bovine themed names
Abigar (Abigar cattle)
Albion (Blue Albion, british breed of cattle)
Ankole (Ankole cattle)
anteng,javani,vanicu,tembad (Banteng/Bos javanicus/tembadau, cattle from southeast asia.)
antiqu (Bison antiquus, ancient bison from North America)
Asteri (crete name for minotaur)
athaba (American wood bison, Bison bison athabascae)
Auroch (Aurochs, a primitive cow)
Boskap, odbrok (Swedish Red Pied/Rödbrokig Svensk Boskap, a swedish cow)
Braunv, unvieh (Braunvieh, brown cattle from germany)
Bubalu (Bubalus arnee, wild water buffalo)
Buchis (Buchis/bakh/bakha ancient egypt sacred bull)
Bucran (bucranium, depiction of the skulls of ox in classical architecture)
Bugoni, bougon (bugonia/bougonia, ritual based on a cow carcass)
Camahu, mahuet (Camahueto, calf or bull with a small horn on its forehead from Chilote mythology)
Charol, rolais (Charolais cattle from france)
Damona (Damona, cow goddess worshipped in Gaul)
daquit, quitai (Blonde d'Aquitaine cattle from france)
eliobo (Cattle of Helios/ Ἠελίοιο βόες, Ēelíoio bóes, cattle on the island of Thrinacia)
Enkidu (wildman figure in Mesopotamian mythology)
gaurus (gaur/Bos gaurus, Indian bison)
Gertru (Santa Gertrudis cattle)
geushu (geush urva, "the spirit of the cow")
Girola, olando (Girolando cattle)
gudali (The Bison-beast, a hero slain in sumerian religion)
Haddad (Adad/Haddad/Hadad/iskur storm and rain god Mesopotamian religon with the symbolic animal of a bull)
Hadhay (Hadhayans, Zoroastrian mythological bovine)
Hamiti (Hamitic Longhorn, the origin species of highland cows)
hanaiz,zumien (Bison hanaizumiensis, japanese bison)
Hapian (Apis/hapis/Hapi-ankh, bull worshipped in ancient egypt)
Hathor (Hathor, egyptian cow goddess)
hazaha (golden calf/ēggel hazāhāv, idol made by the israelites)
heifer,adumma (Red heifer/para adumma, virgin cow made for sacrifice)
Herefo (Hereford cattle, british breed of beef cattle)
Hostei, Friesi (Holstein Friesian cattle)
ikaner (Afrikaner cattle)
Ilawar, awarra (Illawarra cattle from Australia)
Jaktor (the name of the forest the last auroch's died in)
Jallon, Malink, nadama (N'Dama, Boenca or Boyenca (Guinea-Bissau), Fouta Jallon, Djallonké or Djallonké cattle, Fouta Longhorn, Fouta Malinke, Futa, Malinke, Mandingo (Liberia), and N'Dama Petite)
Kamadh,Surabh (Kamadhenu/Surabhi bovine goddes in hinduism)
Kankre (Kankrej cattle)
laeosi,nensis (bison palaeosinensis, early bison)
Lamasu (lama/lamma/lamassu/shedu, Assyruian protective diety)
leborn, huidre (Lebor na hUidre [ˈl͈ʲevor nˠə huiðʲrʲə] or the Book of the Dun Cow)
lekijn (boelekijn/bullock, a young bull)
Limous, mousin (Limousin cattle from france)
Mehete (Mehet-Weret, "Celestial Cow" or "Cow Goddess" in ancient egypt)
Mnevis (ancient Egyptian bull god)
Moloch (Moloch/molech/molek, bull-headed idol appearing in the hebrew bible)
Nandiu (nandi, gate guardian diety in the hindu religion)
niutou (ox-head, one of two guardians of the underworld in Chinese mythology)
ociden (Bison occidentalis, extinct species of bison from North America)
oumbla (Auðumbla, primeval cow from norse mythology)
ovidae (Bovidae, the family of bovines)
pongif, cephal,halopa (Bovine spongiform encephalopathy, mad cow disease)
priscu (B.priscus, steppe bison)
rakens (Drakensberger cattle)
rangus (Brangus, cross between angus and brahman breeds)
rontal,mithun (gayal/Bos frontalis/mithun, indian domesticated bovine)
Sahiwa (Sahiwal cattle)
schoet,tensac (Pleistocene woodland bison, B. schoetensacki)
Senepo (Senepo cattle)
Taurin (Taurine cattle, domesticated species from europe)
Taurob (Taurobolium, practices involving the sacrifice of a bull)
tifron (Bison latifrons, giant/long horned bison)
Trigar,garanu (Tarvos Trigaranus, divine fingure in a roman monument)
uzerat, Guzera (Guzerá cattle)
Vechur (Vechur Cow)
wisent (European wood bison)
zerwon (Polish Red, Polska czerwona)
zubron (a hybrid of domestic cattle and bison)
19 notes
·
View notes
Enrico Caruso was born on February 25, 1873. He was an Italian operatic tenor. He sang to great acclaim at the major opera houses of Europe and the Americas, appearing in a wide variety of roles (74) from the Italian and French repertoires that ranged from the lyric to the dramatic. One of the first major singing talents to be commercially recorded, Caruso made 247 commercially released recordings from 1902 to 1920, which made him an international popular entertainment star.
Caruso's 25-year career, stretching from 1895 to 1920, included 863 appearances at the New York Metropolitan Opera before he died at the age of 48. Thanks in part to his tremendously popular phonograph records, Caruso was one of the most famous personalities of his day, and his fame has endured to the present. He was one of the first examples of a global media celebrity. Beyond records, Caruso's name became familiar to millions through newspapers, books, magazines, and the new media technology of the 20th century: cinema, the telephone and telegraph.
Caruso toured widely both with the Metropolitan Opera touring company and on his own, giving hundreds of performances throughout Europe, and North and South America. He was a client of the noted promoter Edward Bernays, during the latter's tenure as a press agent in the United States. Beverly Sills noted in an interview: "I was able to do it with television and radio and media and all kinds of assists. The popularity that Caruso enjoyed without any of this technological assistance is astonishing."
Caruso biographers Pierre Key, Bruno Zirato and Stanley Jackson attribute Caruso's fame not only to his voice and musicianship but also to a keen business sense and an enthusiastic embrace of commercial sound recording, then in its infancy. Many opera singers of Caruso's time rejected the phonograph (or gramophone) owing to the low fidelity of early discs. Others, including Adelina Patti, Francesco Tamagno and Nellie Melba, exploited the new technology once they became aware of the financial returns that Caruso was reaping from his initial recording sessions.
Caruso made more than 260 extant recordings in America for the Victor Talking Machine Company (later RCA Victor) from 1904 to 1920, and he and his heirs earned millions of dollars in royalties from the retail sales of these records. He was also heard live from the stage of the Metropolitan Opera House in 1910, when he participated in the first public radio broadcast to be transmitted in the United States.
Caruso also appeared in two motion pictures. In 1918, he played a dual role in the American silent film My Cousin for Paramount Pictures. This film included a sequence depicting him on stage performing the aria Vesti la giubba from Leoncavallo's opera Pagliacci. The following year Caruso played a character called Cosimo in another film, The Splendid Romance. Producer Jesse Lasky paid Caruso $100,000 each to appear in these two efforts but My Cousin flopped at the box office, and The Splendid Romance was apparently never released. Brief candid glimpses of Caruso offstage have been preserved in contemporary newsreel footage.
While Caruso sang at such venues as La Scala in Milan, the Royal Opera House, in London, the Mariinsky Theatre in Saint Petersburg, and the Teatro Colón in Buenos Aires, he appeared most often at the Metropolitan Opera in New York City, where he was the leading tenor for 18 consecutive seasons. It was at the Met, in 1910, that he created the role of Dick Johnson in Giacomo Puccini's La fanciulla del West.
Caruso's voice extended up to high D-flat in its prime and grew in power and weight as he grew older. At times, his voice took on a dark, almost baritonal coloration. He sang a broad spectrum of roles, ranging from lyric, to spinto, to dramatic parts, in the Italian and French repertoires. In the German repertoire, Caruso sang only two roles, Assad (in Karl Goldmark's The Queen of Sheba) and Richard Wagner's Lohengrin, both of which he performed in Italian in Buenos Aires in 1899 and 1901, respectively.
Repertoire
Caruso's operatic repertoire consisted primarily of Italian works along with a few roles in French. He also performed two German operas, Wagner's Lohengrin and Goldmark's Die Königin von Saba, singing in Italian, early in his career. Below are the first performances by Caruso, in chronological order, of each of the operas that he undertook on the stage.
World premieres are indicated with **.
L'amico Francesco (Morelli) – Teatro Nuovo, Napoli, 15 March 1895 (debut)**
Faust – Caserta, 28 March 1895
Cavalleria rusticana – Caserta, April 1895
Camoens (Musoni) – Caserta, May 1895
Rigoletto – Napoli, 21 July 1895
La traviata – Napoli, 25 August 1895
Lucia di Lammermoor – Cairo, 30 October 1895
La Gioconda – Cairo, 9 November 1895
Manon Lescaut – Cairo, 15 November 1895
I Capuleti e i Montecchi – Napoli, 7 December 1895
Malia (Francesco Paolo Frontini) – Trapani, 21 March 1896
La sonnambula – Trapani, 25 March 1896
Mariedda (Gianni Bucceri [it]) – Napoli, 23 June 1896
I puritani – Salerno, 10 September 1896
La Favorita – Salerno, 22 November 1896
A San Francisco (Sebastiani) – Salerno, 23 November 1896
Carmen – Salerno, 6 December 1896
Un Dramma in vendemmia (Fornari) – Napoli, 1 February 1897
Celeste (Marengo) – Napoli, 6 March 1897**
Il Profeta Velato (Napolitano) – Salerno, 8 April 1897
La bohème – Livorno, 14 August 1897
La Navarrese – Milano, 3 November 1897
Il Voto (Giordano) – Milano, 10 November 1897**
L'arlesiana – Milano, 27 November 1897**
Pagliacci – Milano, 31 December 1897
La bohème (Leoncavallo) – Genova, 20 January 1898
The Pearl Fishers – Genova, 3 February 1898
Hedda (Leborne) – Milano, 2 April 1898**
Mefistofele – Fiume, 4 March 1898
Sapho (Massenet) – Trento, 3 June (?) 1898
Fedora – Milano, 17 November 1898**
Iris – Buenos Aires, 22 June 1899
La regina di Saba (Goldmark) – Buenos Aires, 4 July 1899
Yupanki (Berutti)– Buenos Aires, 25 July 1899**
Aida – St. Petersburg, 3 January 1900
Un ballo in maschera – St. Petersburg, 11 January 1900
Maria di Rohan – St. Petersburg, 2 March 1900
Manon – Buenos Aires, 28 July 1900
Tosca – Treviso, 23 October 1900
Le maschere (Mascagni) – Milano, 17 January 1901**
L'elisir d'amore – Milano, 17 February 1901
Lohengrin – Buenos Aires, 7 July 1901
Germania – Milano, 11 March 1902**
Don Giovanni – London, 19 July 1902
Adriana Lecouvreur – Milano, 6 November 1902**
Lucrezia Borgia – Lisbon, 10 March 1903
Les Huguenots – New York, 3 February 1905
Martha – New York, 9 February 1906
Madama Butterfly – London, 26 May 1906
L'Africana – New York, 11 January 1907
Andrea Chénier – London, 20 July 1907
Il trovatore – New York, 26 February 1908
Armide – New York, 14 November 1910
La fanciulla del West – New York, 10 December 1910**
Julien – New York, 26 December 1914
Samson et Dalila – New York, 24 November 1916
Lodoletta – Buenos Aires, 29 July 1917
Le prophète – New York, 7 February 1918
L'amore dei tre re – New York, 14 March 1918
La forza del destino – New York, 15 November 1918
La Juive – New York, 22 November 1919
Caruso also had a repertory of more than 500 songs. They ranged from classical compositions to traditional Italian melodies and popular tunes of the day, including a few English-language titles such as George M. Cohan's "Over There", Henry Geehl's "For You Alone" and Arthur Sullivan's "The Lost Chord".
On 16 September 1920, Caruso concluded three days of recording sessions at Victor's Trinity Church studio in Camden, New Jersey. He recorded several discs, including the Domine Deus and Crucifixus from the Petite messe solennelle by Rossini. These recordings were to be his last.
Dorothy Caruso noted that her husband's health began a distinct downward spiral in late 1920 after he returned from a lengthy North American concert tour. In his biography, Enrico Caruso Jr. points to an on-stage injury suffered by Caruso as the possible trigger of his fatal illness. A falling pillar in Samson and Delilah on 3 December had hit him on the back, over the left kidney (and not on the chest as popularly reported). A few days before a performance of Pagliacci at the Met (Pierre Key says it was 4 December, the day after the Samson and Delilah injury) he suffered a chill and developed a cough and a "dull pain in his side". It appeared to be a severe episode of bronchitis. Caruso's physician, Philip Horowitz, who usually treated him for migraine headaches with a kind of primitive TENS unit, diagnosed "intercostal neuralgia" and pronounced him fit to appear on stage, although the pain continued to hinder his voice production and movements.
During a performance of L'elisir d'amore by Donizetti at the Brooklyn Academy of Music on December 11, 1920, he suffered a throat haemorrhage and the performance was canceled at the end of Act 1. Following this incident, a clearly unwell Caruso gave only three more performances at the Met, the final one being as Eléazar in Halévy's La Juive, on 24 December 1920. By Christmas Day, the pain in his side was so excruciating that he was screaming. Dorothy summoned the hotel physician, who gave Caruso some morphine and codeine and called in another doctor, Evan M. Evans. Evans brought in three other doctors and Caruso finally received a correct diagnosis: purulent pleurisy and empyema.
Caruso's health deteriorated further during the new year, lapsing into a coma and nearly dying of heart failure at one point. He experienced episodes of intense pain because of the infection and underwent seven surgical procedures to drain fluid from his chest and lungs. He slowly began to improve and he returned to Naples in May 1921 to recuperate from the most serious of the operations, during which part of a rib had been removed. According to Dorothy Caruso, he seemed to be recovering, but allowed himself to be examined by an unhygienic local doctor, and his condition worsened dramatically after that. The Bastianelli brothers, eminent medical practitioners with a clinic in Rome, recommended that his left kidney be removed. He was on his way to Rome to see them but, while staying overnight in the Vesuvio Hotel in Naples, he took an alarming turn for the worse and was given morphine to help him sleep.
Caruso died at the hotel shortly after 9:00 a.m. local time, on 2 August 1921. He was 48. The Bastianellis attributed the likely cause of death to peritonitis arising from a burst subphrenic abscess. The King of Italy, Victor Emmanuel III, opened the Royal Basilica of the Church of San Francesco di Paola for Caruso's funeral, which was attended by thousands of people. His embalmed body was preserved in a glass sarcophagus at Del Pianto Cemetery in Naples for mourners to view. In 1929, Dorothy Caruso had his remains sealed permanently in an ornate stone tomb.
Daily inspiration. Discover more photos at http://justforbooks.tumblr.com
19 notes
·
View notes