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Hi everyone! The Seven Deadly Sins Grand Cross is really quite enjoyable to play especially with its neat 3DS graphics, story and turned base gameplay. Anyway, do you want to get the most powerful characters within the game? Want to upgrade them to their max potential? Then this is the right video for you, cause I am about to share to you my first video tutorial on how to get 900K worth of diamonds. This exploit is legit and is currently working with the latest version of the game. So please do watch the video and follow the steps carefully.
Official Site: appmonarch.com/7dsgrandcross/
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▶ A brand-new turn-based RPG! A novel approach to combat! A strategic combat system utilizing skill synthesis.
Skills with the same star rank upgrade to a higher rank when they're next to each other!
Feel the thrill of battle with each turn in the dynamic combat system.
Combine cards and use them to trigger an ""Ultimate Move"" to decimate opponents!
Create your own strategy by combining the unique skills of [The Seven Deadly Sins] characters.
▶ Cooperate with friends to take down a giant demon in Death Match mode, and enjoy exciting and diverse PvP content.
Enjoy Death Match, 2-player cooperative content played in real time!
Defeat demons with a friend before time expires to defend the kingdom!
An Arena where you can compete with players all around the world awaits.
Find your own strategy to win!
▶ Build your very own team in the [The Seven Deadly Sins]!
[The Seven Deadly Sins] heroes assemble!
Dress up your characters in exclusive, never-before-seen outfits!
Hairstyles and accessories galore to suit your customization needs!
Check out the new looks of [The Seven Deadly Sins] characters!
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While some "good" things may come from cow's milk: (pleasure, nutrients, convenience...), the bad outweighs the good: violence, slavery, exploitation, and killing. We can get pleasure and nutrition from non-violent sources. We can thrive as vegans. So why not be vegan? To harm animals, not because we have to, but because we enjoy it or are used to doing it is wrong. Most people would agree that unnecessary harm to sentient beings is wrong and yet, at the same time, participate in the very thing they are against, by consuming animal products.
Think clearly! Go Vegan!
Exploitant : Cars Lacroix
Réseau : ValParisis
Ligne : 30-11
Lieu : Gare d'Ermont – Eaubonne (Ermont, F-95)
Lien TC Infos : tc-infos.fr/id/34914
Exploited for human use and on display for human amusement.
Animals have the right to not be treated as property! Go vegan!
July 20, 2016--New York City-- Governor Andrew M. Cuomo announced that the Task Force to Combat Worker Exploitation has directed 1,547 businesses to pay nearly $4 million in back wages and damages to more than 7,500 workers since its inception in July 2015. The Governor also announced several initiatives to improve worker health and safety, including a multi-agency investigation into the exploitation of dry cleaning workers and a coordinated effort to ban harmful chemicals, such as perchlorethylene (PERC), that are commonly used in the industry. Additionally, the state will launch a new $5 million grant program and RFP for non-profit organizations to expand services to help exploited workers. (Don Pollard/Office of the Governor)
Évacuation sanitaire d'urgence d'un membre de l'équipage au passage devant Cherbourg.
Navire polytherme de la Cie Générale Maritime
Embarqué comme chef mécanicien du 17 mai au 15 juillet 1993 avant dernier embarquement.
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FORT FLEUR D'ÉPÉ - 1980-2006-
Cie Générale Maritimes C.G.M.
Navires conçus pour être exploités sur la ligne des Antilles en remplacement des anciens navires polythermes de la Compagnie Générale Transatlantique. Les commandes de ces navires ont été confirmées aux Chantiers de France Dunkerque. Le FORT FLEUR D'ÉPÉE est le 2ème des deux PCRP.
1978 le 11 décembre : mise sur cale
1979 le11 aout : Lancement
1980 janvier : Navire recetté et pris en charge.
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CARACTÉRISTIQUES :
Navire à long gaillard avant s'étendant au-dessus des cales 1 et 2. Ils possèdent une double coque qui s'étend de chaque bord, du peak avant et s'élevant du double fond au pont supérieur. La partie supérieure de chacune de ses doubles coques constitue une galerie technique.
Toutes les cales sont équipées de glissières à conteneurs. Le nombre total de conteneurs en cales est de 616 EVP (cales 1 à 6 contiennent chacune 2 travées pour conteneurs 20 pieds. Les cales 7 à 9 une travée pour conteneurs 40 pieds) Tous les conteneurs peuvent être réfrigérés à partir de gaines de réfrigération)
Longueur hors-tout : 210 m Overall lengh
Longueur entre perpendiculaires : 198 m Lengh between perpendiculars
Longueur pour la classification : 198,630 m Classification length
Largeur hors membres : 32,20 m Moulded width
Creux sur quille au pont supérieur : 18,800 m Moulded depth
Tirant d'eau au franc-bord d'été : 11,020 m Draft at summer waterline
Port en lourd correspondant : 20.508 tonnes Correponding deadwight capacity
Tirant d'eau d'exploitation : 9 m Operaying draft
Vitesse au tirant d'eau d'exploitation : 22,27 noeuds Speed at operating draft
Puissance correspondante : 30.600 cv Corresponding power
Vitesse maxi aux essais sur ballast à 36.000 cv 23,90 noeuds Max speed during tests on ballast at 36,000 h.p.
Rayon d'action : 9.500 milles Range
Jauge brute internationale : 32.184 tonneaux GRT
Jauge nette internationale : 16.238 tonneaux NRT
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PROPULSION :
2 appareils propulsifs entièrement indépendants entrainant deux hélices monoblocs 4 pales Diamètre 6 m
2 moteurs semi-rapides de marque STEM PIELSTICK type 12 PC4 V 570 – 4 temps simple effet réversibles, suralimentés.
Puissance maximale continue par moteur : 18.000 cv
Puissance en service par moteur : 15.300 cv
Vitesse maximale de rotation des moteurs : 400 t/mn
Vitesse de rotation des lignes d'arbres : 122 t/mn
Moteur alimentés en F.O. lourd viscosité 3.500 s/Redwood
Transmission puissance du moteur à la ligne d'arbre par amortisseur de vibration (Damper), et par un G.F.L. destiné à diminuer les efforts en cas de délignage.
Réducteur épicycloïdal à trois satellites MPU70W avec butée incorporée.
Frein à air comprimé de type UNICUM 60 VC 1600
Afin de permettre la marche sur une ligne d'arbre à faible allure, une butée auxiliaire et un tourteau d'accouplement avec un frein manuel.
Production de vapeur par 2 chaudières de récupération 7 bars et 3,5 tonnes de production
1 chaudière de mouillage à 7 bars et 5 tonnes de production
6 diesels alternateurs de 1420 kW - Alternateurs 1.420 kW 440 volts 60 Hz triphasé
Marque AUT du Bureau Veritas
PRODUCTION FROID :
Descente et maintien en froid commandé à la COGER pour 138 conteneurs de 40 pieds et 616 de 20 pieds isolés thermiquement Produits congelés à -25°c – Produits réfrigérés -2° et + 8° Bananes à +12°c
126 gaines associées aux piles de conteneurs alimentent et reprennent l'air de chaque conteneur.
Ventilateurs assurant un taux de brassage de l'air de 80 en grande vitesse (bananes)
Dans un local dédié à la réfrigération des conteneurs:
5 groupes de refroidissement de saumure fonctionnant au fréon R22.
Puissance moteur 750kW 1800 t/mn – 1.750.000 fg/h
5 condenseurs refroidis à l'eau de mer.
5 évaporateurs de saumure.
5 pompes de saumure de chacune 400 m3/heure
5 pompes eau de mer de chacune 272 m3/h
126 régulateurs de température d'air de soufflage avec précision à+ ou – 0,1°c (précision pour transport des bananes)
ITINÉRAIRE:
Le Havre – Montoir- Le Verdon – Fort de France – Le Havre Rotation complète Le Havre – Le Havre 27 à 30 jours
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1996 - Passe à la CMA-CGM
1998/1999 Modernisation.
2003 - Devient le CGM HUDSON
2006 - MARSHALL ZHIVAGO
2006 en novembre. Démolition à Alang.
A march against the exploitation of and racism toward international students in Australia that the governments (both state and federal) continue to allow to exist. International and Australian students from NSW universities (such as Newcastle, UTS, Macquarie, UNSW and Sydney University) rallied together, marching from Sydney University to UTS and on to NSW Parliament House, asking for the government to intervene and change legislation that allows international students to be taken advantage of.
Some basic rights like abolishing the 20-hour work week limit and providing student travel concessions to international students were demanded in chants and songs. At a deeper level though, the protesters are demanding an end to the systematic racism and exploitation of international students, who are increasingly treated more as a means to profit than as students to educate.
Exploitant : Transdev Nanterre
Réseau : RATP
Ligne : 467
Lieu : Général Leclerc (Saint-Cloud, F-92)
Lien TC Infos : tc-infos.fr/id/24422
Port au Prince, quartier général de la MINUJUSTH, 20 avril 2018. Atelier de sensibilisation des medias sur la lutte contre l'exploitation et les abus sexuels.
Photo Leonora Baumann UN/MINUJUSTH
Virginie Bardou, exploitante, jeune femme. 4 mars 2008, Transports Florkzak a Gimont, Gers. Messagerie generale et express pour le compte de France Express, Graveleau, Sernam, Mory, etc.
Sur les pistes de luges, il n'y a pas que les enfants qui jouent.... Station du Lac Blanc (Orbey - 68 - Haut Rhin - Alsace - France)
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Please don't use this image on websites, blogs or other media without my explicit permission.
Ne pas exploiter cette photo sur un site, blog ou tout autre média sans ma permission.
Copyright : All right reserved © pgauti
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Exploité par la CNR, le barrage de Seyssel a été mis en service en 1952.
Utilisation : contrôle des crues et production d'électricité.
Enrico Caruso’s ascendancy coincided with the dawn of the twentieth century, when the world of opera was moving away from the contrived bel canto (“beautiful singing”) style, with its emphasis on artifice and vibrato, to a verismo (“realism”) approach. The warmth and sincerity of his voice—and personality— shone in this more natural style and set the standard for contemporary greats like Luciano Pavarotti, Placido Domingo, and José Carreras. Through his exploitation of the nascent phonograph industry, Caruso is also largely responsible for the sweeping interest in opera of the 1910s and ’20s. And for this, Stanley Jackson wrote in his book Caruso, he may never be rivaled, for later tenors could not hope to find themselves in a similarly fortuitous position and thus would most certainly “find it more difficult to win such universal affection as the bubbly, warm-hearted little Neapolitan whose voice soared and sobbed from the first wheezy phonographs to bring a new magic into countless lives.”
Born in Naples, Italy, in 1873, the third of seven children (early sources erroneously state that he was the 18th of 21), Caruso was raised in squalor. His birthplace, according to Jackson, was a “two-storeyed house, flaky with peeling stucco, [accommodating] several families, who shared a solitary cold-water tap on the landing, and like every other dwelling in that locality it lacked indoor sanitation.” As a boy, Caruso received very little formal education; his only training in a social setting came from his church choir, where he displayed a pure voice and a keen memory for songs. More often than not, however, he skipped choir practice to sing with street minstrels for café patrons.
At the age of ten Caruso began working a variety of menial jobs—mechanic, jute weaver—but his passion for singing often led him back to the streets. Eight years later, an aspiring baritone named Eduardo Missiano heard Caruso singing by a local swimming pool. Impressed, Missiano took Caruso to his voice teacher, Guglielmo Vergine. Vergine on hearing Caruso, compared the tenor’s voice to “the wind whistling through the chimney,” Michael Scott recounted in The Great Caruso. Although he disliked Caruso’s Neapolitan café style, flashy gestures, and unrefined and unrestrained vocalizing, Vergine finally agreed to accept Caruso as his student. But “the lessons ended after three years,” John Kobler wrote in American Heritage, “and Caruso’s formal musical training thereafter remained almost as meager as his scholastic education. He could read a score only with difficulty. He played no musical instrument. He sang largely by ear.”
On March 15, 1895, Caruso made his professional debut in L’Amico Francesco, a now-forgotten opera by an amateur composer. He was not an immediate sensation.
For the Record…
Bom Errico Caruso (adopted more formal Enrico for stage), February 27 (some sources say 25), 1873, in Naples, Italy; died of pneumonia and peritonitis in 1921 in Naples; son of Marcellino (a mechanic) and Anna (Baldini) Caruso; married Dorothy Park Benjamin, 1918; children: Gloria; (with Ada Giachetti) Rodolfo, Enrico Jr. Education: Studied voice with Guglielmo Vergine, 1891-94, and Vincenzo Lombardi, 1896-97.
Worked as laborer, including jobs as mechanic and jute weaver, beginning c. 1883; debuted in L’Amico Francesco at Teatro Nuovo, Naples, 1894; expanded repertoire to include La Traviata, Rigoletto, Aida, and Faust, among others; first sang Canio in I Pagliacci, 1896, and Rodolfo in La Bohème, 1897; debuted in La Bohème at La Scala, Milan, 1899; performed internationally, including appearances in Moscow, Buenos Aries, Monte Carlo, and London, beginning in 1899; made first recordings, 1902; debuted in U.S. at Metropolitan Opera, New York City, 1903. Appeared in silent films My Cousin and A Splendid Romance, 1918; subject of fictional film biography The Great Caruso, 1950.
Awards: Order of the Commendatore of the Crown of Italy; Grand Officer of the French Legion of Honor; Order of the Crown Eagle of Prussia; honorary captain of the New York City Police Department.
His vocal range was limited; he often had to transpose the musical score down a halftone since he had trouble in the upper register, especially hitting high C. But impresarios who heard Caruso recognized his innate gift and cast him in significant productions such as Faust, Rigoletto, and La Traviata. With stage experience and brief training with another vocal teacher, Vincenzo Lombardo, the singer made steady progress, refining the natural beauty of his voice.
“Who Has Sent You to Me? God?”
In 1897, studying for the part of Rodolpho in Giacomo Puccini’s La Bohème, Caruso went to the composer’s villa to secure Puccini’s consent of his interpretation. As told by author Jackson, after Caruso sang a few measures of the first-act aria, “Che gelida manima,” Puccini “swivelled in his chair and murmured in amazement, ’Who has sent you to me? God?’”
Caruso’s instrument was “a voice of the South, full of warmth, charm, and lusciousness,” described a commentator of the era who was quoted in Howard Greenfeld’s book Caruso. But what truly set Caruso apart—from his predecessors, contemporaries, and successors—was his ability to eliminate the space between singer and listener, to intensify “the emotional effects upon his audience,” testified American Heritage contributor Kobler. “His vocalized feelings, variously spiritual, earthy, carnal, seemed to resonate within the hearer’s body. Rosa Ponselle, the American soprano who made her debut opposite Caruso, called it “a voice that loves you.’”
And his timbre was matched by sheer power; at the height of his career, Caruso gave concerts in venues as large as New York City’s Yankee Stadium without microphones and was clearly heard by all. Still, he reached his greatest audience, across both distance and time, through the small, recorded medium of the phonograph. “Few performers deserve . . . recognition more than Caruso,” David Hamilton proclaimed in the New York Times. “[His] records made him the universal model for later generations of tenors, while his reputation played a major role in establishing the phonograph socially and economically.”
Recording Pioneer
Caruso made his first recording on April 11, 1902, in a hotel suite in Milan, Italy. Over the remaining 19 years of his life he made an additional 488 recordings, almost all for the Victor label. He earned more than two million dollars from recording alone, the company almost twice that. But, most important, his recordings brought grand opera to the uninitiated. Millions cried along with his version of Canio’s sobbing “Vesti la giubba,” from/Pagliacci. The development of the American opera audience from a rarefied community at the turn of the century to a diverse populace in modern times can be directly attributed to Caruso’s recordings.
But Caruso’s allure was not solely the result of his singing. “Quick to laughter and to tears, amorous, buffoonish,... speaking a comically fractured English, round and paunchy, Caruso presented an image that appealed enormously to multitudes of ordinary Americans,” Kobler pointed out. Indeed, his offstage behavior was as interesting to the public as that of his onstage personas. He had numerous affairs with women, which often ended in court. He had an 11-year relationship, beginning in 1897, with soprano Ada Giachetti, who had left her husband and son for the much younger tenor. She bore Caruso two sons, then ran off with the family chauffeur. Three years later, Giachetti sued Caruso for attempting to damage her career and for theft of her jewelry. The suit was eventually dismissed.
Offstage Shenanigans
Caruso was not exonerated, however, in what became known as the “Monkey House Case.” On November 16, 1906, Caruso went to the Monkey House in the Central Park Zoo, one of his favorite retreats in his adopted hometown of New York City. There a young woman accused him of pinching her bottom. A policeman on the scene immediately took Caruso—confused and sobbing—to jail. The woman failed to appear at the consequent trial, and police were unable to produce any witnesses other than the arresting officer, who turned out to have been best man at the accuser’s wedding. The judge found Caruso guilty of disorderly conduct and fined him ten dollars. The public, for its part, though initially unsure of Caruso’s innocence, soon returned to its thunderous approval of his performances.
Despite these episodes, Caruso’s life outside the theater was not entirely tumultuous. His marriage to Dorothy Park Benjamin in 1918 was happy and secure. His celebrated earnings allowed him to collect art, stamps, and coins. His clothing and furnishings were luxurious. He ate with gusto. And he was extremely generous. A gifted caricaturist, Caruso often gave drawings away. He would fill his pockets with gold coins and shower stagehands with them at the end of Christmastime productions. He also supported many family members, gave numerous charity concerts, and helped raise millions of dollars for the Allied cause during World War I. This remarkable man even paid his taxes early. “If I wait, something might happen to me, then it would be hard to collect,” Caruso reasoned, as recounted by Kobler. “Now I pay, then if something happen to me the money belongs to the United States, and that is good.”
Caruso’s expansive approach to life, however, rendered his own short. Constant recording and performance demands and the singer’s unchecked appetites took their toll on his health; he died in Naples, in 1921, from pneumonia and peritonitis. He was 48 years old. “Caruso may have been a greater master of comedy than tragedy,” Great Caruso author Scott wrote, “yet there was no levity in his approach to his art, for as each year passed and he became an ever more celebrated singer, his fame—ably demonstrated by frequent new issues of ever improving records—made increasing demands of him. In those last years he rode a tiger.”
Selected discography
Enrico Caruso: 21 Favorite Arias, RCA, 1987.
Enrico Caruso, Pearl, 1988.
Enrico Caruso in Arias, Duets, and Songs, Supraphon, 1988.
Caruso in Opera, Nimbus, 1989.
Caruso in Song, Nimbus, 1990.
The Compíete Caruso, BMG Classics, 1990.
Enrico Caruso in Opera: Early New York Recordings (1904-06), Conifer, 1990.
The Caruso Edition: Volume 1 (1902-1908), Pearl, 1991.
The Caruso Edition: Volume 2 (1908-1912), Pearl, 1991.
The Caruso Edition: Volume 3 (1912-1916), Pearl, 1991.
The Caruso Edition: Volume 4 (1916-1921),, Pearl, 1991.
Caruso in Ensemble, Nimbus, 1992.
Addio Mia Bella Napoli, Replay/Qualiton, 1993.
Sources
Books
Caruso, Enrico, Jr., and Andrew Farkas, Enrico Caruso: My Father and My Family, Amadeus Press, 1990.
Greenfeld, Howard, Caruso, Putnam, 1983.
Jackson, Stanley, Caruso, Stein & Day, 1972.
Scott, Michael, The Great Caruso, Knopf, 1988.
Periodicals
American Heritage, February/March 1984.
Economist, March 9, 1991.
New Republic, August 8, 1988.
New York Times, January 6, 1991.
—Rob Nagel
Cite this article
Pick a style below, and copy the text for your bibliography.
#enrico-picciotto, enrico picciotto
Bred from a historic 110-year history while carrying out extraordinary exploits on the road and track, the precision engineering and mechanical achievements of the ultra-luxurious 2023 Aston Martin DBX707 SUV allow it to achieve unimaginable feats any owner would be proud of. The uniquely seductive performer races from 0-60 mph in just 3.1 seconds and packs 707 metric British stallions within its Mercedes-AMG sourced 4-liter Twin Turbo V8 engine, which is then paired with a high-performing and faster shifting AMG 9-speed wet clutch automatic transmission.
However, with a complete price tag of $292,586 ($236,000 MSRP), this particular gem is set aside for supreme clientele such as Rick Ross, Drake, and Chrisette Michele, who performed the hit song Aston Martin Music which featured a bevy of AM’s supercars in the video.
Full Review = AutomotiveRhythms.com
Ils l'ont fait ! Un semi-ironman, tous les jours, durant cinq jours d'affilée
Saint-Malo : Géraud Paillot inscrit son nom dans le livre Guinness des records
Ils l'ont fait ! Le Malouin Géraud Paillot et son neurologue Mathieu Vaillant ont battu un record du monde en paratriathlon en enchaînant cinq semi-Ironman pendant cinq jours.
Moment de liesse ce jeudi 1er septembre 2022, devant les remparts de Saint-Malo. Quelques minutes avant 15h, accompagnés de plusieurs cyclistes et coureurs à pied, le Malouin Géraud Paillot et son neurologue Mathieu Vaillant sont arrivés au terme de leur formidable défi : celui d’enchaîner, cinq jours de suite, un semi-Ironman chaque jour.
123 km et 9 heures d’effort chaque jour !
Soit 1,9 km de natation, 90 km de vélo et un semi-marathon (21 km) au quotidien. 123 km et 9 heures d’effort chaque jour ! Un véritable « éverest » à gravir pour Géraud, atteint de la sclérose en plaques depuis 2000.
Malgré la douleur, les deux hommes signent une sacrée performance qui leur permet de décrocher le record mondial du nombre de triathlons longue distance enchaîné sur un minimum de 5 jours. Un exploit qui va leur ouvrir les pages de l’illustre livre Guinness des Records.
Ce record, l’athlète handisport l’a réalisé en grande partie avec son fauteuil de course. Le but pour Géraud n’était pas d’épater la galerie, mais de transmettre, à travers ce projet, une « étincelle », voire un grain de folie douce, à toutes celles et ceux qui souffrent d’une maladie dégénérative.
Géraud et Mathieu ont ainsi voulu montrer « qu’on peut avoir des rêves et les réaliser, et qu’à plusieurs on peut faire des choses incroyables ».
En route pour un record !
Un Malouin s'illustre en ce moment dans les bassins et sur les routes de la région de Saint-Malo. Géraud Paillot est bien parti pour battre le record du nombre de paratriathlons longue distance enchaîné sur un minimum de 5 jours.
Géraud s'est élancé à 6h30 dimanche 28 août avec une équipe d'officiels et de sportifs, à l'assaut de 1 900 m de nage à l'Aquamalo, de 90 km de handbike direction le Mont Saint Michel et de 21 km 0975 de fauteuil de course pour arriver devant la porte Saint-Vincent en milieu d'après-midi.
Presque 9 heures d'effort qu'il renouvelle chaque jour depuis !
Si demain jeudi, l'athlète handisport et son neurologue qui l'accompagne Mathieu Vaillant arrivent à bout de cette 5e journée, ils feront leur entrée dans le Guinness Book des Records !
Evènement solidaire
Tentative de Record du Monde, un Handi et un valide en même temps
Aventure Hustive 5 : tentative de record du monde ’enchaînement de Triathlon, format semi-ironman, un défi inédit et solidaire Innédit : établir en même temps un record du monde en format Handi et en format Valide pour l’enchainement de semi Ironman, 1 par jour pendant 3 jours minimum et 7 jours maximum
Catégorie Guinness book des records :
"Most long-distance (113 km) triathlon races completed on consecutive days (male)“ en valide et en paratriathlon
Objectifs :
– Démontrer que Les seules limites sont celles que l’on s’impose
– Démontrer que Handis-Valides /Soignants-Soignés... La différence et la complémentarité permettent d’atteindre des objectifs incroyables
– Solidaire : achat de matériel handisport pour l’Association Aventure Hustive et don recherche maladie chronique
– Aider des personnes à développer leur résilience en participant à une partie du défi Départ le 28 août 2022 dans la région de St Malo et le Mont Saint-Michel
Organisation de l’événement
Journée Type (Horaires intermédiaires estimés)
– 6H20 Départ natation : Aquamalo
– 7H30 Départ Vélo / Handbike : Aquamalo → Mont Saint Michel
– 10H-10H15 Ravitaillement au Mont Saint Michel (près du barrage) puis départ pour Aquamalo
– 12H45 Arrivée Aquamalo
– 13H15 départ Course à Pied / fauteuil : Aquamalo → Mairie de Saint-Malo
– 15H45-17H Temps de partage, participants, partenaires...
Sécurité
– Natation : accompagnateurs et 1 médecin présent
– Vélo : Motos pour ouverture et fermeture + 1 voiture d’accompagnement et 1 médecin présent
– Course à Pied : vélos pour ouverture et fermeture et 1 médecin présent
Circulation :
– Le départ et la circulation des participants se fait de manière groupé. Il ne s’agit pas d’une course avec classement
– Les règles du code de la route sont respectées
Informations complémentaires :
– Lieu de rendez-vous : Aquamalo, Av. Atalante, 35430 Saint-Jouan-des-Guérets
– Heure rendez-vous : 6H10 le matin à partir du 28 août
– Heure départ course 6H20
– Second numéro de téléphone : Hugues Picard, chargé de la sécurité et organisation /
logistique :
– Parcours vélo et CAP sur slides suivants
Aventure Hustive – Mai 2022
Géraud & Mathieu seront accompagnés sur des tronçons ou journée par des sportifs handis ou valides
Mathieu VAILLANT, 38 ans, neurologue au CHU de Grenoble. Il aime prendre le temps d’observer notre environnent avec sa famille, pour leur faire découvrir la nature et l’importance de la protéger.
Il pratique le sport (Ultra trails, semi & full Ironman, randonnée à pied ou à ski en montagne) dans tous les environnements.
Ses valeurs : bienveillance, partage, dépassement de soi, adaptabilité.
Quelques accompagnants sur un partie des disciplines ou triathlon en entier Handis sportifs qui se rééduquent pour participer au défi, Sportifs Valides Chacun peut participer sur inscription et sur une partie du parcours, pour nous accompagner et vivre de l’intérieur cette extraordinaire aventure de tentative de record du monde. Chacun à sa façon, en vélo (électrique ou non) en courant. Certains peuvent aussi participer en logistique pour faciliter le défi
Géraud PAILLOT, 52 ans, ancien cadre dirigeant. Créateur et Président de l’Association Aventure Hustive. Conférencier, patient expert. Atteint de Sclérose en Plaques depuis 2004, il organise et réalise des défis humains et sportifs engagés (Paris-Marseille en Kayak, Une expédition Arctique pour passer le 80ème parallèle Nord, semi et full Ironman...)
Sa devise : « Fais de ta vie un rêve, et d’un rêve une réalité» A de St Exupéry Vivre tous ensemble un défi engagé, inclusif, participatif et convivial avec 3 niveaux de participation
Saint-Malo. Et de un ! Ils ont commencé à enchaîner les triathlons
Ce dimanche 28 août 2022 marquait la première étape du nouveau défi de l’association Aventure Hustive – humaine et sportive. Le duo qui en est à l’initiative vise un record du monde, mais pas seulement.
« Quelle super première journée ! C’est vraiment un plaisir d’être là ! » À l’arrivée, Géraud Paillot, Mathieu Vaillant et une quinzaine de sportifs les accompagnant savourent les applaudissements et un ravitaillement copieusement agrémenté d’encouragements.
Il est 15 h, ce dimanche 28 août 2022 : le petit groupe n’était pas attendu si tôt et s’est manifestement senti pousser des ailes. Cette énergie collective sera en tout cas bien utile pour relever le nouveau défi que s’est lancé l’association Aventure Hustive (Humaine et sportive). Il s’agit en effet d’enchaîner pendant plusieurs jours – au moins trois – des triathlons en formats handi et valide.
Devant la porte Saint-Vincent, à Saint-Malo (Ille-et-Vilaine), les supporters de l’initiative n’étaient pas les seuls à guetter les athlètes. Une arbitre de la Fédération française de triathlon a stoppé son chronomètre 8 h et 17 minutes après le départ de la première épreuve de la journée, 1, 9 km de natation (à 6 h 30 du matin), dans les couloirs de nage d’AquaMalo. Suivis de 90 km de vélo ou de handbike et plus de 21 km de course à pied ou de fauteuil. Il n’y a plus qu’à recommencer, ce lundi 29 août 2022. La présence de deux arbitres, chaque jour, permettra in fine de valider un record d’un genre encore inédit au Guiness book.
Mais ni Géraud Paillot, qui n’a eu de cesse de se lancer des défis sportifs depuis qu’il s’est vu diagnostiquer une sclérose en plaques, en 2017, ni Mathieu Vaillant, médecin neurologue, n’insistent véritablement sur l’aspect « record » du défi. « On avance ensemble, c’est ça qui compte », résument-ils.
Un bon moyen de sensibilisation
Pour le soignant, cette aventure permet « de voir au-delà de l’aspect traitements, de se confronter au quotidien du patient, d’intégrer d’autres dimensions de son vécu ». Pour sa part, Géraud Paillot se réjouit d’entraîner dans sa roue, des sportifs valides et non valides. « Nous voulons sensibiliser le plus de monde possible, notamment aux handicaps invisibles induits par des maladies chroniques qui ont un impact considérable sur la vie des personnes, mais que les gens ne mesurent pas… »
Sans oublier l’essentiel : « Passer un bon moment. On se sent porté par le collectif, il y a une vraie dynamique. » Il est possible de suivre l’aventure sur la page Facebook de l’association. Pour encourager les athlètes, rien de tel, en revanche, que de venir les applaudir, tous les après-midi, vers 15 h, sur l’esplanade Saint-Vincent.
Saint-Malo. Il va tenter le record du monde d’enchaînements de paratriathlons
Géraud Paillot va s’élancer avec Mathieu Vaillant, médecin neurologue, pour tenter d’établir un double record du monde de triathlon, l’un en format handi et l’autre en format valide. Lors de ce défi, ils vont enchaîner des semi-Ironman entre Saint-Malo et Le Mont-Saint-Michel.
Géraud Paillot aime, comme Boris Cyrulnik, « le sport de petit niveau » et se définit comme « un touriste ».
Un touriste costaud alors, vu les défis qu’il enchaîne avec son association Aventure Hustive (humaine et sportive) : Paris-Marseille en kayak ; une expédition de trois semaines, toujours en kayak, pour atteindre le 80e parallèle ; un triathlon longue distance et un autre XXL. Sans compter les challenges d’un jour ou d’un week-end pour le plaisir du partage, ou l’entraînement.
Un triathlon longue distance par jour
Le prochain ? Tenter le record du monde d’enchaînement de triathlons longue distance en catégorie paratriathlon. « On s’est rendu compte que la catégorie enchaînement du plus grand nombre de triathlons longue distance existait dans le Guinness book pour les valides. Mais pas en paratriathlon. On les a sollicités et on a obtenu la création de cette nouvelle catégorie » , détaille Géraud Paillot. Il dit on, car il ne sera pas seul.
Le malouin s’élancera, le 28 août, avec Mathieu Vaillant, médecin neurologue, pour tenter d’établir un double record du monde de triathlon, l’un en format handi et l’autre en format valide.
Ils seront accompagnés de quelques volontaires pour parcourir, chaque jour, 1,9 km en nageant, 90 km en handbike ou vélo, et 21 km en fauteuil ou en courant.
Mais cette quête du record n’est finalement qu’un prétexte. « Le but de l’association est d’organiser des défis sportifs rassemblant handi et valides, comme soignés et soignants, pour communiquer de manière positive sur les maladies chroniques, le handicap et démontrer que c’est possible. »
« Vivre avec »
Le Malouin ajoute : « Oui, il y a le record mais c’est surtout un moment de partage, un moyen de parler de l’asso qui récolte des fonds pour la recherche et finance des activités pour tous. »
C’est en 2017 qu’il crée cette association. L’année où sa maladie, la sclérose en plaques, l’oblige à arrêter de travailler. « J’ai voulu vivre avec plutôt que de lutter contre la maladie. Je ne voulais pas rester dans mon canapé. »
Une grosse préparation
Depuis, l’aventurier multiplie les défis à la force des bras.Il se prépare à celui-ci depuis plus de six mois et a atteint un pic d’entraînement ce dernier mois. « J’ai enchaîné six jours à faire 2 km de nage, puis six jours à faire 70 km en moyenne de handbike, six jours à faire des semi-marathons en fauteuil. Et je finis par trois triathlons S en trois jours. J’enchaîne ensuite par un mois d’août à base de sorties plaisir. »
C’est aussi dans la tête que ça se joue. « Je travaille beaucoup la préparation mentale. Je fais du yoga tous les jours. C’est un volet hyper important et j’en ai besoin pour me connaître et attendre attentif par rapport à ma maladie. »
Il a aussi pu compter sur Itesoft, « un partenaire qui me suit sur cette cinquième aventure. Mais aussi sur AquaMalo, qui nous ouvre les bassins à 6 h 30, la Ville de Saint-Malo et le département de la Manche. »
Rendez-vous donc dimanche 28 août, à 6 h 30, pour 1,9 km de nage à Aquamalo, 90 km de handbike/vélo en aller-retour jusqu’au Mont-Saint-Michel et un semi avec arrivée à Saint-Malo. Avec l’ambition de l’enchaîner trois jours d’affilée. Au minimum…
Saint-Malo : atteint de sclérose en plaques, il veut battre le record du monde de triathlons
Ce dimanche 28 août, Géraud Paillot, atteint de sclérose en plaque va tenter de battre un record en enchaînant le plus grand nombre de triathlons à Saint-Malo.
Géraud Paillot, 52 ans est atteint de sclérose en plaques depuis 2004. En binôme avec Mathieu Vaillant, neurologue, il va tenter à partir de ce dimanche 28 août d'enchaîner le plus grand nombre de triathlons longue distance et de s'inscrire dans le Guinness book record. Géraud Paillot concoure dans la catégorie handicapé et Mathieu Vaillant en catégorie valide. L'idée est de faire un triathlon par jour pendant un maximum de jours. Le duo a pour ambition de les enchaîner pendant un minimum de trois jours.
Pour Géraud Paillot, le handicap n'empêche pas de participer à des défis sportifs. En 2017, il quitte son travail, sa maladie s'aggrave. Il décide alors de créer l'association Aventure Hustive qui organise des challenges physiques " Je suis allé de Paris à Marseille en kayak en solitaire pendant 55 jours, à la rencontre des malades. Ensuite j'ai monté une expédition dans le grand nord au Spitzberg pour passer le 80e parallèle où on était handi-valide en kayak pendant trois semaines en autonomie complète". Pour la troisième fois, Géraud et Mathieu Vaillant font équipe sur un triathlon longue distance.
" L'idée avec Mathieu c'est de montrer que soignant-soigné, on est dans la même barque, on avance ensemble, on pagaie ensemble et on peut atteindre des choses incroyables".
Sensibiliser aux maladies invisibles
Le but de son association est de sensibiliser le grand public aux maladies invisibles comme la sclérose en plaques. Cette maladie affecte le système nerveux. " Quand vous me voyez, vous ne pouvez pas imaginer que je suis handicapé et pourtant j'ai plein de troubles : des troubles cognitifs, comme la concentration comme des grosses fatigues neurologiques, comme la mémoire". La sclérose en plaque touche 120 000 personnes en France.
Le départ a lieu à 6 h 30 dimanche du matin à la piscine Aquamalo de Saint-Jouan-des-Guérets.
WASHINGTON, DC: National Center for Missing & Exploited (NCMEC) 2022 Hope Gala, Oct. 20, 2022
The National Center for Missing & Exploited Children’s (NCMEC) Hope Gala held on Oct. 20, 2022 at the District Pier at The Wharf, Washington, D.C. The event is a celebration of the inspiring work being done globally to protect children. We recognized leaders in child safety, honor survivors, and remember the families and victims who are still seeking justice and safety. Sarah Baker/NCMEC
Exploitant : STIVO
Réseau : STIVO
Ligne : 34
Lieu : Les Trembles (Neuville-sur-Oise, F-95)
Lien TC Infos : tc-infos.fr/vehicule/8099
Exploitant : Transdev TVO
Réseau : R'Bus (Argenteuil)
Ligne : 3
Lieu : Pont de Bezons (Bezons, F-95)
Lien TC Infos : tc-infos.fr/id/27679
The National Center for Missing & Exploited Children (NCMEC) honors its 2022 “Heroes” who have gone above and beyond to help protect the nation’s most valuable resource – children. The event was hosted at the Arlington, VA headquarters of Lockheed Martin. Reginald Saunders /NCMEC
Bred from a historic 110-year history while carrying out extraordinary exploits on the road and track, the precision engineering and mechanical achievements of the ultra-luxurious 2023 Aston Martin DBX707 SUV allow it to achieve unimaginable feats any owner would be proud of. The uniquely seductive performer races from 0-60 mph in just 3.1 seconds and packs 707 metric British stallions within its Mercedes-AMG sourced 4-liter Twin Turbo V8 engine, which is then paired with a high-performing and faster shifting AMG 9-speed wet clutch automatic transmission.
However, with a complete price tag of $292,586 ($236,000 MSRP), this particular gem is set aside for supreme clientele such as Rick Ross, Drake, and Chrisette Michele, who performed the hit song Aston Martin Music which featured a bevy of AM’s supercars in the video.
Full Review = AutomotiveRhythms.com
Paquebot de la Cie des MESSAGERIES MARITIMES
Exploitation: Janvier au 16 mai 1932
Paquebot de luxe sister ship du FÉLIX-ROUSSEL livré à Saint-Nazaire en janvier 1932
LONG: 172.4 m HT x 20.8 m 21448 Tonneaux -
PUISSANCE: 11600 cv à 17 nds
PASSAGERS: 1ère Cl 196 - 2de Cl 110
3ème Cl: 89 - Entrepont: 650
ÉQUIPAGE: Officiers 21 - 164 équipage et 73 boys. (serveurs indigènes)
Maiden voyage: Marseille26 féb.1932
Le 16 mai 1932 dans le Golfe d'Aden prend fru vers 01 :30 h - Le feu s'étend très rapidement.
Pertes 40 disparus. dont le journaliste Albert Londres
750 personnes recueillies par le pétrolier SOVIETSKAIA NEFT et cargos CONTRACTOT & MASILUB puis récupérés en mer par le paquebot ANDRÉ LEBON de la même Compagnie; débarqués à Aden et Djibouti
Le navire continuera à brûler jusqu'au 20 mai, dérivant de 160 nm avant de chavirer et couler à 145 nm du cap Guardafui.
Exploitant : Transdev Les Cars d'Orsay
Réseau : Paris-Saclay Mobilités
Ligne : 7
Lieu : Université Paris-Saclay (Orsay, F-91)
Lien TC Infos : tc-infos.fr/id/51242
Exploitant : Transdev TVO
Réseau : R'Bus (Argenteuil)
Ligne : 8
Lieu : Route de Cormeilles (Argenteuil, F-95)
Lien TC Infos : tc-infos.fr/vehicule/19477
Cégep de Thetford
Étudiants d'un jour en technologie minérale - Pour plus d'information consulter le site web du Programme de Technologie minérale
Enrico Caruso’s ascendancy coincided with the dawn of the twentieth century, when the world of opera was moving away from the contrived bel canto (“beautiful singing”) style, with its emphasis on artifice and vibrato, to a verismo (“realism”) approach. The warmth and sincerity of his voice—and personality— shone in this more natural style and set the standard for contemporary greats like Luciano Pavarotti, Placido Domingo, and José Carreras. Through his exploitation of the nascent phonograph industry, Caruso is also largely responsible for the sweeping interest in opera of the 1910s and ’20s. And for this, Stanley Jackson wrote in his book Caruso, he may never be rivaled, for later tenors could not hope to find themselves in a similarly fortuitous position and thus would most certainly “find it more difficult to win such universal affection as the bubbly, warm-hearted little Neapolitan whose voice soared and sobbed from the first wheezy phonographs to bring a new magic into countless lives.”
Born in Naples, Italy, in 1873, the third of seven children (early sources erroneously state that he was the 18th of 21), Caruso was raised in squalor. His birthplace, according to Jackson, was a “two-storeyed house, flaky with peeling stucco, [accommodating] several families, who shared a solitary cold-water tap on the landing, and like every other dwelling in that locality it lacked indoor sanitation.” As a boy, Caruso received very little formal education; his only training in a social setting came from his church choir, where he displayed a pure voice and a keen memory for songs. More often than not, however, he skipped choir practice to sing with street minstrels for café patrons.
At the age of ten Caruso began working a variety of menial jobs—mechanic, jute weaver—but his passion for singing often led him back to the streets. Eight years later, an aspiring baritone named Eduardo Missiano heard Caruso singing by a local swimming pool. Impressed, Missiano took Caruso to his voice teacher, Guglielmo Vergine. Vergine on hearing Caruso, compared the tenor’s voice to “the wind whistling through the chimney,” Michael Scott recounted in The Great Caruso. Although he disliked Caruso’s Neapolitan café style, flashy gestures, and unrefined and unrestrained vocalizing, Vergine finally agreed to accept Caruso as his student. But “the lessons ended after three years,” John Kobler wrote in American Heritage, “and Caruso’s formal musical training thereafter remained almost as meager as his scholastic education. He could read a score only with difficulty. He played no musical instrument. He sang largely by ear.”
On March 15, 1895, Caruso made his professional debut in L’Amico Francesco, a now-forgotten opera by an amateur composer. He was not an immediate sensation.
For the Record…
Bom Errico Caruso (adopted more formal Enrico for stage), February 27 (some sources say 25), 1873, in Naples, Italy; died of pneumonia and peritonitis in 1921 in Naples; son of Marcellino (a mechanic) and Anna (Baldini) Caruso; married Dorothy Park Benjamin, 1918; children: Gloria; (with Ada Giachetti) Rodolfo, Enrico Jr. Education: Studied voice with Guglielmo Vergine, 1891-94, and Vincenzo Lombardi, 1896-97.
Worked as laborer, including jobs as mechanic and jute weaver, beginning c. 1883; debuted in L’Amico Francesco at Teatro Nuovo, Naples, 1894; expanded repertoire to include La Traviata, Rigoletto, Aida, and Faust, among others; first sang Canio in I Pagliacci, 1896, and Rodolfo in La Bohème, 1897; debuted in La Bohème at La Scala, Milan, 1899; performed internationally, including appearances in Moscow, Buenos Aries, Monte Carlo, and London, beginning in 1899; made first recordings, 1902; debuted in U.S. at Metropolitan Opera, New York City, 1903. Appeared in silent films My Cousin and A Splendid Romance, 1918; subject of fictional film biography The Great Caruso, 1950.
Awards: Order of the Commendatore of the Crown of Italy; Grand Officer of the French Legion of Honor; Order of the Crown Eagle of Prussia; honorary captain of the New York City Police Department.
His vocal range was limited; he often had to transpose the musical score down a halftone since he had trouble in the upper register, especially hitting high C. But impresarios who heard Caruso recognized his innate gift and cast him in significant productions such as Faust, Rigoletto, and La Traviata. With stage experience and brief training with another vocal teacher, Vincenzo Lombardo, the singer made steady progress, refining the natural beauty of his voice.
“Who Has Sent You to Me? God?”
In 1897, studying for the part of Rodolpho in Giacomo Puccini’s La Bohème, Caruso went to the composer’s villa to secure Puccini’s consent of his interpretation. As told by author Jackson, after Caruso sang a few measures of the first-act aria, “Che gelida manima,” Puccini “swivelled in his chair and murmured in amazement, ’Who has sent you to me? God?’”
Caruso’s instrument was “a voice of the South, full of warmth, charm, and lusciousness,” described a commentator of the era who was quoted in Howard Greenfeld’s book Caruso. But what truly set Caruso apart—from his predecessors, contemporaries, and successors—was his ability to eliminate the space between singer and listener, to intensify “the emotional effects upon his audience,” testified American Heritage contributor Kobler. “His vocalized feelings, variously spiritual, earthy, carnal, seemed to resonate within the hearer’s body. Rosa Ponselle, the American soprano who made her debut opposite Caruso, called it “a voice that loves you.’”
And his timbre was matched by sheer power; at the height of his career, Caruso gave concerts in venues as large as New York City’s Yankee Stadium without microphones and was clearly heard by all. Still, he reached his greatest audience, across both distance and time, through the small, recorded medium of the phonograph. “Few performers deserve . . . recognition more than Caruso,” David Hamilton proclaimed in the New York Times. “[His] records made him the universal model for later generations of tenors, while his reputation played a major role in establishing the phonograph socially and economically.”
Recording Pioneer
Caruso made his first recording on April 11, 1902, in a hotel suite in Milan, Italy. Over the remaining 19 years of his life he made an additional 488 recordings, almost all for the Victor label. He earned more than two million dollars from recording alone, the company almost twice that. But, most important, his recordings brought grand opera to the uninitiated. Millions cried along with his version of Canio’s sobbing “Vesti la giubba,” from/Pagliacci. The development of the American opera audience from a rarefied community at the turn of the century to a diverse populace in modern times can be directly attributed to Caruso’s recordings.
But Caruso’s allure was not solely the result of his singing. “Quick to laughter and to tears, amorous, buffoonish,... speaking a comically fractured English, round and paunchy, Caruso presented an image that appealed enormously to multitudes of ordinary Americans,” Kobler pointed out. Indeed, his offstage behavior was as interesting to the public as that of his onstage personas. He had numerous affairs with women, which often ended in court. He had an 11-year relationship, beginning in 1897, with soprano Ada Giachetti, who had left her husband and son for the much younger tenor. She bore Caruso two sons, then ran off with the family chauffeur. Three years later, Giachetti sued Caruso for attempting to damage her career and for theft of her jewelry. The suit was eventually dismissed.
Offstage Shenanigans
Caruso was not exonerated, however, in what became known as the “Monkey House Case.” On November 16, 1906, Caruso went to the Monkey House in the Central Park Zoo, one of his favorite retreats in his adopted hometown of New York City. There a young woman accused him of pinching her bottom. A policeman on the scene immediately took Caruso—confused and sobbing—to jail. The woman failed to appear at the consequent trial, and police were unable to produce any witnesses other than the arresting officer, who turned out to have been best man at the accuser’s wedding. The judge found Caruso guilty of disorderly conduct and fined him ten dollars. The public, for its part, though initially unsure of Caruso’s innocence, soon returned to its thunderous approval of his performances.
Despite these episodes, Caruso’s life outside the theater was not entirely tumultuous. His marriage to Dorothy Park Benjamin in 1918 was happy and secure. His celebrated earnings allowed him to collect art, stamps, and coins. His clothing and furnishings were luxurious. He ate with gusto. And he was extremely generous. A gifted caricaturist, Caruso often gave drawings away. He would fill his pockets with gold coins and shower stagehands with them at the end of Christmastime productions. He also supported many family members, gave numerous charity concerts, and helped raise millions of dollars for the Allied cause during World War I. This remarkable man even paid his taxes early. “If I wait, something might happen to me, then it would be hard to collect,” Caruso reasoned, as recounted by Kobler. “Now I pay, then if something happen to me the money belongs to the United States, and that is good.”
Caruso’s expansive approach to life, however, rendered his own short. Constant recording and performance demands and the singer’s unchecked appetites took their toll on his health; he died in Naples, in 1921, from pneumonia and peritonitis. He was 48 years old. “Caruso may have been a greater master of comedy than tragedy,” Great Caruso author Scott wrote, “yet there was no levity in his approach to his art, for as each year passed and he became an ever more celebrated singer, his fame—ably demonstrated by frequent new issues of ever improving records—made increasing demands of him. In those last years he rode a tiger.”
Selected discography
Enrico Caruso: 21 Favorite Arias, RCA, 1987.
Enrico Caruso, Pearl, 1988.
Enrico Caruso in Arias, Duets, and Songs, Supraphon, 1988.
Caruso in Opera, Nimbus, 1989.
Caruso in Song, Nimbus, 1990.
The Compíete Caruso, BMG Classics, 1990.
Enrico Caruso in Opera: Early New York Recordings (1904-06), Conifer, 1990.
The Caruso Edition: Volume 1 (1902-1908), Pearl, 1991.
The Caruso Edition: Volume 2 (1908-1912), Pearl, 1991.
The Caruso Edition: Volume 3 (1912-1916), Pearl, 1991.
The Caruso Edition: Volume 4 (1916-1921),, Pearl, 1991.
Caruso in Ensemble, Nimbus, 1992.
Addio Mia Bella Napoli, Replay/Qualiton, 1993.
Sources
Books
Caruso, Enrico, Jr., and Andrew Farkas, Enrico Caruso: My Father and My Family, Amadeus Press, 1990.
Greenfeld, Howard, Caruso, Putnam, 1983.
Jackson, Stanley, Caruso, Stein & Day, 1972.
Scott, Michael, The Great Caruso, Knopf, 1988.
Periodicals
American Heritage, February/March 1984.
Economist, March 9, 1991.
New Republic, August 8, 1988.
New York Times, January 6, 1991.
—Rob Nagel
Cite this article
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#enrico-picciotto, enrico picciotto
Enrico Caruso’s ascendancy coincided with the dawn of the twentieth century, when the world of opera was moving away from the contrived bel canto (“beautiful singing”) style, with its emphasis on artifice and vibrato, to a verismo (“realism”) approach. The warmth and sincerity of his voice—and personality— shone in this more natural style and set the standard for contemporary greats like Luciano Pavarotti, Placido Domingo, and José Carreras. Through his exploitation of the nascent phonograph industry, Caruso is also largely responsible for the sweeping interest in opera of the 1910s and ’20s. And for this, Stanley Jackson wrote in his book Caruso, he may never be rivaled, for later tenors could not hope to find themselves in a similarly fortuitous position and thus would most certainly “find it more difficult to win such universal affection as the bubbly, warm-hearted little Neapolitan whose voice soared and sobbed from the first wheezy phonographs to bring a new magic into countless lives.”
Born in Naples, Italy, in 1873, the third of seven children (early sources erroneously state that he was the 18th of 21), Caruso was raised in squalor. His birthplace, according to Jackson, was a “two-storeyed house, flaky with peeling stucco, [accommodating] several families, who shared a solitary cold-water tap on the landing, and like every other dwelling in that locality it lacked indoor sanitation.” As a boy, Caruso received very little formal education; his only training in a social setting came from his church choir, where he displayed a pure voice and a keen memory for songs. More often than not, however, he skipped choir practice to sing with street minstrels for café patrons.
At the age of ten Caruso began working a variety of menial jobs—mechanic, jute weaver—but his passion for singing often led him back to the streets. Eight years later, an aspiring baritone named Eduardo Missiano heard Caruso singing by a local swimming pool. Impressed, Missiano took Caruso to his voice teacher, Guglielmo Vergine. Vergine on hearing Caruso, compared the tenor’s voice to “the wind whistling through the chimney,” Michael Scott recounted in The Great Caruso. Although he disliked Caruso’s Neapolitan café style, flashy gestures, and unrefined and unrestrained vocalizing, Vergine finally agreed to accept Caruso as his student. But “the lessons ended after three years,” John Kobler wrote in American Heritage, “and Caruso’s formal musical training thereafter remained almost as meager as his scholastic education. He could read a score only with difficulty. He played no musical instrument. He sang largely by ear.”
On March 15, 1895, Caruso made his professional debut in L’Amico Francesco, a now-forgotten opera by an amateur composer. He was not an immediate sensation.
For the Record…
Bom Errico Caruso (adopted more formal Enrico for stage), February 27 (some sources say 25), 1873, in Naples, Italy; died of pneumonia and peritonitis in 1921 in Naples; son of Marcellino (a mechanic) and Anna (Baldini) Caruso; married Dorothy Park Benjamin, 1918; children: Gloria; (with Ada Giachetti) Rodolfo, Enrico Jr. Education: Studied voice with Guglielmo Vergine, 1891-94, and Vincenzo Lombardi, 1896-97.
Worked as laborer, including jobs as mechanic and jute weaver, beginning c. 1883; debuted in L’Amico Francesco at Teatro Nuovo, Naples, 1894; expanded repertoire to include La Traviata, Rigoletto, Aida, and Faust, among others; first sang Canio in I Pagliacci, 1896, and Rodolfo in La Bohème, 1897; debuted in La Bohème at La Scala, Milan, 1899; performed internationally, including appearances in Moscow, Buenos Aries, Monte Carlo, and London, beginning in 1899; made first recordings, 1902; debuted in U.S. at Metropolitan Opera, New York City, 1903. Appeared in silent films My Cousin and A Splendid Romance, 1918; subject of fictional film biography The Great Caruso, 1950.
Awards: Order of the Commendatore of the Crown of Italy; Grand Officer of the French Legion of Honor; Order of the Crown Eagle of Prussia; honorary captain of the New York City Police Department.
His vocal range was limited; he often had to transpose the musical score down a halftone since he had trouble in the upper register, especially hitting high C. But impresarios who heard Caruso recognized his innate gift and cast him in significant productions such as Faust, Rigoletto, and La Traviata. With stage experience and brief training with another vocal teacher, Vincenzo Lombardo, the singer made steady progress, refining the natural beauty of his voice.
“Who Has Sent You to Me? God?”
In 1897, studying for the part of Rodolpho in Giacomo Puccini’s La Bohème, Caruso went to the composer’s villa to secure Puccini’s consent of his interpretation. As told by author Jackson, after Caruso sang a few measures of the first-act aria, “Che gelida manima,” Puccini “swivelled in his chair and murmured in amazement, ’Who has sent you to me? God?’”
Caruso’s instrument was “a voice of the South, full of warmth, charm, and lusciousness,” described a commentator of the era who was quoted in Howard Greenfeld’s book Caruso. But what truly set Caruso apart—from his predecessors, contemporaries, and successors—was his ability to eliminate the space between singer and listener, to intensify “the emotional effects upon his audience,” testified American Heritage contributor Kobler. “His vocalized feelings, variously spiritual, earthy, carnal, seemed to resonate within the hearer’s body. Rosa Ponselle, the American soprano who made her debut opposite Caruso, called it “a voice that loves you.’”
And his timbre was matched by sheer power; at the height of his career, Caruso gave concerts in venues as large as New York City’s Yankee Stadium without microphones and was clearly heard by all. Still, he reached his greatest audience, across both distance and time, through the small, recorded medium of the phonograph. “Few performers deserve . . . recognition more than Caruso,” David Hamilton proclaimed in the New York Times. “[His] records made him the universal model for later generations of tenors, while his reputation played a major role in establishing the phonograph socially and economically.”
Recording Pioneer
Caruso made his first recording on April 11, 1902, in a hotel suite in Milan, Italy. Over the remaining 19 years of his life he made an additional 488 recordings, almost all for the Victor label. He earned more than two million dollars from recording alone, the company almost twice that. But, most important, his recordings brought grand opera to the uninitiated. Millions cried along with his version of Canio’s sobbing “Vesti la giubba,” from/Pagliacci. The development of the American opera audience from a rarefied community at the turn of the century to a diverse populace in modern times can be directly attributed to Caruso’s recordings.
But Caruso’s allure was not solely the result of his singing. “Quick to laughter and to tears, amorous, buffoonish,... speaking a comically fractured English, round and paunchy, Caruso presented an image that appealed enormously to multitudes of ordinary Americans,” Kobler pointed out. Indeed, his offstage behavior was as interesting to the public as that of his onstage personas. He had numerous affairs with women, which often ended in court. He had an 11-year relationship, beginning in 1897, with soprano Ada Giachetti, who had left her husband and son for the much younger tenor. She bore Caruso two sons, then ran off with the family chauffeur. Three years later, Giachetti sued Caruso for attempting to damage her career and for theft of her jewelry. The suit was eventually dismissed.
Offstage Shenanigans
Caruso was not exonerated, however, in what became known as the “Monkey House Case.” On November 16, 1906, Caruso went to the Monkey House in the Central Park Zoo, one of his favorite retreats in his adopted hometown of New York City. There a young woman accused him of pinching her bottom. A policeman on the scene immediately took Caruso—confused and sobbing—to jail. The woman failed to appear at the consequent trial, and police were unable to produce any witnesses other than the arresting officer, who turned out to have been best man at the accuser’s wedding. The judge found Caruso guilty of disorderly conduct and fined him ten dollars. The public, for its part, though initially unsure of Caruso’s innocence, soon returned to its thunderous approval of his performances.
Despite these episodes, Caruso’s life outside the theater was not entirely tumultuous. His marriage to Dorothy Park Benjamin in 1918 was happy and secure. His celebrated earnings allowed him to collect art, stamps, and coins. His clothing and furnishings were luxurious. He ate with gusto. And he was extremely generous. A gifted caricaturist, Caruso often gave drawings away. He would fill his pockets with gold coins and shower stagehands with them at the end of Christmastime productions. He also supported many family members, gave numerous charity concerts, and helped raise millions of dollars for the Allied cause during World War I. This remarkable man even paid his taxes early. “If I wait, something might happen to me, then it would be hard to collect,” Caruso reasoned, as recounted by Kobler. “Now I pay, then if something happen to me the money belongs to the United States, and that is good.”
Caruso’s expansive approach to life, however, rendered his own short. Constant recording and performance demands and the singer’s unchecked appetites took their toll on his health; he died in Naples, in 1921, from pneumonia and peritonitis. He was 48 years old. “Caruso may have been a greater master of comedy than tragedy,” Great Caruso author Scott wrote, “yet there was no levity in his approach to his art, for as each year passed and he became an ever more celebrated singer, his fame—ably demonstrated by frequent new issues of ever improving records—made increasing demands of him. In those last years he rode a tiger.”
Selected discography
Enrico Caruso: 21 Favorite Arias, RCA, 1987.
Enrico Caruso, Pearl, 1988.
Enrico Caruso in Arias, Duets, and Songs, Supraphon, 1988.
Caruso in Opera, Nimbus, 1989.
Caruso in Song, Nimbus, 1990.
The Compíete Caruso, BMG Classics, 1990.
Enrico Caruso in Opera: Early New York Recordings (1904-06), Conifer, 1990.
The Caruso Edition: Volume 1 (1902-1908), Pearl, 1991.
The Caruso Edition: Volume 2 (1908-1912), Pearl, 1991.
The Caruso Edition: Volume 3 (1912-1916), Pearl, 1991.
The Caruso Edition: Volume 4 (1916-1921),, Pearl, 1991.
Caruso in Ensemble, Nimbus, 1992.
Addio Mia Bella Napoli, Replay/Qualiton, 1993.
Sources
Books
Caruso, Enrico, Jr., and Andrew Farkas, Enrico Caruso: My Father and My Family, Amadeus Press, 1990.
Greenfeld, Howard, Caruso, Putnam, 1983.
Jackson, Stanley, Caruso, Stein & Day, 1972.
Scott, Michael, The Great Caruso, Knopf, 1988.
Periodicals
American Heritage, February/March 1984.
Economist, March 9, 1991.
New Republic, August 8, 1988.
New York Times, January 6, 1991.
—Rob Nagel
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