high-speed freight rail lines. The Lefranc family were the original landlords of the Chteau de Cayx, overlooking a bend on the Lot some 12 km northwest of Cahors. The regional Cours des Aides was located in Cahors and had a hereditary


texts: light operas that followed. The title of his reputation was "Sacrés ils sont, car personne n'y touche". Lefranc's odes on worldly subjects do not reach the same level of quality as his ode on the death of Rousseau, which achieved considerable renown. His marriage with a wealthy widow enabled him to devote himself fully to literature, and also funded his campaign for a seat in the Académie franaise, which was achieved in 1759. He made an ill-considered speech on his formal entrance into the Academie in 1760, attacking the Encyclopaedists, many of whom were in his audience and had voted for him.After attacking people in Paris, Lefranc was forced to return to his native town, where he spent the rest of his life gardening and writing poetry. Jean-Franois <mask> Harpe, who is severe enough on Lefranc in his correspondence, does his abilities full justice in his Cours littéraire, and ranks him next to JB Rousseau among French lyric poets. The works of other 18th-century poets may be studied in the Petits potes franais. His uvres are in five volumes. They were published in 2 volumes. In 1800, 1813, and 1822. In 1745, Lefranc rebuilt the manor house at Pompignan as the present Chateau de Pompignan, and over a period of thirty-five years created a very extensive landscape garden.There were ruined temples, a gothic bridge, pleasure houses, and an extensive water system for the house. The younger brother of Jean-Jaques was a favourite of the king and became the Archbishop of Vienne. Olympe <mask> is a French suffragist and

masks:
de la
de Gouges


title: Cats Falck

texts: Between November 1984 and May 1985 there was a Swedish television journalist who went missing while investigating a scandal involving the shipment of weapons from Sweden. The bodies of <mask> and Grns were found at the bottom of the canal. Reports claim that the deaths were carried out by agents from East Germany. <mask> was born in Sweden. <mask> was a reporter for Rapport at the time of her disappearance. Falck told her work-mates and her fiancée that she was going to reveal something big. Stora Journalistpriset, "The Swedish Grand Prize for Journalism", would be given to her when the story broke, she claimed.It would be weird for a journalist to not tell her superiors that she was onto something big. She would have been given more time and resources to pursue the story if she had told them. <mask> and Grns were last seen leaving the restaurant hrns Hrn at the crossing of Folkungagatan–Borgmstargatan at S. The brother of Grns worked at the restaurant. The women shared a bottle of wine. The two women left the restaurant. <mask> and Grns were going to go out with a friend of Grns.Jones fell asleep and didn't wake up until 10 PM. <mask> and Grns never arrived after she went to Cafe Opera. Journalists as well as the public were interested in the search for the women. The police in Sweden and abroad had no viable leads despite media coverage and tips from the public. The women had left the restaurant. The car that Grns's car was missing was found by the police. The police thought that the women might have left their own accord or that they had been in a car accident and ended up in the water.There was a theory that the women had met with foul play and that they had been dumped in the water. The police searched the waters in the area because of this. Their bodies were found at the bottom of the Hammarby Canal on May 29, 1985. Military divers discovered the car during an exercise. Police

masks:
Falck
Cats Falck
Falck
Falck
Falck
Falck


title: Cats Falck

texts: divers searched the area at least six times. The women were the same as when they vanished. <mask> was sitting in the driver's seat despite the car being Grns's.Both women had their seatbelts on. There have been two police investigations into the deaths of women. The Swedish police closed the case as an "accident" after working on several hypothetical theories. Several things that were never investigated were criticized by the initial investigation. The police concluded that <mask> had been practicing her driving with Grns because she had just taken her driver's license. They thought that the women lost control of the car because they drove too fast down a slope and hit a high rail. The women drowned.Grns had a broken nose, but <mask> had no broken bones or head injuries. The women had pink water in their lungs, but the water was never tested, and no reason was given as to the color. The color scrapers were found on the car but no analysis was done or the results were never noted down. There is a piece of jewelry at the harbour. Grns's mother reported that a piece of jewelry was missing. If it was the same piece of jewelry, it was never investigated. The theory of how the car ended up in the water has been discredited.The police suggest that if the car hits the rail and flips into the water, it would have to move some 500 m. The harbour is placed there because the water in the area has no currents. The car, which had broken windows, would have sunk into the muddy bottom. A blood alcohol content of 0.2 pro mille is the legal limit for driving in Sweden. The women were probably over the limit after half a bottle of wine. <mask> and Grns wore high heels. Although there is no explicit law, it is illegal to drive in high heels in Sweden.<mask> was murdered in 1997 after she came across information about illegal arms deals. The police concluded that the death was an accident despite new

masks: Falck Falck Falck Falck Falck


title: Cats Falck

texts: interviews that missed some leads. <mask>, who was employed as a reporter for the Swedish public service television news programme Rapport, was investigating a major scandal involving the Swedish company ASEA and the shipment of weapons to communist states in Eastern Europe. There is a theory that Falck had information about the Swedish company Bofors and that they sold weapons to countries with embargoes. On the 8th anniversary of the disappearance, Ulla Jones came in contact with someone who claimed to know a Spo employee who had information about the death. The man claimed that the women had drowned before being put in the water. The Swedish company ASEA was selling computers and software to the Soviet Union.<mask> was investigating the case, but many people don't think she found any sensitive information. <mask>'s work notes do not indicate that she had any unique information, according to the journalist Bo G Andersson who has written several of the articles used in this article. He personally investigated the ASEA story and found no evidence that Falck had any unique sources or information beyond what had already been publicised. Eric Skoglund, the police officer who led the initial investigation into the case, told him that if <mask> and Grns were murdered, it was not because of the smuggled gunpowder by ASEA, but because of the smuggled gunpowder by Bofor. Skoglund thought this was the case. Bofors smuggled gunpowder to Iran and Iraq during the 1980s. Bofors sold gunpowder to East Germans.Swedish weapons inspector Carl-Fredrik Algernon was responsible for monitoring all Swedish arms deals with foreign powers. Christer Ekberg, one of the highest operatives at Spo, was contacted by Algenon. Algenon told Ekberg that he had received information, but he wouldn't tell him where it came from. The facts that Algenon provided were written down in a PM, but if this is the case the PM

masks: Falck Falck Falck Falck


title: Cats Falck

texts: has gone missing. The Swedish Security Service received a letter from Germany in 1997 claiming that the former East German secret police Stasi had carried out the killings. Two retired Stasi officials and four other East German government officials were named in the letter, which was written in English. Falck was killed because he received information about a secret weapons affair between Bofors and East Germany.Carl-Fredrik Algernon, the chief investigator of the Bofors scandal, was killed in the Stockholm Metro in 1987. The letter claimed that Falck told Algenon about the weapons affair. The Swedish police took a new look at the case after the Dagens Nyheter wrote a series of articles based on the new information. The German Federal Police opened an investigation after the case received a lot of attention. A 53-year-old German citizen named "Jrgen G" was arrested in Berlin in September 2003 on suspicion of being a member of a group that carried out a number of assassinations on orders from the East German government. The suspicions against the man were related to the murders of <mask> and Lena Grns, according to an article in the German newspaper. The death squad was operated by the East German government and not Stasi as was claimed in the earlier letter, according to the article.The group entered Sweden on false passports and sought contact with <mask> in Stockholm. <mask> and Grns were allegedly poisoned at the restaurant and dumped into the canal. The man was released from custody due to lack of evidence. The German investigation was closed in 2006 An investigation by a reporter for Sveriges Radio, the Swedish public service radio broadcasting service, found that <mask> had been investigating the export of isostatic presses, which can be used in the manufacture of nuclear weapons, to Eastern Germany and the Stasi. There are also references to Carl-Fredrik Algernon Claes-Ulrik

masks:
Cats Falck
Falck
Falck
Falck


title: Adoniram Judson

texts: <mask>, Jr. was an American missionary who served in Burma for forty years. <mask> was sent from North America at the age of 25 to preach. The first Baptist association in America was formed because of his work with Luther Rice. He was preceded by James Chater and Richard Mardon, who both arrived in 1807, as well as by Felix Carey. One of the first missionaries from America to travel overseas, as well as one of the first to translate the Bible into Burmese, is remembered as the first significant missionary in the country. On August 9, 1787, <mask> was born in Massachusetts. He was born to <mask>, Jr., a minister.He graduated from the College of Rhode Island & Providence Plantations as the valedictorian of his class at the age of nineteen. He met a young man named Jacob Eames while studying at college. <mask> abandoned his faith and parents' religious instruction after developing a strong friendship with Eames. The writings of the French philosophers were embraced by <mask>. After graduating from college, <mask> opened a school and wrote a book for girls. When his friend died, his deist views were shattered. After sleeping in separate rooms at the inn, both were awoken by a clerk who told them that their neighbor had died.The shock of learning the dying neighbor's identity, and the fact that he was dead, brought back the faith of his youth, even though he was already attending the seminary. <mask> made a solemn dedication to God in the 18th century. During his last year at the school, he decided to become a missionary. The group of mission-minded students called themselves "the Brethren". America's

masks:
Adoniram Judson
Adoniram Judson
Judson
Adoniram Judson
Judson
Judson
Judson
Judson


title: Adoniram Judson

texts: first organized society was inspired by the students. Asia was the most important field in the world for missionary effort, according to <mask>. The students from the seminary appeared before the general association to ask for help.The elders voted to form the American Board of Commissioners for Foreign Missions after they were impressed by the four men's politeness. A missionary to the East was appointed by the American Board of Commissioners for Foreign Missions. Ann and <mask> were married on February 5, 1812. He was ordination the next day. He set sail on February 19 with Luther Rice, Samuel and Harriet Newell, and his wife, Ann. The <mask>s arrived in Calcutta in 1812. He did a study on the theology ofbaptism while on the ship.He came to the opinion that believer's baptism should be done as a matter of obeying the command of Jesus. He and his wife werebaptized in Calcutta by an English missionary associate of William Carey, named William Ward. The local and British authorities did not want Americans evangelizing Hindus in the area so the group of missionaries separated. They were ordered out of India by the British East India Company, who were less welcoming to American missionaries than the British. On July 13, 1813, he moved to Burma and his wife miscarried their first child on the way there. Baptists in the United States were offered the chance to serve as missionaries. Luther Rice, who had also converted, was in poor health and returned to America where his work and William Carey's urging resulted in the 1814 formation of the first national Baptist denomination in the United States for

masks: Judson Judson Judson


title: Adoniram Judson

texts: Foreign Missions.It was another difficult year for the missionaries before they reached their destination. The Serampore Baptists told <mask> that Buddhist Burma was impermeable to Christianity. After studying Latin, Greek, and Hebrew for a while, <mask> began learning to speak the Burmese language. It was due to the difference in structure between the two languages. He spent twelve hours a day studying the language. He and his wife were dedicated to understanding it. They were almost completely out of contact with any European or American.For their first three years in the country, this was the case. After four years, <mask> dared to hold a semi-public service. He wore a yellow robe to show he was a teacher of religion, but then he changed to white to show he wasn't a Buddhist. After giving up the whole attempt, he decided that no one would identify him as a foreigner even if he wore a dress. He built a traditional bamboo and thatch reception shelter on the street near his home as a meeting place for Burmese men. His first public meeting was attended by fifteen men. He thought they had come more out of curiosity than anything else.They soon seemed disinterested. Hebaptized his first convert, a 35-year-old timber worker from the hill tribes, two months later. According to the "Burma Baptist Chronicle", Maung Naw was an ethnic Mon. The natives of Rangoon were almost completely indifferent to the first attempts by the <mask>s to interest them in Jesus. <mask> and his wife were ignored by many because of their pleas to believe in a god. Their second child, Roger William <mask>, died at almost eight

masks: Judson Judson Judson Judson Adoniram Judson


title: Adoniram Judson

texts: months of age. The Grammatical Notices of the Burman Language were translated by <mask> in July of 1817.In the early 19th century, <mask> began public evangelization sitting by the roadside. Everyone is thirsty for knowledge. The first believer was born in 1819. In order to get freedom for the missionaries to preach and teach throughout the country, as well as to remove the death penalty for those who changed religion, they tried to petition the Emperor of the country. After reading a few lines, Bagyidaw threw one of their tracts to the ground. After returning to Rangoon, the missionaries met with the church to figure out what to do next. The progress of Christianity would be slow because of the risk of death in the Empire.It took 12 years for <mask> to make 18 converts. There was a lot to encourage him. He began to translate the Bible after he wrote a grammar of the language that is still used today. Ann was more proficient in the spoken language of the people than her husband was. She befriended the wife of the viceroy quickly. The first printed materials in Burmese were produced by George H. Hough, who arrived from America with his wife in 1817, and included 800 copies of <mask>'s translation of the Gospel of Matthew. The church in Rangoon was founded by thelogger and fisherman, the poor and the rich, according to the chronicler of the church.One traveled the path to Christ in three days while the other took two years. They were his for the entire time they were alive. The leader of a group of intellectuals who were dissatisfied with Buddhism was one of the early disciples. His mind was

masks: Judson Judson Judson Judson


title: Adoniram Judson

texts: challenged by the preaching of <mask>, who was once a college skeptic himself. He told him that he was ready to believe in God, Jesus Christ, and the atonement. He was asked if he believed what he had read in Matthew that Jesus died on the cross. He shook his head and said, "Ah, you have caught me now."I think he died, but I can't believe he died on the cross. He came back and said that he had been trusting in his own reason and not the word of God. The crucifixion of Christ is contained in the bible. The essence of <mask>'s preaching was a combination of conviction of the truth with the rationality of the Christian faith, a firm belief in the authority of the Bible, and a determination to make Christianity relevant to the mind without violating the integrity of Christian truth, or as he put it, " Ten years after his arrival, the membership of the little church had grown to 18 and he had finished the first draft of his translation of the New Testament. The First Anglo-Burmese War of 1824 was triggered by two irreconcilable hungers. Britain absorbed two Burmese provinces into her India holdings to broaden her trade routes to East Asia.The Baptists' work was disrupted by the war. Americans were confused with the enemy and suspected of espionage. During the war between the United Kingdom and Burma, <mask> was imprisoned for 17 months. They were violently arrested. <mask> was thrown to the ground in front of his wife by the officers who burst into the home and dragged him off to the death prison. A small group of surviving Western prisoners were marched overland, barefoot and sick for six more months


title: Adoniram Judson

texts: in a primitive village. All but one of the British prisoners-of-war died.The sufferings and brutalities of those 20 long months and days in prison, half-starved, iron-fettered, and sometimes trussed and suspended by his mangled feet with only head and shoulders touching the ground is described in detail by his wife. Ann was a model of courage. Heedless to all threats against herself, left alone as the only Western woman in an absolute and anti-Christian monarchy at war with the West, she rushed from office to office in desperate attempts to get her husband to see her baby. The mission should have been celebrated at the end of the war. As soon as her husband was released by the Burmese, Ann wrote that the terms of the treaty which ceded the provinces to the British might provide an opportunity to expand the witness of the mission into unreached parts of the country. On October 24, 1826, Ann died of disease, death, stress and loneliness at the age of 21. Six months later, their third child died.Her husband was exploring the ceded province of Tenasserim. It was in the wild hills of Tenasserim that the first signs of rapid growth in Protestant Christianity began. After the end of the war, Baptist membership doubled on average every eight years. The collapse of Burma's armies freed him from prison, but he wasn't completely free. After the surrender, <mask> was pressed into service as a translator for the peace negotiations. Some have used <mask>'s acceptance of a role in the treaty negotiations as evidence of his involvement in imperialism, but he first acted on behalf of the defeated Burmese. There

masks: Judson Judson


title: Adoniram Judson

texts: were three significant factors that contributed to the rise of the Burmese Baptist churches.Most of the growth was in British-ruled territory. The missionaries were American after the Anglo-Burmese war. Religion was the most telling factor. The majority of the growth came from animist tribes. One of the original converts, Ko-Thah-a, was the first Burmese pastor. The apostle of that first numerically significant evangelistic breakthrough was not Burman, British, or American, but Karen. Ko Tha Byu was a Karen.The three missionary pioneers to the Karen people are George Boardman and his wife, Sarah, and <mask> <mask>. The Karen people were a primitive, hunted minority group of ancient Tibeto-Burman ancestry scattered in the forests and jungles of the Salween River and in the hills along the southeast coast. When he freed a debt-slave from one of his early converts, <mask> was the first missionary to make contact with them. The freed slave, Ko Tha Byu, was an uneducated, surly man who was reputed to be a thief, but also a murderer who admitted killing at least 30 men, but could not remember how many more. The former Karen bandit, whose rough, undisciplined genius, energy and zeal for Christ caught the attention of the missionaries, was sent south with a new missionary couple, the Boardmans. When Ko Tha Byu set off into the jungle to preach to his tribe, he was already a believer. They were prepared for his preaching.Their ancient oracle traditions contained some startling echoes of the Old Testament, and some scholars theorize a link with Jewish communities before their migrations from western China

masks: Adoniram Judson Judson


title: Adoniram Judson

texts: into Burma. The core of what they called their "Tradition of the Elders" was a belief in an un changeable, eternal, all-powerful God, creator of heaven and earth, of man, and of woman formed from a rib taken from the man. They believed that some day a Great Messiah would come to the rescue of humanity. They were expecting a prophecy that white foreigners would bring them a sacred roll. While the Boardmans and Ko Tha Byu were penetrating the jungles to the south, <mask> shook off a paralyzing year-long siege of depression that overcame him after the death of his wife and set out alone on long canoe trips up the Salween River into the tiger-infested jungles to evangelize His lifelong goal was to translate the entire Bible into Burmese. He had been working on it for 24 years when he finished it.It was published in 1835. He married Sarah Hall Boardman in April of that year. Five of their children survived to adulthood. Sarah's health began to fail and she was advised to return to America. Sarah died on her way to St.Helena. He was greeted as a celebrity and toured the eastern seaboard raising the profile of and money for missionary activity. Due to his illness, his public addresses were made by speaking to an assistant who would then speak to the audience.On June 2, 1846, <mask> married for the third time, to writer Emily Chubbuck, who he had commissioned to write memoirs for Sarah Hall Boardman. A daughter was born in 1847. The first single women as missionaries were welcomed by <mask>. Such appointments were previously prevented by a general rule of the mission. It was probably a good rule, but we


title: Adoniram Judson

texts: should be able to make exceptions. The first two exceptions were exceptional. They arrived in the late 18th century.She died of a disease within two years of working alone with Karen Evangelists in the malaria-ridden Salween River valley. After five years of mission to the Ojibway Indians in Michigan, Eleanor Macomber joined the mission in Burma. Alone, with the help of Karen evangelistic assistants, she planted a church in a remote Karen village and nurtured it to the point where it could be placed under the care of an ordinary missionary. She died of jungle disease after five years there. Doctors prescribed a sea voyage for <mask> after he developed a serious lung disease. He died on a ship in the Bay of Bengal on April 12, 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 800-381-0266 There is a memorial on Burial Hill in Massachusetts.Before he died, he set a goal of founding a church with 100 members. He left the translated Bible, 100 churches, and over 8,000 believers by the time of his death. His influence has led to the third largest number of Baptists in the world, behind the


title: Adoniram Judson

texts: United States and India. The majority of people who are adherents are Karen, Kachin and Zomi People. The English-Burmese half of the dictionary was completed by E. A. Steven. In the last two centuries, every dictionary and grammar written in the country has been based on one created by <mask>. <mask> became a symbol of the preeminence of Bible translation for Protestant missionaries.A new translation is not necessary according to the prime minister in the 1950s. It is clear and understandable that <mask>'s captures the language and idiom of Burmese. <mask>'s translation of the Bible is the most popular version in the country. "Judson Day" is a celebration of his arrival as a missionary. In 1920 Judson College, named in his honor, merged into Rangoon College, which is now called Yangon University. The liberal arts college that was separated from the Northern Baptist Theological Seminary in Lombard, Illinois, became the American University named in his honor. The American Judson College became Judson University in 2007, and now has a campus in Illinois.The founding of the first national Baptist organization in the United States and subsequently to all American Baptist associations was the result of the change to the validity of believer's baptism by <mask>. Many Americans became or support Christian missionaries because of Ann's letters. At least 36 Baptist churches in the United States are named after the man. The dormitory at Maranatha Baptist University is named after his wife Ann, and the college in Alabama is named after him. The Christian Union ministry center is named after him at Brown

masks: Judson Judson Judson Judson Judson


title: Adoniram Judson

texts: University. His alma mater named their annual award after him. The Episcopal Church (USA) celebrates a feast day for <mask> on April 12.The former Governor of Ohio was named after. Victoria Lynn Cominskie and her husband, the Free Will Baptist minister, named their first child after him. A Burmese-English dictionary (English-Burmese portion completed posthumously), as well as portions published before the entire text was translated, can be found here. There are references in a Burmese-English dictionary. "The Legacy of <mask> <mask>" is the standard biography of <mask> <mask>. Bradshaw is online at the International Bulletin of Missionary Research. The life and work of <mask> <mask>.The year 1992. Duessing on the internet. <mask> <mask> was an appreciation of the Pioneer American Missionary. B & H is an academic. James and Helen. <mask> <mask> and the creation of a missionary discourse. Edward was the author of the Journal of Burma Studies 7.1.The life of <mask> <mask> is online. Stephen Neill. A History of Christian Missions was published in 1986. The year 1853. The Life and Labors of the Rev. is a memoir. Robert, <mask> <mask> Torbet. 1955.Bill J., editor, Venture of Faith: The Story of the American Baptist Missionary Society. The Encyclopedia of Southern Baptists was edited by Norman W. Cox. The memoir of Mrs. Ann H<mask> was written by Francis Mason. The year 1843. The Karen Apostle, or, Memoir of Ko Tha Byu, the First Karen convert, was written by H. P. Cochrane. Sarah Boardman <mask> was a member of the American mission. They are in New York.A memorial church to <mask> and <mask> can be

masks:
Judson
Adoniram
Judson
Adoniram
Judson
Adoniram
Judson
Adoniram
Judson
Adoniram
Judson
Adoniram
Judson
Adoniram
Judson
. Judson
Judson
Adoniram
Ann Judson


title: Adoniram Judson

texts: found on the internet. A<mask> is a D.D. "Come, Holy Spirit, Dove Divine" was sung by Edward. The life of <mask> <mask>. Robert C. Stevenson revised and enlarged <mask>'s Burmese-English dictionary in 1893. Robert C. Stevenson revised and edited the dictionary. The American Baptist Mission Press was published in 1921.Some of the people who died at sea were Baptist ministers from the United States and Brown University

masks:
. Judson
Adoniram
Judson
Judson


title: Fiona Watt

texts: <mask> is a British scientist who is known for her contributions to the field of stem cell biology. She highlighted key characteristics of stem cells and their environment when the field was in its infancy. She is the first woman to lead the Medical Research Council since it was founded in 1913. She was appointed as the new Director of the European Molecular Biology Organization on July 13, 2021. In December 2020 a whistleblowing investigation was launched by UK Research and Innovation to investigate claims that <mask> has acted in a bully manner. The investigation concluded there was a need to take action against <mask> and it was done by an independent organisation. The investigation findings were accepted by UKRI and appropriate action was taken.<mask> has apologized for her behavior. <mask> remained in post until her current term as MRC Executive Chair ended in early 2022. She became the director of the European Molecular Biology Organization. <mask> was required to hand over management of her existing grants to her colleagues as a result of the outcome of the whistle blowing investigation. <mask> was born on March 28, 1956 in Edinburgh, Scotland. Her father combined his clinical work with an active research programme. She attributes her commitment to public service to her Presbyterian upbringing, as her family were members of the Church of Scotland.Wendy died in 1982. She wanted to be a scientist when she was young. She is quoted as saying, "I think that being a scientist is in a sense hardwired, and there are people who just couldn't conceive of being anything else." <mask> received her bachelor's degree in Natural Sciences in 1976, and her master's degree in 1979 from the University of Cambridge. She obtained her Doctor of Philosophy degree from the University of Oxford in 1979 under the supervision of Henry Harris. <mask> worked for two years at the Massachusetts Institute of Technology with Dr. Howard Green. Bruce and Elaine were to remain lifelong friends.After returning to the UK, she founded her first lab at the Kennedy Institute of rhythym in London. She was the Head of the Keratinocyte Laboratory at the Cancer Research UK London Research Institute. She helped to establish the Cambridge Cancer Research UK Institute and the Wellcome Trust

masks: Watt Watt Watt Watt Watt Watt Watt Watt Watt


title: Fiona Watt

texts: Centre for Stem Cell Research in Cambridge. She was the first Herchel Smith Professor of Genetics at Cambridge University. The Centre for Stem Cells and Regenerative Medicine (CSCRM) was established at King's College London in 2012 to promote collaboration between scientists and clinicians in order to progress the potential of stem cells into clinical reality for patients. She has created a research environment where research can flourish by paying equal attention to architecture, infrastructure and recruitment. Research <mask> has been researching how the outer covering of the skin, the epidermis, is maintained through self-renewal of stem cells and terminal differentiation of their progeny.She pioneered the identification of stem cell populations using cultured human epidermis and genetically modified mice. She identified the first marker that could be used to identify stem cells in a wide range of tissues. Her original concept that the ECM is a key component of the stem cell niche has been confirmed by others. Her lab's research has shown that the interplay between diverse and intrinsic signals is central to determining cell fate, identified different signalling pathways and elucidated the nature of the switch between stem cells and differentiated cells. The existence of stem cell subpopulations that had not been identified previously was demonstrated by a pioneer of single cell expression profiling. She has opened the way for new strategies to treat scarring and fibrosis by showing the existence of functionally distinct skin fibroblasts. New insights into the roles played by differentiated cells and immune cells have been gained from the work of <mask>.There are new mechanisms by which integrins contribute to cancer. The first Wnt-inhibitory mutations that stimulates tumour formation was identified by her. Other solid tumours have confirmed the generality of her observations. She has become more interested in the relationship between genetics and cellular behavior. Leadership <mask> has excelled in many areas of academic life. As a specialist adviser to the House of Lords Science and Technology Committee, she played a key role in promoting UK government investment in stem cell research. She is a past-president of both the British Society for Cell

masks:
Watt
Fiona Watt
Watt


title: Fiona Watt

texts: Biology and the International Society for Stem Cell Research.She served as Editor-in-Chief of Journal of Cell Science for 20 years and then as a founding deputy editor of eLife. <mask> is an advocate for women in science. She looked at how personal lives affect careers in a series of articles and interviews with women scientists. She collaborated with the New York Stem Cell Foundation to define actionable strategies to advance women in science, engineering, and medicine. She frequently appears in the media and is active in public engagement. At the Medical Research Council, she launched a highly successful programme to enable full-time clinicians to participate in research, worked with and engaged Black and Minority Ethnic PhD students to identify new ways to support their academic careers, and developed new initiatives in multi-morbidity, adolescent mental health and <mask> spearheaded efforts to fund coronaviruses research, helping to ensure that the first awards from UKRI/DHSC were made just as the scale of the pandemic was becoming apparent.<mask> oversaw the decision to close the Mammalian Genetics Unit. Over 150 researchers and leading geneticists decried the decision. In light of scientific advances to create more complex clinically-related mouse models, it was necessary to focus on new investments in targeted programmes that are integrated with human disease modelling. The Director of the National Mouse Genetics Network is Professor <mask> <mask> has received.She is a member of the European Molecular Biology Organization, a Fellow of the Academy of Medical Sciences, and a member of the Royal Society. She was a member of the American Academy of Arts and Sciences and the Hunterian Society. Doctor Honoris Causa is from the Universidad Autonoma de Madrid. She won the American Society for Cell Biology (ASCB) Women in Cell Biology Senior Award in 2008 and the FEBS/EMBO Women in Science Award in 2016 She was a member of the Society for Investigative Dermatology and the British Pharmacological Society. She is an associate of the National Academy of Sciences. She is a member of several advisory boards.She won the Suffrage Science award. The University of Oxford and the National Academy of Sciences have links to Cancer Research UK and the Cambridge Research

masks:
Watt
Watt
Watt
Owen SansoFiona
Watt


title: Pierre Vallières

texts: <mask> was an intellectual leader of the Front de libération du Québec and author of Ngres blancs d'Amérique. <mask> was born in Montreal, Quebec into a French-Canadian family. One of the most deprived areas of the Montreal metropolitan area is where Vallires grew up. He joined the Franciscan Order. After a couple of years, I left. He worked in a bookstore before becoming a journalist and later a director. He went to work for La Presse.FLQ and White Niggers of America had been working for La Presse for two years when he was fired for taking part in "subversive activities", having become a left-wing political activist at a young age. The first issue of Révolution québécoise magazine was published in 1964. In July 1965, the "Fourth Wave" of the Front de libération du Québec was combined with the "Third Wave" of the Popular Liberation Movement. The group's newspaper was published by Vallires and he was involved in militant activities. The Royal Canadian Mounted Police arrested many FLQ members after the FLQ's bombing campaign. A hunger strike was held at the United Nations headquarters in New York City to protest what was considered to be Quebec's plight in Canada. After being extradited to Canada from New York, he was immediately arrested in connection with the robbery of a Montreal cinema.The explosion of a bomb that was delivered to the H.B. resulted in the death of a 64-year-old secretary. Jean Corbo, a 16-year-old member of the FLQ, died in the explosion of the bomb he placed himself at the factory in Montreal on July 14, 1966. After receiving a life sentence for the deaths, the conviction was overturned by the court of appeal and he was sentenced to 30 months in prison. He was paroled on May 26, 1970 after 44 months in prison. The most famous of which was Ngres blancs d'Amérique, translated into English as White Niggers

masks:
Pierre Vallires
Pierre Vallires


title: Pierre Vallières

texts: of America, was written during his four-month imprisonment in New York. The book compared the historical situation of French-Canadians to that of African-Americans at the height of their civil rights struggles, where Vallires argued the parallels between the two peoples as exploited lower class. <mask> was murdered by the FLQ during the October Crisis.On 4 October 1972, under a plea bargain agreement, Vallires received a one-year suspended sentence on three charges of counselling kidnapping for political purposes, after he renounced violence as a means to achieve Quebec independence. He went back to being a journalist, writer, and publisher. On December 23, 1998, Vallires died of heart failure at the Jacques-Viger Hospital in Montreal. Ngres blancs d'Amérique is an autobiographie. In 1967, Parti pris was translated as White Niggers of America: The Precocious Autobiography of a Quebec Terrorist by Joan Pinkham. The L'urgence de choisir was in Paris. Montréal Parti-Pris was translated as Choose!, New Press, 1972They were with Charles Gagnon. S.l. 1971 Un Québec impossible is the front de libération du Québec. ditions Québec/Amérique was published in 1977. ditions Québec/Amérique was translated as The Assassination of <mask>e. They had René Lévesque with them. ditions Québec-Amérique was published in 1978.La liberté en friche was written in Montréal. ditions Québec/Amérique was published in 1979. Serge Proulx. The politique d'un "ngre blanc" was written in 1982. Noces obscures was written in Montréal, Québec. L'Hexagone was published in 1986 in Montréal. Paroles d'un ngre blanc was published in 1994.Jacques Jourdain and Mélanie Mailhot were with them. The film Freedom Outraged Vallires is a documentary by the National Film Board of Canada. A 16-mm medium length. A brief essay on The Execution of <mask>e was written by

masks:
Pierre Laporte
Pierre Laport
Pierre Laport


title: Yoshiyahu Yosef Pinto

texts: <mask> is an Israeli-Moroccan Orthodox rabbi who leads a global organization called Mosdot Shuva Israel. He is based in Ashdod and New York. He was named one of the ten wealthiest rabbis in Israel by Globes. He bribed a high-ranking Israeli police officer as part of a series of legal issues. He was sentenced on May 12, 2015, to one year in prison and to pay a fine. He began serving his sentence in February of 2016 He became the Chief Rabbi of Morocco in 2019.<mask> <mask> <mask> was born in Israel. He is the great-grandson of Chaim <mask> on his father's side and the great-grandson of Rabbi Yisrael Abuhatzeira on his mother's side. <mask> studied under Ashkenazi and Hassidic rabbis. <mask> was influenced by Satmar Hassidism. <mask> does not know English. <mask> moved to New York City for medical treatment. He ran the Shuva Israel yeshiva in New York City or Ashdod in the past few years.He settled in Morocco after his release from prison. <mask> is a religious leader. He is a Kabbalist and had a following as a spiritual leader. He is said to be the descendant of rabbinical dynasties that have the ability to work miracles. <mask> has many followers from the Israeli expatriate community in the U.S. and has been described as a rabbi to the rich and famous. <mask> founded Shuva Israel when he was in his 20s. He is the founder of an organization that includes two yeshivas in Ashkelon, one in Kiryat Malachi, three in Ashdod, and one in Rishon LeZion, with a total of 500 students to be rabbinical students in training.There are two schools for girls in Ashdod and a training school in Ashkelon. Money for living expenses to 180 widowed women is provided by one of the Israeli locations. A charitable organization that provides food for Israeli families in need is sponsored by several yeshivas or religious schools located in the United States and Israel. <mask>'s center in Ashod has four synagogues that serve more than 1,200 worshippers, a yeshiva with over 300 full-time students, and a soup kitchen. <mask> has established a network of yeshivas in

masks: Pinto Yoshiyahu Yosef Pinto Pinto Pinto Pinto Pinto Pinto Pinto Pinto Pinto Pinto Pinto