Article, History, Music, Poetry

IS GREAT MUSIC THE WORK OF DIVINITY OR COMPOSERS

Many great European musicians believed that they were merely copyists for a Divine Spirit. Arguably the greatest musician of all, Ludwig van Beethoven refused to take credit for his music. For those of a mystical frame of mind, there is much to ponder on. How do you describe something you cannot see? How did Beethoven create the most beautiful orchestrations of his music whilst unable to hear?

Beethoven’s passing in 1827 is threaded with mystery. As the Reaper embraced this shabbily dressed irascible genius there broke over the Viennese night the most violent and terrifying electrical storm. The city cowered as thunder and lightning split the heavens. Beethoven, lying semi-conscious on his bed, was heard to murmur, ‘I shall hear in Heaven’. The great master raised his arm as though to salute and departed. As his soul departed, the storm immediately began to abate.

Great Europeans

His funeral cortège brought Vienna to a halt. Schools and businesses closed and upwards of 30,000 people lined the streets to pay homage. Among the throngs was the great Franz Schubert who was to follow the great master to the grave just 12-months later.

The renowned Irish flautist James Galway is adamant that the edge to his virtuosity is sharpened by God’s guidance. When discussing his ambitions Galway agreed that they were limited: ‘They are merely that I should leave good memories behind me; that people should feel when they recall my name, that in some odd inexplicable way, they have at some time heard the voice of the Infinite through me.’

Mozart

Ludwig van Beethoven was just twelve years old when his virtuosity inspired his kindly mentor, Christian Gottlob Neefe, to present the talented child to the Elector of Cologne, Maximilian Franz: ‘He is, I believe, touched with genius.’

‘Quite a word to use of one so young,’ said the Elector: ‘You must not let this go to your head, young man,’ he added looking directly at Ludwig.

Ludwig spoke in a firm, clear voice: ‘Sir. I have a gift that people say comes from God. I believe that to be true.’

The tremendous storm that consumed Vienna at the time of Beethoven’s spirit readying itself to leave his life-form may be dismissed as coincidence. Yet a similar freak of Nature occurred as Wolfgang Amadeus Mozart’s hearse trundled to his final resting place:

‘The hearse, with the few mourners, then proceeded to St Mark’s churchyard, but before the burial place was reached a terrific storm of snow and rain burst overhead, and with one accord the mourners turned back and left the hearse to proceed alone.

And thus the master, of whom it was prophesied that he would cause all others (composers) to be forgotten, was left to be buried by the hands of strangers in a pauper’s grave, without even a stone to mark where he was laid,’ wrote Francis Jameson Rowbotham.

When Beethoven arrived in Vienna for the first time, he looked forward to meeting yet another great musician; Wolfgang Mozart. Music, he thought, the highest art, coming directly from God. How many men have such a calling?

‘Mozart makes you believe in God, much more than going to Church, because it cannot be by chance that such a phenomenon arrives into this world and then passes after thirty-six years, leaving behind such an unbounded number of unparalleled masterpieces,’ says Sir Georg Solti, Classical Conductor.

‘It is already a great thing if the main ideas and general outline of work come without any racking of brains, as the result of that supernatural and inexplicable the force we call inspiration.’ ~ Pyotr Ilyich Tchaikovsky.

‘The aim and final end of all music should be none other than the glory of God and the refreshment of the soul.’  ~ Johann Sebastian Bach 21 III 1685 – 28 VII 1750.

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‘Supreme serenity still remains the Ideal of great Art. The shapes and transitory forms of life are but stages toward this Ideal, which Christ’s religion illuminates with His divine light. I did not compose my work as one might put on a church vestment. Rather it sprung from the truly fervent faith of my heart, such as I have felt it since my childhood.’ ~ Franz Liszt. Artur Schnabel

 Described Franz Schubert as ‘the composer nearest to God.’ Beethoven evidently agreed: ‘Truly, the spark of Divine genius resides in this Schubert.’

Half an hour before he died he (Dinu Lipatti) was listening to records of Beethoven’s F minor Quartet. To his wife, he said: ‘You see, it is not enough to be a great composer. To write music like that you must be a chosen instrument of God.’

‘It seems as though God gave me a cheerful heart, so I’m sure He’ll forgive me if I serve Him cheerfully. Whenever I think of God I can only conceive of Him as a being infinitely great and infinitely good. This last quality of the divine nature inspires me with such confidence and joy that I could have written even a Miserere in tempo allegro.’ Joseph Haydn

Giacomo Puccini: ‘God touched me with his finger and said ‘write for the theatre, mind you – only for the theatre’… and I’ve been faithful to this supreme command.’

On composing Messiah, (Georg) Handel is said to have remarked (1741): ‘I did think I did see all Heaven before me and the great God Himself.’ On another occasion, Handel whilst writing the Messiah, when speaking to a servant at the hotel in which he was staying: ‘Once he had finished the hallelujah chorus he spoke to the servant, ‘the Lord spoke to me and hath said ‘Twas not I who wrote this but on accord of Him. Whether I was in my body or out of my body as I wrote it I know not. God knows.’

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Richard Wagner, the doyen of the anti-Globalist (Bolshevik) worldwide community: ‘I am being used as an instrument for something higher than my own warrants. I am in the hands of the Immortal Genius I serve for the span of my life and his intention that I complete only what I can achieve.’

Wagner on another occasion: ‘An atheistic upbringing is fatal. No atheist has ever created anything of great and lasting value.’

‘How do you think of those lovely melodies?’ asked a female admirer of Charles Gounod: The master replied: ‘God, Madame, sends me down some of his angels and they whisper sweet melodies in my ear.’

Brahms

Johannes Brahms, ‘I know several young composers who are atheists. I have read their scores, and I assure you, Joseph, that they are doomed to speedy oblivion because they are utterly lacking in inspiration. Their works are purely cerebral. No atheist has ever been or ever will be a great composer.’

Walter Legge, the impresario was later to remark of Dinu Lipatti: ‘by the same light we may say it is not enough to be a great pianist: To play as Dinu Lipatti played you must be a chosen instrument of God. God lent the world His chosen instrument that we called Dini Lipatti for too brief a space.’

Arturo Benedetti Michelangeli, the renowned Italian Classical Pianist: ‘I’m nothing but a priest of god’s music.’

‘Life was a much-uncomplicated thing to him. Instead of turmoil or neuroticism or dark brooding, we encounter simple and sincere piety, such as only the deeply religious man is capable of,’ was a writer’s observation of Antonin Dvorak Czech composer.

‘That (Anton) Bruckner felt inspired by God is to state the obvious. In addition to the vocal religious works, he dedicated his 9th Symphony ‘To our Beloved God’ (although it’s said that he modestly appended ‘if He’ll accept it’).

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Anton Bruckner did make it clear that he also considered his view of the Day of Judgement as part of his perspective.

‘They want me to write differently. Certainly, I could, but I must not. God has chosen me from thousands and given me, of all people, this talent. It is to Him that I must give account. How then would I stand there before Almighty God, if I followed the others and not Him?’ – Anton Bruckner.

Mireille Mathieu, the vestal virgin of popular music, throughout her life believed she worked with Our Lord. Her motto was, ‘My God and my Work’.

Amália Rodrigues

Amalia Rodriguez was an international singing sensation in the mid-20th Century: ‘Even if He doesn’t exist, I believe in Him.’

Her words were echoed more or less by many others, including Placido Domingo, the greatest of contemporary tenors: ‘I thank God, music and the public for making this possible.’

‘The greatest classical Spanish guitarist of all time, Andres Segovia had said of (John) Williams: ‘A Prince of the Guitar has arrived in the musical world. God has laid a finger on his brow, and it will not be long before his name becomes a byword in England and abroad, thus contributing to the spiritual domain of his race.’

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When asked where his talent came from, Herbert von Karajan, the Austrian-German musician and conductor was forthright: ‘I was given special tools, special talents. I never had any doubts that my talents came from the Creator. My duty to Him is to exploit them to the fullest. My ambition is to make music as perfectly as possible and reach as many people as possible.

You don’t need faith to believe in God, because there are plenty of signs available of His existence. Mozart wrote a symphony as a child. Heredity cannot account for this. There is only one explanation: the Creator chooses people as His instruments to produce some beauty in a world that is all too ugly.

‘We see and hear him now (von Karajan) at the height of his powers, superbly able to keep a Bruckner symphony spinning not like a top but rather like some celestial sphere, massive, glowing, and infused with cosmic power,’ wrote Denis Stevens describing the final von Karajan recording of Bruckner’s 7th Symphony in April 1989. The maestro of maestros passed peacefully on three months later.

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MICHAEL WALSH is a journalist, broadcaster and the author of RISE OF THE SUN WEELEUROPE ARISE TROTSKY’S WHITE NEGROESMEGACAUST,  DEATH OF A CITYWITNESS TO HISTORY, THE BUSINESS BOOSTERTHE FIFTH COLUMN VOLUME I and IIFOR THOSE WHO CANNOT SPEAKIMMORTAL BELOVEDTHE ALL LIES INVASIONINSPIRE A NATION Volume IINSPIRE A NATION Volume II , SLAUGHTER OF A DYNASTY , REICH AND WRONG,  THE RED BRIGANDSRANSACKING THE REICH ,    SCULPTURES OF THE THIRD RIECH: ARNO BREKER AND REICH SCULPTORS  SCULPTURES OF THE THIRD RIECH:  JOSEF THORAK AND REICH SCULPTORS ,   The Exiled Duke Romanov Who Turned Desert Into Paradise , THE DOVETAILS and other book titles. These illustrated best-selling books are essential for the libraries of informed readers.

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Article, History

THE LAST WALTZ FOR EUROPE

It was the last waltz for Europe and the last dance for humanity. Had one of Europe’s oldest, most successful and popular royal houses not been destroyed and consumed by New York-based banking houses the world would likely have been a far better place today.
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Instead, in 1917, American-Jewish banker Jacob Schiff backed by U.S. and European governments, in alliance with scores of supra-corporations, financed insurgents like Vladimir Lenin, Leon Trotsky, Jacob Sverdlov, who by violence toppled the legitimate government and royal dynasty of the world’s largest country.
The same globalists tried to seize war-ravaged Germany in 1918 – 1920 but were beaten off. The Russian Revolution was no more a revolution that was the later seizure and toppling of nations like Syria, Libya, and Iraq by the same messianic globalist tribe.

As consequence, the world’s largest gold reserves and mineral and material wealth harnessed to the millions assigned to the Gulag slave camps fell into the hands of Bolsheviks (U.S based globalists).

Imperial Germany, the British Empire, Europe’s African colonies would soon see their wealth seized and controlled by a small cabal of corporate banking dynasties based largely in the United States.

Those who attended Europe’s last great ball could never in their worst nightmare foresee their fate and that of the rest of the world. The entire Imperial Russian house, a European dynasty was about to be slaughtered or exiled and 70 millions of Russia’s 186 million Christian population martyred. The hangover from globalism would plunge the world into a century that, according to R. J. Rummel, Power, Genocide and Mass Murder, Journal of Peace Research, would result in the slaughter of 170 million people.

On February 11 – 13, 1903 the Winter Palace in St Petersburg hosted the grand costume ball.  It was the last ball of Imperial Russia. This grand ball, known as The Ball of 1903 was thought to be the grandest in the reign of the 290-year old Romanov dynasty.

The central events of the evenings were concerts at the Hermitage Theatre with scenes from the Boris Godunov opera by Modest Mussorgsky. The main roles were performed by Feodor Chaliapin and Medea Figner. Also playing to packed houses was the Minkus ballet La Bayadere and Pyotr Ilyich Tchaikovsky’s Swan Lake by Marius Petipa, with the assistance of the legendary Anna Pavlova.

Advances in photography had made it possible to record to the finest detail folk costumes, clothes, hats, gloves, and shoes. By such means, we are able to identify individual items and sets belonging to participants of masquerade.

Nicholas II and Alexandra Feodorovna, Costume Ball 1903 | Ник
The last emperor of Russia Nicolas II (pictured) was robed in the golden brocade of 17th-century Russian tsar Alexey Mikhailovich. The Empress Alexandra Fedorovna appeared in the raiments of the first wife of Alexey Mikhailovich, Empress Maria Ilinichna – a brocade dress decorated with silver satin and pearls topped by a diamond and emerald-studded crown. Empress Alexandra Fedorovna wore a huge emerald. All the jewellery was chosen by court jeweller Carl Faberge. Today such a dress would cost approximately 10 million euros.

By order of Empress Alexandra Fedorovna the best photographers of St. Petersburg, Boasson and Egler, Alexander Renz and Schroeder, Levitsky, V. Yasvoin, D. Zdobnov and others, performed single portraits and group shots of participants of the ball.

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These photographs were the basis for the publication of the album containing about two hundred images. The world-class photograph albums were later distributed to raise considerable amounts of money for many charities. In this way, great wealth raised by the ball cascaded across the needy rather than being kept to the royal houses as was the protocol in other European royal houses.

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The souvenir album.

Dinner was served in the appropriately furnished Spanish, Italian and Flemish halls of the Hermitage. After the dinner, their Majesties with the participants of the ball headed for the Pavilion Hall, where the evening ended with dancing.

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Members of the royal family gathered in the Malachite Room and the rest in the surrounding areas. At eleven o’clock in the evening, all the participants of the last great ball of Europe started to dance in the Concert Hall, where on the gold-plated bars of the podium there was a court orchestra of Tsar Alexei Mikhailovich, in trumpeters’ costumes. Buffets were located in the Concert Hall and the Small dining tables with tea and wine in the Malachite Room.

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Princess Elisabeth of Hesse and by Rhine (1864–1918)

After dinner, guests and the hosts returned to the Concert Hall and danced till morning, waltzes, quadrilles, and mazurkas, Russian dances. Cavaliers were young officers; ladies were in sundresses and kokoshniks, men in suits of archers, falconers, and others.

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The memories of that last ball in 1903 did not die during the Soviet era. A special edition “Russian Style” pack of cards was produced in 1913, honoring the 300th anniversary of the House of Romanov. “Russian Style” playing cards were reprinted even after the Russian Empire collapsed, and became the most popular pack of cards in the USSR. Millions of Soviet people were unaware that they were holding the memory of the last Romanov fancy-dress ball in their hands.

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The jack of clubs was copied from Grand Duke Mikhail Alexandrovich’s apparel, and the jack of diamonds came from Grand Duke Andrei Vladimirovich. The queen of clubs was largely borrowed from the dress of Grand Duchess Elizaveta Fedorovna, and the queen of hearts resembles the tsar’s sister, Ksenia Alexandrovna, dressed as a boyar’s wife.

Curiously, Star Wars costume artist Trisha Biggar was inspired by the Russian-style dresses of female boyars with kokoshniks when designing the gold travel costume of Queen Amidala.

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All the visitors were in bejeweled 17th-century style costumes, made from designs by the artist Sergey Solomko, in collaboration with historical experts.

Grand Duke Alexander Mikhailovitch recalled the occasion as “the last spectacular ball in the history of the empire … [but] a new and hostile Russia glared through the large windows of the palace … while we danced, the workers were striking and the clouds in the Far East were hanging dangerously low.”

The entire Imperial family, the Tsar as Alexei I, the Tsaritsa as Maria Miloslavskaya, all dressed in rich 17th-century attire, posed in the Hermitage’s theatre, many wearing priceless original items brought specially from the Kremlin, for what was to be their final photograph together.

All 390 guests were requested to come in traditional Russian 17th-century dress. This grand event was remarkable for its luxurious Russian-style costumes. Court ladies were attired in sundresses embroidered with precious stones and kokoshniks (head-dresses) adorned with the finest family jewels, while gentlemen boasted richly decorated caftans and boyar-style fur hats. / Grand Duke Andrey Vladimirovich.

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THE 1903 BALL AT THE WINTER PALACE: THE LAST GRAND BALL IN IMPERIAL RUSSIA. A GREAT CHORUS OF PRAISE (“LIKE THE BEAUTIFUL SUN IN THE SKY, GLORY!”) FROM OPERA BORIS GODUNOV BY MODEST MUSSORGSKY

 

Article, Poetry

It Was Christmas Eve in the Casa

Without inspiration, there can be no communication. Every line we read be it a news report, biography or poem, is inspired by someone or something. Such was my inspiration when from my rooftop garden situated on the highest home in Mijas Pueblo I watched a sunset to die for. Yes, it was indeed Christmas Eve 2011. Inspired, I then scrawled my thoughts down.

 CHRISTMAS EVE IN THE CASA

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It was Christmas Eve in the casa,

On that charming Spanish hill;

And high in the star-filled dome above,

Was mirrored an earth so still.

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It slept through the noise and tinsel,

For it cared not when nor why,

That man will fight among themselves,

And some are prepared to die.

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The chapel bells were tolling,

They talked from vale to vale,

High up in my hillside casa,

I felt that God prevailed.

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A melody of eventide,

Each tower sang its song,

In Andalucía hillsides,

I was where I belonged.

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In vales below the twinkle lights,

A bed of stars it seemed,

I felt as one with God above,

I dreamed, I dreamed, I dreamed.

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Let others do their worship,

At altars of their choice;

But let me be where I would be,

Where God will have His voice.

.

The chapel bells are singing;

His hills are filled with hope;

From eventide, be by my side –

My small heart filled with hope.

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Happy Christmas from Michael Walsh

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Article, History

THE EXTRAORDINARY POWER OF WOMAN

From ancient times, the rise and fall of landscapes and panoramas have enchanted man.  None captivated him as much as the rise and fall of woman’s flowing curves.  A restless man gazes deep into the heavens and he peers into the deepest oceans.  Yet, to truly lose himself all he need do is to gaze into the depths of a woman’s eyes.

Over two-millennium man has created and perfected thousands of different types of musical instruments. He has yet to create a single musical instrument to equal the charm of a woman’s melodic voice singing an aria or lullaby. If we were to remove the inspiration of woman that so readily stimulates art; poetry, literature, sculpture, music, then our art galleries, our libraries, and theatres would be eerily empty.

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Man is overawed by the greatness of nature yet never is he so spellbound as when witness to the process of reincarnation at the birthing bed. A glance through the history books is all that is necessary to suggest that power, not just behind the throne but on the throne, is the true manifestation of woman power.

England remembers its hapless and cruel kings yet the personification of Britain is the female Britannia, named after the Brettaniai tribes of those sceptre isles.  The English revere Boadicea (1st Century AD).  She was the only British leader to humble the Roman Empire.  Her French nemesis, Joan of Arc (1412 – 1431), before meeting her fiery fate, humbled the vainglorious English.

England’s monarchy stretches back over a millennium yet the two monarchs that immediately spring to mind are Queen Elizabeth 1 (1533 – 1603) and Queen Victoria (1819 – 1901).  Arguably, the first was the genesis of the British Empire; the reign of Elizabeth 1 certainly elevated England for the first time to world power status.

During the reign of Queen Victoria, Britain, that before her reign was no more significant than that of competing continental powers France and Spain, became the world’s greatest empire?  Queen Victoria was crowned Empress of India, the only such title bestowed upon an English head of state. Taking one country in isolation hardly makes a point.

Russia’s Peter the Great is revered but Catherine the Great (1729 – 1796) more so.  Catherine’s ambitions Westernised and modernised Russia.  During the reign of Catherine, the Great Russia became the only country whose the frontiers spanned three continents; Europe, Asia, and America.

Spain, Europe’s most machismo nation, was finally unified and the Moors 700 year occupancy brought to an end by Spain’s one notable monarch, Queen Isabella l (1451 – 1504).

During the reign of Isabella Spain achieved world power status to rival that of England. The Spanish monarch sponsored Christopher Columbus, who, whilst not necessarily discovering America, certainly founded it.

The enormous 800-year power of the Austro-Hungarian Hapsburg Empire, Europe’s longest lasting dynasty, was consolidated by Maria Theresa of Austria (1717 – 1780).

Mankind’s odyssey has been lantern lit by women, not all of them monarchs.  The roll call of world-shaping women is impressive; Cleopatra, Helen of Troy.  In all fields of activity, whilst women don’t dominate in numbers they do take the podium of bringing about great change, mostly for the good.

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Article, Music, Poetry

DMITRY HVOROSTOVSKY SUPER STAR

Dmitri Hvorostovsky has died at the age of 55 following a lengthy illness. In late June 2015, the singer, who has lived in London for many years, announced that he was suffering from a brain tumor. Dmitri Hvorostovsky died in London at 3:36 am London time, RIA Novosti reports, citing Russian musician Dmitry Malikov. His family has confirmed his passing.

After his opera debut in “The Queen of Spades” by Tchaikovsky in Nice in 1989, Hvorostovsky was invited to perform at the world’s best opera houses and participate in recognized opera festivals such as the Royal Theater of Covent Garden (London, UK), Metropolitan Opera (New York, USA), Paris Opera, Bavarian State Opera (Munich, Germany), La Scala (Milan, Italy), the Vienna State Opera and the Salzburg Festival.

Vanity Fair summed the Siberian baritone up by describing the silver-haired opera star thus; “He is sending aficionados the world over into a collective swoon.” W Magazine described the velvet-voiced singer as ‘opera’s reigning, and perhaps its one and only hunk.”

The periodical should stick to vacuous celebrity gossip, reviews and pictures. The world of operas is globally renowned for ethnic-European drop-dead-gorgeous sopranos, tenors and baritones. But never mind that, October 16 marks the 55th birthday of arguably the most famous baritone in recording history.

Dmitri Hvorostovsky was born and studied in Krasnoyarsk, Siberia. Audiences the world over are intrigued by the baritone’s platinum-coated voice, innate sense of musical line and natural legato. The outstanding singer has appeared at Royal Opera House, Covent Garden, New York’s Metropolitan Opera, Paris Opera, Bayerische Staatsoper Munich, Salzburg Festival, La Scala Milan, Vienna State Opera and Chicago Lyric Opera.

A celebrated recitalist in demand in every corner of the globe, from the Far East to the Middle East, from Australia to South America, Dmitri has appeared at Wigmore Hall, London; Carnegie Hall, New York; the Teatro alla Scala, Milan; the Tchaikovsky Conservatoire, Moscow; the Liceu, Barcelona; the Suntory Hall, Tokyo; and the Musikverein, Vienna.

Dmitri retains a strong musical and personal contact with Russia. He became the first opera singer to give a solo concert with orchestra and chorus on Red Square in Moscow. This outstanding event was televised in over 25 countries.

Known by the company one keeps, his co-stars and friends include celebrated artists Renée Fleming, Anna Netrebko, Barbara Frittoli, Elina Garanca, Sumi Jo, Sondra Radvanovsky, Jonas Kaufmann, Marcello Giordani and Ildar Abdrazakov.

Recently it was reported that the acclaimed opera star had passed away. The reports, carried on the BBC News website, were completely without foundation. Some months ago, Dmitri asked all media not to circulate any reports about his health that did not originate from himself or his family. The artist, 54, is receiving treatment for brain cancer.

NEZHNOST’ (TENDERNESS)

Earth is empty when you’re not around;
Minutes flow like hours, and hours like days.
Still, the orchard leaves keep falling down,
And the cabs keep rushing on their ways.
Oh, how empty has the world become without you.
And you, you keep flying, and stars
Share with you all their tenderness . . .

In the age when partings rule the world,
Life is tougher yet for those who stay,
For to wait is harder than to risk
For the billion stars dividing us.

As the radiation storm is raging below,
I still feel you down there on Earth
Sending me all your tenderness . . .