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232:. In several interviews she recalled early expectations of becoming a concert pianist. "Determined since childhood", by other accounts, "to become an opera singer," she sang in school choirs and New York's All City High School Chorus; when she was sixteen, a teacher heard her voice in the chorus and took time "to find out who the voice belonged to ... and got me to the Juilliard Preparatory School and my first voice teacher".
461:, whose laurels included many of Maria Callas's classic recordings. Troyanos concurred, "I have this do-or-die determination, probably to overcome past insecurities, difficulties, fears ... certain things never go away. There are things within me that I live with and channel into exciting performances." A 1967 Hamburg Opera tour first brought her to the stage of the Metropolitan Opera's new home at
581:. "She has a large, warming lyric mezzo-soprano with perfect control ... her singing of the Trio and the final duet was perfection itself." Octavian (her most frequently sung role at the Met, with thirty performances through 1986) and the Composer were often described as her signature or calling-card roles. She also became closely identified, on stage and screen, with another
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our recitals, and when I was in her New York apartment, just seeing the music on the piano was a revelation." The scores were "covered with instructions to herself ... words and signs in a big, bold slanted hand" filling "every margin and possible space ... It was like a diary in those scores", said
Valente.
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article, by Eric Myers, now reported that "through all her treatments, she valiantly, strenuously battled illness and nerves and kept most of her singing engagements." She was survived by her mother, Hildegard
Fournier, and a brother. She was interred in Pinelawn Memorial Park, Long Island, New York.
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score and opened it up, and the smell of the paper reminded me of
Tatiana. Isn't that weird? And seeing certain phrases, I can still hear her voice in my head. It's not that we were that close. But I was so impacted by her performance and the power of being on stage with her, that just looking at the
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Soprano Benita
Valente provided a unique glimpse of Troyanos as working musician. "I don't know any singer who spent as much time in depth with the music," Valente said. "I don't think she even knew what a stamp she put on each role. She didn't talk about this. But we spent a lot of time working on
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in 1962, by which time she had begun vocal studies with Hans Heinz, who "understood my voice and helped me open it up at the top ... and gradually I found all my top notes." She described Heinz, with whom she continued to study after her graduation in 1963, as "the major influence in my life ... Our
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Offered a
Metropolitan Opera contract with limited stage opportunities, but choosing a path also taken by other American singers at the time, she left in the summer of 1965 in quest of more intensive performing experience in Europe, where, having auditioned successfully for three companies, she was
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454:), effectively initiated her international career—although, said Liebermann, "she returned to Hamburg unspoiled" after her triumph at Aix and "'took up her modest engagements as if nothing had happened.'" The early success at Aix was caught by French television and a kinescope has been preserved.
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She was looked after by Greek relatives and lived for around a decade at the
Brooklyn Home for Children, which had relocated to Forest Hills. She said of her childhood, "My past is hard to overcome." She described the children's home itself as "bleak but marvelous". It was there that her life in
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A mainstay and "one of the most beloved artists at the
Metropolitan Opera" from 1976 until her death in 1993, she was internationally revered for her uniquely sensual, burnished sound, her versatility and beauty, as well as the thrilling intensity of all her performances. "Because of the burning
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recalled that the revival was "highlighted not only by the radiant presence of Kiri Te Kanawa but by the deceptively robust performance of
Tatiana Troyanos." Taking part in a Strauss symposium in San Francisco "a short two months before she died, she was the most blooming and healthy-looking
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ultimately "clicked" for her, "my preparation for
Strauss's naĂŻve Komponist seemed to be way too slow. I had also been listening to the consummate artist, Tatiana Troyanos, a great deal, and I was thinking, 'I just can't do this role justice. I won't be ready. I just can't sing it like her.'"
394:... who encouraged me and who knew how to further my career slowly. That was really what I wanted. I wanted to be in the theater every day, learning roles slowly, not quickly, and certainly not under any kind of pressure. That's really what I got." Her first parts there included Lola in
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concluded that many of
Troyanos's discs "capture her faithfully — or ... as faithfully as is possible without her marvelous physical presence ... In fact, she never made a bad record, and—artist that she was—in every case Troyanos contributed something unique and memorable."
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wrote, "The idea that we are gathered here ... to pay memorial tribute to Tatiana Troyanos is incomprehensible. What it means, of course, is that our Metropolitan Opera family has lost one of the most important, beloved artists and friends in its entire history."
1714:"When I did my first Sesto ... there were certain phrases that I found myself singing just like she did, because it was in my ear that way," said Graham. "I was never so inspired by a colleague on the stage as I was by Tatiana, because she just gave everything."
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remembered as "one of the defining singers of her generation". Her voice, "a paradoxical voice — larger than life yet intensely human, brilliant yet warm, lyric yet dramatic" — "was the kind you recognize after one bar, and never forget", wrote Cori Ellison in
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Daniel Kessler observed that "beneath the veneer of the casualness of her Clairon for San Francisco on those late 1993 Spring evenings, with each performance she gave, there was a conscious endeavor to build or perfect over what had gone before."
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magazine said she was, "by all reports, someone caught between a rock and a hard place: her stage fright was equalled only by her love of singing"). Her death, however, was unforeseen and "came as a shock to the close-knit opera community," as
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in both Boston and New York, one of three prominent singers who came to the rescue when the scheduled soloist withdrew from the series of concerts. "Troyanos is still a profoundly immediate and expressive artist," wrote Richard Dyer in the
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Troyanos returned to New York to make her Metropolitan Opera debut as Octavian, closely followed by the Composer, in the spring of 1976. "The star of the show was Miss Troyanos ... the most aristocratic Octavian at the Met in years," wrote
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identified this as breast cancer, initially diagnosed in the mid-1980s and later in remission, which was found only in July 1993 to have metastasized to her liver. Her earlier cancer diagnosis had been undisclosed at the time; the
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music began. She studied piano for seven years, first at the home, where her instructor was Metropolitan Opera bassoonist Louis Pietrini, who had volunteered to teach the children a variety of instruments — initially teaching them
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intensity and conviction of her dramatic projection," wrote Clyde T. McCants in his book on American opera singers, "sometimes listening to Troyanos's recordings we tend to forget the radiant glory of the voice itself."
437:, "she made a heart-breaking—and heart-broken—adolescent, whose voice, in Strauss's great paean to the power of music, soared into the warm, Provencal night and seemed to hang there like the stars of a rocket."
779:. "I'm lucky that I look like the roles I do, whether it's Octavian or Carmen or Kundry or Giulietta ... It's a flexible look and I'm a flexible actress. I must get ahold of a role or die", Troyanos once said.
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recalled, "Once I started performing, I got quite acquainted with the art of Tatiana Troyanos, another artist from whom I learned 100% commitment." Early in her career, Graham sang Annio to Troyanos' Sesto in
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From 1981 to 1983, she appeared in all three season opening nights at the Met — "typically enough", James Levine, the conductor for all three, noted, "in three different styles and languages" — as Adalgisa in
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Tatiana Troyanos in Recital – Schumann, "Frauenliebe und -leben"; Rachmaninoff, Four Songs; Ravel, "Five Greek Folksongs"; Rossini, "La Regata Veneziana" (Levine, piano, live 1985, VAI, released 1999)
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As her "vibrato uncoiled to yield a plummier sound", wrote Cori Ellison, "she chose to stretch her medium-weight voice to suit her temperament", adding Wagner roles at the Met—beginning with Venus in
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for Sir Georg Solti (she was described in the Penguin classical record guide as "quite simply the subtlest Carmen on record ... Troyanos' singing is delicately seductive too"), the Composer in
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of complete operas (a number of which, including roles she never recorded in the studio — Princess Eboli, Giulietta, Brangäne, Waltraute, Geschwitz — have been restored in recent years for
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Asked which mezzo type she'd rather play, "somebody's mother or some guy", Troyanos once quipped: "I prefer the guys — but maybe a guy who also wears a beautiful dress from time to time."
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Although described as "an exceedingly private person offstage," Troyanos had become known increasingly to suffer from inner ear and sinus problems, along with severe performance anxiety (
412:, a key role she would later bring to Geneva, London, and the Metropolitan Opera spring tour. Eventually at Hamburg she would sing, in her words, "just about every mezzo role around."
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magazine, "unflatteringly magnifies the natural vibrato of Tatiana Troyanos' beautiful voice into something more like a beat ... a distortion of the effect she makes in a hall."
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Troyanos' performances "covered the full range of operatic history" in an international career of three decades that also produced a variety of operatic recordings, among them
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212:. Her early childhood was clouded by a deep sense of abandonment; her parents, operatic hopefuls who, she said, "had beautiful voices"—her father, born on the Greek island of
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with "a fiercely elemental life force," was "not to every listener's taste," David Hamilton offered another perspective: the "close pickup" of one recording, he wrote in
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390:, her home base for the next decade, first as a member of its renowned ensemble and later as a guest artist. "It made sense to go to Germany," she recalled. "I found an
1785:, adding that "hers was the most pliant and meaningful delivery and coloration of the text, the most beautiful, sophisticated and natural shaping of the musical line."
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457:"Troyanos has a sumptuous voice, a very sharp intelligence, enormous ambition, and do-or-die determination to be a great artist," observed British record producer
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magazine that she "gave the work a dramatic punch few of us had known was there." Her other most frequent appearances at the Met were as Prince Orlofsky in
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Troyanos enjoyed an equally versatile career as a recording artist; her first appearance as a soloist in a recording hall was as Dorabella, opposite
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and made her professional operatic debut in April 1963, on the first night of the spring season, as Hippolyta in the New York premiere production of
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Levine, James. "Remembering Tatiana." Program booklet for "Music in Memory of Tatiana Troyanos," concert at Metropolitan Opera House, April 7, 1994.
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496:, who had originally brought her to the New York City Opera) served to reintroduce her to American opera audiences. There followed debuts at the
220:, was a coloratura soprano — had separated when she was an infant and later divorced, "ill-matched to each other and ill-suited to parenthood".
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wrote, "The means by which Poppea seduces Nero ... could liquefy even stone the way the sensational new mezzo soprano Tatiana Troyanos sang").
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Troyanos is also credited in the ensemble on the original cast recording. Her exact tenure in the show has been variously reported, but a
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for other patients, one of whom "told her that this was the first time in three years that she had completely forgotten her pain."
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at San Francisco Opera between June 12 and July 1, 1993. She had fallen ill during rehearsals but sang all the performances, and
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score and remembering the Annio/Sesto duet, I can still hear that voice in my ear, the way she sang certain phrases of recit."
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beginning in 1976, with over 270 performances (several dozen of them broadcast or televised) spanning twenty-two major roles.
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in August, but her final stage appearances were in a somewhat lighter vein, as the actress Clairon in Richard Strauss'
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A Salute to American Music, Richard Tucker Music Foundation Gala XVI – Copland, "At the River" (Conlon, 1991, RCA/BMG)
803:), and the alto title role of Caesar (at the opera in San Francisco in 1982, Geneva in 1983, and at the Met in 1988).
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in 1983. She also appeared in seven new productions at the Met, including the company's premiere productions of
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wrote at the time. "Ms. Troyanos had kept her illness to herself and continued to perform almost to the end."
243:, which she frequently attended as a standee. She was employed as a secretary to the director of publicity at
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Auger, Janowitz and Troyanos in Concert – Handel, Mozart, Strauss (Eichhorn, live 1968, Originals/Bella Voce)
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the following year, and various other roles through 1965. These years also saw performances of Dorabella in
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1981:
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Troyanos and Valente – Handel and Mozart, Arias & Duets (Rudel, 1991, MusicMasters/Musical Heritage)
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Troyanos died on August 21, 1993, in New York, at the age of 54, of cancer. Nine years after her death,
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in 1966 (for which Liebermann himself had recommended her) that saw her breakthrough performance in
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The year after her death, the Metropolitan Opera performed a concert in her memory; Music Director
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679:(initially in a Saturday matinee broadcast in 1980) — while continuing to sing Mozart, Handel, and
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2808: (archived December 9, 2000). American National Biography Online. Accessed August 1, 2012.
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for the Mark Hellinger Theater dated January 7, 1963 shows her still in the cast at that time.
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in Chicago, Cleveland, New York and London between 1972 and 1981). In 1984 she sang with the
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Born in New York City, Troyanos spent her earliest days in the Manhattan neighborhood where
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She had last sung at the Met—the last of three performances of Waltraute (a role debut) to
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Troyanos sang roles in concert performances of operas ranging from Ulysses in Handel's
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Fricka). Eight more Met performances, plus a joint concert with Plácido Domingo, were
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Troyanos was known for her impassioned portrayals of everything from trouser roles to
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American Opera Singers and Their Recordings: Critical Commentaries and Discographies.
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could be heard on radio broadcasts of major American orchestras. She was featured in
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2328:, edited by John Guinn and Les Stone. Detroit: Visible Ink Press, 1997, pp. 842-43;
1772:, conducted by Levine—on May 1, 1993. That April and May, she also sang in Mahler's
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All these telecasts have been released in home video versions except for the Met's
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acknowledged that "the persistent pulse of her vibrato," which imbued roles like
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recital debut in 1978), as well as in a series of duo recitals with the soprano
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Other roles Troyanos sang on opera stages in the course of her career included
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March 1976, posted at Metropolitan Opera archives, accessed August 24, 2012.
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After a long run in the nuns' chorus in the original Broadway production of
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in the first opera performance to be televised live throughout the world.
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O'Connor, Patrick. "A golden singer for all seasons: Tatiana Troyanos."
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reported that "Troyanos offered a searching, almost harrowing reading."
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work together built the foundation that was so essential to my career."
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Colvin, Kathline. "Tatiana Troyanos—A Voice Which Dreams Are Made On."
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2106:. University Press of Kentucky, 2015, p. 103, accessed July 26, 2016.
1065:, which are available from its streaming service, "Opera on Demand".
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in a selection of twentieth-century repertory including Stravinsky's
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Dyer, Richard. Tatiana Troyanos obituary. "Busy Time for Williams."
1162:. She was active as a song recitalist (her first recital was at the
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Jacobson, Robert. "Tatiana Troyanos: Mastering the Mezzo's Forte."
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2786:. "Again It's Town Hall Tonight—Maybe Every Night: New Country."
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Kraglund, John. "Music: Salome Performance Good, but Cut Short."
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confessed that during the time before the role of the Composer in
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in Manhattan and later to a co-ed boarding house not far from the
2045:"Troyanos Talks: A World-Class Prima Donna Discusses Opera Today"
1886:"Tatiana Troyanos Is Dead at 54; Mezzo Star of Diverse Repertory"
1241:(recorded in London in 1967, released in 1968, and winner of the
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2557:, joycedidonato.com, January 1, 2007, accessed December 2, 2016.
2491:"Opera Star Known For Passion, Power And Desire For Perfection"
2029:, vol. IX, no. 1, Winter 1961-2, p. 16, accessed July 19, 2016.
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in 1987. Concert telecasts with Troyanos included Schoenberg's
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O'Connor, Patrick. "Tatiana Troyanos: Flair and Flamboyance",
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O'Neill, Paul. "A Memory of Early Tatiana Troyanos", Opera-L,
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That performance, followed by her first Octavian in Strauss's
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These recordings were released commercially on LP and/or CD:
1281:'s high-profile (if controversial) operatic recording of his
152:(September 12, 1938 – August 21, 1993) was an American
2279:, vol. 44, no. 10, October 1993, accessed November 25, 2016.
2013:, biography in New York Philharmonic Digital Archives, 1967.
1997:
Kelly, Kevin. "Fish Nets and Mussels: 'Fanny' at Carousel",
1347:, Allan Monk (Chorèbe), John Cheek, Paul Plishka (Narbal),
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Kerner, Leighton. "Unfinished Song: Troyanos Memorials",
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There are DVDs of 10 complete operas featuring Troyanos:
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from 1980 to 1990, which included works like Beethoven's
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that season, Marina in the company's first production of
180:), cited almost four decades later as "the finest of all
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Preparing Sesto herself years later, "I went back to my
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vol. 36, no. 3, March 1985. Accessed November 25, 2016.
2742:. "What's Tatiana Troyanos Doing in Spartacus's Tent?"
2607:, vol. 53, no. 5, May 2002, accessed November 25, 2016.
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1287:, among numerous other roles. David Anthony Fox in the
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and Preziosilla in the premiere of a new production of
2544:, vol. 64, no. 7, January 2000; accessed June 4, 2017.
2023:"Juilliard School of Music presents The Verdi Requiem"
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Troyanos was scheduled to reprise the Mahler Third at
1674:: Mozart, "Deh, per questo istante" (Hollreiser, 1984)
2693:"Tatiana Troyanos: Reflections on an Operatic Career"
2478:
The Complete Penguin Stereo Record and Cassette Guide
2147:"Opera Star Troyanos Happy to Find a Home at the Met"
188:, Troyanos became widely known for her work with the
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Boston: Northeastern University Press, 1991, p. 292.
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presence in the room," wrote Leighton Kerner in the
1828:Troyanos last sang on the last day of her life, in
1546:– Jocasta (Abbado, live 1969, Opera d'Oro/Memories)
2811:Kelly, Kevin. "The Most Beautiful Name in Opera."
2762:Hiemenz, Jack. "The Tale of the Impatient Diva."
2352:. Great Barrington, MA: Wyeth Press, 1981, pg 276.
1969:Diva: Great Sopranos and Mezzos Discuss Their Art.
2222:"'Maler,' 'Progress' OK, 'Visitation' Is Wanting"
1048:, and the last production in which she appeared,
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2854:, September 4, 1993. Accessed February 27, 2015.
2444:: CS1 maint: bot: original URL status unknown (
2427:. Archived from the original on January 24, 2015
2414:, February 28, 1987; accessed October 13, 2012.
2366:"Review/Opera; 17th-Century Camp and Kinkiness"
2209:On and Off the Record: A Memoir of Walter Legge
2082:The New York City Opera: An American Adventure.
1903:"Classicalite's Five Best: 'Carmen' Recordings"
1106:in the world premiere, in English, of Act I of
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2774:"Tatiana Troyanos Sings the Praises of Handel"
2667:"Richard Strauss—Capriccio: Editorial Reviews"
2616:Page, Tim. "Opera Star Tatiana Troyanos, 54",
2497:, August 31, 1993, accessed November 24, 2016.
2393:Birnbaum, George. "Auger, Popp and Troyanos."
2170:, August 26, 1993; accessed November 23, 2012.
2153:, January 15, 1984; accessed October 25, 2013.
1446:Die Gärtnerin aus Liebe (La Finta Giardiniera)
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1020:Her singing was preserved in thirty-five live
737:(as Countess Geschwitz) in 1977, Stravinsky's
251:in his review of a summer stock production of
2985:Deaths from breast cancer in New York (state)
2946:with the Binghamton Philharmonic, May 3, 1959
2893:January 23, 1977. Accessed February 27, 2015.
2780:January 27, 1985. Accessed February 28, 2015.
2590:October 25, 1984, accessed September 5, 2015.
2461:"The 'ham and eggs' of the opera: The singer"
2372:, August 8, 1989; accessed February 17, 2016.
2228:, July 15, 1967, p. 42, accessed May 9, 2013.
1124:her performances of such pieces as Berlioz's
2639:, April 29, 1993, accessed October 13, 2012.
2573:January 3, 1986, accessed September 5, 2015.
2425:"Metropolitan Opera Catalog –Search Results"
1678:The Unanswered Question: Poetry of Earth (6)
1448:– Ramiro (Schmidt-Isserstedt, 1972, Philips)
1245:in 1969). She went on to sing Cherubino in
433:). In her role debut as the Composer, wrote
2944:Troyanos singing Bach's St. Matthew Passion
2878:Von Buchau, Stephanie. "Tatiana Troyanos."
2182:"Musician of the Month: Tatiana Troyanos",
1982:"Tatiana Troyanos: Versatile Mezzo-Soprano"
1441:– Dorabella (Maag, live 1968, Mondo Musica)
1074:(Washington, 1987) and Farnace in Mozart's
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3025:Forest Hills High School (New York) alumni
2840:Moritz, Charles, ed. "Troyanos, Tatiana."
2467:, March 3, 1973; accessed August 19, 2014.
1909:, July 17, 2013, accessed August 11, 2016.
1892:, August 23, 1993, accessed June 18, 2009.
1553:– Jocasta (Bernstein, 1972, Columbia/Sony)
1420:– Santuzza (Schermerhorn, live 1976, Gala)
91:
3020:Classical musicians from New York (state)
3015:20th-century American women opera singers
2759:, August 30, 1993. Accessed May 11, 2017.
2656:, May 5, 1993, accessed October 13, 2012.
2523:"Susan Graham on Working with Troyanos."
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1929:Jacobson, Robert. "Getting It Together."
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69:Learn how and when to remove this message
2669:. Amazon.com, accessed October 13, 2012.
2514:, July 2003, accessed November 24, 2016.
2508:"A Talk with Mezzo-Soprano Susan Graham"
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2037:
2035:
1399:– Orsini (Rescigno, live 1974, Melodram)
1331:– Adalgisa (Levine, 1979, Columbia/Sony)
1317:– Romeo (Caldwell/Scott, live 1975, VAI)
1215:and songs by Berlioz and Mahler, at the
1080:(New York, 1992) to Sara in Donizetti's
673:(opening the 1978 season) and Kundry in
32:This article includes a list of general
2848:"Mort de la chanteuse Tatiana Troyanos"
2746:. Macdonald, 1989. Author's reading at
2725:. "The Private Side of a Prima Donna."
2408:"Tatiana Troyanos: Awakening the Arias"
1963:
1961:
1943:
1941:
1939:
264:, Troyanos was chosen as a soloist for
2952:
2861:, August 25, 1993. Text reproduced at
2375:
2320:
2318:
2241:, page 2; accessed September 22, 2012.
2058:, June 1987; accessed August 24, 2012.
1855:
1525:– Composer (Solti, 1977, Decca/London)
1511:– Composer (Böhm, live 1967, Melodram)
1434:– Dorabella (Leinsdorf, 1967, RCA/BMG)
1427:– Charlotte (Plasson, 1979, EMI/Angel)
1324:– Adalgisa (Cillario, live 1975, Gala)
1303:– Judith (Boulez, 1976, Columbia/Sony)
1086:(London, 1970) and Judith in BartĂłk's
2567:"Troyanos Ill, Won't Perform At Ucla"
2261:
2196:Regine Crespin discography at Discogs
2186:, vol. 27, no. 6, June 1977, p. MA-6.
2032:
1390:Rappresentatione di Anima, e di Corpo
1367:Cat: 00440 073 4310. CD: Laser Disc:
1243:Grammy Award for Best Opera Recording
1177:which began after they co-starred in
288:New York City Opera and Hamburg years
2702:, page 4, accessed October 21, 2012.
1958:
1936:
1392:– Anima (Mackerras, 1970, DG Archiv)
406:, and by year's end she was singing
235:In her late teens, she moved to the
216:, was a tenor, and her mother, from
18:
2924:Troyanos at the San Francisco Opera
2315:
2184:High Fidelity & Musical America
1660:with Plácido Domingo (Levine, 1982)
1483:– Dido (Mackerras, 1967, DG Archiv)
1212:Siete canciones populares españolas
1195:in 1979 and a recital with pianist
13:
2970:American musical theatre actresses
2940:by Bruce Duffie, November 16, 1985
2919:Troyanos at the Metropolitan Opera
2822:, vol. 40, no. 18, March 20, 1976.
2709:
1504:– Wood Dove (Ozawa, 1979, Philips)
1490:– Dido (Leppard, 1977, Erato/Apex)
38:it lacks sufficient corresponding
16:American mezzo-soprano (1938–1993)
14:
3041:
3000:American people of German descent
2910: (archived February 20, 2002)
2897:
1933:, vol. 47, no. 3, September 1982.
1635:, Berlioz (Levine, 1983 and 1984)
1497:– Cintia (Lange, 1969, DG Archiv)
1467:Missa Brevis in C, "Sparrow Mass"
1026:the Met's satellite radio channel
745:(as Sesto) in 1984, and Handel's
184:s." After ten years based at the
2990:People from Forest Hills, Queens
2980:American people of Greek descent
2975:American operatic mezzo-sopranos
2844:New York: H.W. Wilson Co., 1979.
2842:Current Biography Yearbook 1979.
2326:The St. James Opera Encyclopedia
1955:, vol. 65, no. 5, November 2002.
1872:, vol. 58, no. 5, November 1993.
1560:– Second Norn (Levine, 1989, DG)
1539:– Octavian (Böhm, live 1969, DG)
23:
2938:Interview with Tatiana Troyanos
2833: (archived April 4, 2016).
2685:
2672:
2659:
2642:
2623:
2610:
2593:
2576:
2560:
2547:
2530:
2517:
2512:Home Theater & Audio Review
2500:
2483:
2470:
2453:
2417:
2400:
2387:
2355:
2350:Records in Review, 1981 Edition
2338:
2295:
2282:
2244:
2237:Quoted in Robert Wilder Blue,
2231:
2214:
2201:
2189:
2173:
2156:
2139:
2126:
2109:
2094:
2074:
2061:
2016:
2004:
1729:
1688:
1462:– Marcellina (Levine, 1990, DG)
1406:– Cleopatra (Richter, 1969, DG)
741:(as Jocasta) in 1981, Mozart's
450:in 1968 (to the Marschallin of
2744:The Futurist and Other Stories
2715:Ames, Katrine. "Mezzo Power."
2480:. Penguin Books, 1984, p. 185.
2239:"Remembering Tatiana Troyanos"
2103:The Encyclopedia of Louisville
1991:
1974:
1895:
1875:
1842:
1649:, R. Strauss (Runnicles, 1993)
1586:, Penderecki (Janowski, 1969)
1413:(Boulez, live 1973, Documents)
1411:Symphony No. 2, "Resurrection"
298:, Troyanos was engaged by the
1:
2887:"Tatiana New Opera Superstar"
2753:"Gestorben: Tatiana Troyanos"
2273:"Tatiana Troyanos, 1938-1993"
2211:. London: Faber, 1982, p. 81.
1866:"Tatiana Troyanos: 1938-1993"
1835:
1665:The Making of West Side Story
1476:– Jeanne (Janowski, 1969, DG)
1378:– Anita (Bernstein, 1985, DG)
1022:Metropolitan Opera broadcasts
195:
2538:"Living It Up in Operaworld"
2397:, vol. 2, issue 3, May 1994.
2164:"Obituary: Tatiana Troyanos"
1455:– Cherubino (Böhm, 1968, DG)
1289:St. James Opera Encyclopedia
1253:, the title role in Bizet's
1004:), Hamburg State Opera, 1969
767:Opera and concert repertoire
751:(as Cesare) in 1988. In her
654:St. James Opera Encyclopedia
562:The Metropolitan Opera years
492:in 1971 (under the baton of
7:
2882:vol. 38, no. 3, March 1977.
2865:, accessed August 10, 2012.
2650:"Classical Music in Review"
2584:"Opera: 'Clemenza di Tito'"
2252:"The Golden Sound of Opera"
2084:New York: Macmillan, 1981.
1684:– Jocasta (Bernstein, 1972)
1642:, R. Strauss (Levine, 1988)
1621:, R. Strauss (Levine, 1982)
1518:– Composer (Böhm, 1969, DG)
1385:(Solti, 1975, Decca/London)
1231:'s Fiordiligi, in Mozart's
1223:Audio and video discography
1016:), Metropolitan Opera, 1992
991:and two roles she created,
755:debut in 1977, she sang in
488:in the opening week of the
10:
3046:
2995:Singers from New York City
2818:Mayer, Martin. "Tatiana!"
2305:McFarland, 2004, pg. 331;
2198:, accessed March 14, 2017.
2136:, Toronto, March 18, 1964.
1593:, Mascagni (Levine, 1978)
1532:– Clairon (Böhm, 1971, DG)
352:, the contralto roles in
3030:Greek women opera singers
2904:Tatiana Troyanos Archives
2450:; accessed July 15, 2015.
2123:, accessed June 30, 2016.
1778:Boston Symphony Orchestra
1768:' BrĂĽnnhilde in Wagner's
1614:, Bellini (Bonynge, 1981)
1265:Solti, Dido in Purcell's
1249:'s recording of Mozart's
705:), Octavian in Strauss's
545:L'incoronazione di Poppea
368:, as well as Herodias in
309:A Midsummer Night's Dream
137:
121:
99:
90:
83:
2891:Sarasota Herald-Tribune,
2207:Schwarzkopf, Elisabeth.
1672:George London: A Tribute
1315:I Capuleti e i Montecchi
1054:at San Francisco Opera.
873:) and Maffio Orsini (in
867:'s Giovanna Seymour (in
793:Dietrich Fischer-Dieskau
534:, 1975), and notably at
531:I Capuleti e i Montecchi
417:Aix-en-Provence Festival
283:Operatic career: 1963–93
210:Forest Hills High School
3005:Juilliard School alumni
2727:The Dallas Morning News
2348:, in Edith Carter, ed.
2324:Fox, David Anthony, in
1653:There are also on DVD:
1628:, Wagner (Levine, 1982)
1607:, Mozart (Levine, 1980)
1404:Giulio Cesare in Egitto
855:) and Donna Elvira (in
526:Opera Company of Boston
386:, led by the nurturing
361:The Yeomen of the Guard
312:. She sang Jocasta in
132:New York City, New York
114:New York City, New York
53:more precise citations.
2914:Tatiana Troyanos forum
2885:Winship, Frederick M.
2871:. "Tatiana Troyanos."
1967:Matheopoulos, Helena.
1600:, Verdi (Levine, 1980)
1251:The Marriage of Figaro
1104:Philadelphia Orchestra
1077:Mitridate, re di Ponto
1046:Canadian Opera Company
1010:'s Queen Isabella (in
799:'s 1969 recording for
498:Lyric Opera of Chicago
2527:, Awards Issue, 2006.
2495:Philadelphia Inquirer
2151:The Milwaukee Journal
2100:Kleber, John T., ed.
1658:In Concert At The Met
1584:Die Teufel von Loudun
1474:Die Teufel von Loudun
1371:Cat: PA-85-137 (1983)
1359:orchestra and chorus,
1139:Das Lied von der Erde
1090:(in Hungarian, under
1063:Les contes d'Hoffmann
998:'s Sister Jeanne (in
972:La damnation de Faust
840:Il matrimonio segreto
632:Les contes d'Hoffmann
237:Girls' Service League
230:Brooklyn Music School
3010:Grammy Award winners
2729:, November 12, 1988.
2648:Oestreich, James R.
2162:Forbes, Elizabeth.
2027:The Juilliard Review
2001:, September 2, 1958.
1704:La clemenza di Tito.
1591:Cavalleria rusticana
1418:Cavalleria rusticana
1199:, featuring Ravel's
1146:broadcasts from the
1001:The Devils of Loudun
528:(Romeo in Bellini's
403:La forza del destino
397:Cavalleria rusticana
366:Boston Arts Festival
340:Aspen Music Festival
274:in 1959 and for the
206:Forest Hills, Queens
2802:"Troyanos, Tatiana"
2788:The New York Times,
2778:The New York Times,
2764:The New York Times,
2736:, March–April 1979.
2588:The New York Times,
2553:Di Donato, Joyce.
2267:Mayer, Martin, and
1830:Lenox Hill Hospital
1631:Didon/ Cassandre –
1605:La Clemenza di Tito
1469:(Kubelik, 1973, DG)
1365:Deutsche Grammophon
801:Deutsche Grammophon
743:La Clemenza di Tito
592:La clemenza di Tito
571:in a review of the
548:, 1975—about which
536:San Francisco Opera
468:The Rake's Progress
429:(to the Ariadne of
384:Hamburg State Opera
300:New York City Opera
257:in September 1958.
186:Hamburg State Opera
2827:"Tatiana Troyanos"
2698:2013-09-23 at the
2654:The New York Times
2631:"The Three Mezzos"
2571:Los Angeles Times,
2406:McLellan, Joseph.
2395:Classical CD Scout
2301:McCants, Clyde T.
2250:Jenkins, Speight.
2134:The Globe and Mail
2050:2016-02-02 at the
2011:"Tatiana Troyanos"
1988:, August 24, 1993.
1890:The New York Times
1852:, August 27, 1993.
1791:The New York Times
1495:Endimione e Cintia
1460:Le nozze di Figaro
1453:Le nozze di Figaro
1357:Metropolitan Opera
1301:Bluebeard's Castle
1088:Bluebeard's Castle
984:Samson and Delilah
969:'s Marguerite (in
933:), and Kundry (in
918:Tristan und Isolde
852:Le nozze di Figaro
777:Classical CD Scout
761:Montserrat Caballé
709:in 1982 (opposite
697:in 1981 (opposite
474:Her appearance as
295:The Sound of Music
260:Continuing at the
190:Metropolitan Opera
110:September 12, 1938
2719:, March 22, 1976.
2691:Kessler, Daniel.
2680:The Village Voice
2555:"Happy New Year!"
2476:March, Ivan, ed.
2344:Hamilton, David.
2080:Sokol, Martin L.
1986:Los Angeles Times
1723:Ariadne auf Naxos
1668:(Bernstein, 1985)
1640:Ariadne auf Naxos
1619:Der Rosenkavalier
1537:Der Rosenkavalier
1523:Ariadne auf Naxos
1516:Ariadne auf Naxos
1509:Ariadne auf Naxos
1279:Leonard Bernstein
1271:Charles Mackerras
1159:Das klagende Lied
948:Hansel and Gretel
927:), Waltraute (in
849:'s Cherubino (in
828:Orfeo ed Euridice
707:Der Rosenkavalier
500:(as Charlotte in
443:Der Rosenkavalier
426:Ariadne auf Naxos
176:and conducted by
147:
146:
79:
78:
71:
3037:
2929:Tatiana Troyanos
2790:August 22, 1971.
2770:Holland, Bernard
2703:
2689:
2683:
2676:
2670:
2663:
2657:
2646:
2640:
2627:
2621:
2618:New York Newsday
2614:
2608:
2597:
2591:
2582:Rockwell, John.
2580:
2574:
2564:
2558:
2551:
2545:
2536:Baker, David J.
2534:
2528:
2521:
2515:
2506:Serinus, Jason.
2504:
2498:
2489:Valdes, Lesley.
2487:
2481:
2474:
2468:
2465:Montreal Gazette
2459:Siskind, Jacob.
2457:
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1899:
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1853:
1850:The Boston Globe
1846:
1353:Jocelyne Taillon
1349:Douglas Ahlstedt
1310:(Böhm, 1970, DG)
1148:Ravinia Festival
1144:Chicago Symphony
1083:Roberto Devereux
915:), Brangäne (in
900:Madama Butterfly
837:'s Elisetta (in
717:), and Didon in
635:, and Eboli in
556:Robert Commanday
435:Elizabeth Forbes
376:Toronto Symphony
271:St. John Passion
262:Juilliard School
249:The Boston Globe
150:Tatiana Troyanos
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2875:, October 1974.
2869:Oliver, Michael
2831:Wayback Machine
2825:Mayer, Martin.
2806:Wayback Machine
2712:
2710:Further reading
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1493:Scarlatti, A.,
1488:Dido and Aeneas
1481:Dido and Aeneas
1397:Lucrezia Borgia
1376:West Side Story
1369:Pioneer Artists
1345:Plácido Domingo
1284:West Side Story
1277:, and Anita in
1275:Raymond Leppard
1267:Dido and Aeneas
1239:Erich Leinsdorf
1225:
1217:Casals Festival
1193:Boston Symphony
1127:Les nuits d'été
1042:Joan Sutherland
957:'s Clairon (in
955:Richard Strauss
930:Götterdämmerung
885:'s Amneris (in
876:Lucrezia Borgia
769:
703:Plácido Domingo
625:, Giulietta in
569:Speight Jenkins
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521:Dido and Aeneas
452:Lisa Della Casa
421:Richard Strauss
415:But it was the
388:Rolf Liebermann
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2797:November 1975.
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1234:Così fan tutte
1229:Leontyne Price
1224:
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1183:Santa Fe Opera
1175:Benita Valente
1153:Missa Solemnis
1120:. Along with
1100:Rafael Kubelik
1059:Die Fledermaus
1018:
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1005:
989:
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945:'s Hansel (in
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773:femmes fatales
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612:Die Fledermaus
607:Johann Strauss
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463:Lincoln Center
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350:Kentucky Opera
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2821:
2817:
2815:June 1, 1975.
2814:
2813:Boston Globe,
2810:
2807:
2803:
2799:
2796:
2792:
2789:
2785:
2784:Hughes, Allen
2782:
2779:
2775:
2771:
2768:
2765:
2761:
2758:
2754:
2751:
2749:
2745:
2741:
2738:
2735:
2734:Music Journal
2731:
2728:
2724:
2721:
2718:
2714:
2713:
2701:
2697:
2694:
2688:
2681:
2675:
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2655:
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2645:
2638:
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2632:
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2613:
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2596:
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2533:
2526:
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2509:
2503:
2496:
2492:
2486:
2479:
2473:
2466:
2462:
2456:
2447:
2441:
2426:
2420:
2413:
2409:
2403:
2396:
2390:
2381:
2379:
2371:
2367:
2363:
2358:
2351:
2347:
2341:
2335:
2334:0-7876-1035-6
2331:
2327:
2321:
2319:
2312:
2311:0-786-41952-0
2308:
2304:
2298:
2291:
2285:
2278:
2274:
2270:
2264:
2257:
2253:
2247:
2240:
2234:
2227:
2223:
2220:Kirby, Fred.
2217:
2210:
2204:
2197:
2192:
2185:
2181:
2176:
2169:
2165:
2159:
2152:
2148:
2142:
2135:
2129:
2122:
2118:
2112:
2105:
2104:
2097:
2091:
2090:0-026-12280-4
2087:
2083:
2077:
2070:
2064:
2057:
2053:
2049:
2046:
2040:
2038:
2036:
2028:
2024:
2019:
2012:
2007:
2000:
1994:
1987:
1983:
1977:
1970:
1964:
1962:
1954:
1950:
1949:"Fever Pitch"
1947:Myers, Eric.
1944:
1942:
1940:
1932:
1926:
1924:
1922:
1920:
1918:
1916:
1908:
1904:
1898:
1891:
1887:
1883:
1882:Kozinn, Allan
1878:
1871:
1867:
1861:
1859:
1851:
1845:
1841:
1833:
1831:
1826:
1822:
1820:
1819:
1818:Village Voice
1813:
1812:
1807:
1803:
1799:
1794:
1792:
1788:
1784:
1779:
1775:
1771:
1767:
1766:Gwyneth Jones
1762:
1760:
1755:
1750:
1747:
1742:
1737:
1727:
1724:
1720:
1715:
1712:
1709:
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1471:
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1398:
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1362:
1358:
1354:
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1305:
1302:
1298:
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1220:
1218:
1214:
1213:
1208:
1204:
1203:
1198:
1194:
1190:
1189:
1184:
1180:
1176:
1172:
1171:Carnegie Hall
1167:
1165:
1161:
1160:
1156:and Mahler's
1155:
1154:
1149:
1145:
1141:
1140:
1135:
1134:
1133:RĂĽckert Songs
1130:and Mahler's
1129:
1128:
1123:
1119:
1118:Igor Buketoff
1115:
1114:
1109:
1105:
1101:
1097:
1096:Pierre Boulez
1093:
1089:
1085:
1084:
1079:
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1073:
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1015:
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997:
994:
993:
992:
986:
985:
981:' Dalila (in
980:
977:
974:
973:
968:
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962:
961:
956:
953:
950:
949:
944:
941:
938:
937:
932:
931:
926:
925:
924:Das Rheingold
920:
919:
914:
913:
908:
905:
902:
901:
896:
893:
890:
889:
884:
881:
878:
877:
872:
871:
866:
863:
860:
859:
854:
853:
848:
845:
842:
841:
836:
833:
830:
829:
825:'s Orfeo (in
824:
821:
818:
817:
813:'s Diana (in
812:
809:
808:
807:
804:
802:
798:
794:
790:
789:
788:Giulio Cesare
783:
780:
778:
774:
764:
762:
758:
754:
750:
749:
748:Giulio Cesare
744:
740:
736:
735:
730:
726:
725:
720:
716:
712:
708:
704:
700:
699:Renata Scotto
696:
695:
690:
684:
682:
678:
677:
672:
667:
665:
664:
663:High Fidelity
659:
655:
650:
646:
644:
643:
638:
634:
633:
628:
624:
623:
618:
614:
613:
608:
604:
603:
598:
594:
593:
588:
584:
580:
579:
578:New York Post
574:
573:Rosenkavalier
570:
559:
557:
553:
552:
547:
546:
541:
537:
533:
532:
527:
523:
522:
517:
513:
509:
508:
503:
499:
495:
491:
487:
486:Beverly Sills
483:
482:
477:
472:
470:
469:
464:
460:
455:
453:
449:
448:Covent Garden
445:
444:
438:
436:
432:
428:
427:
422:
418:
413:
411:
410:
405:
404:
399:
398:
393:
389:
385:
379:
377:
373:
372:
367:
363:
362:
357:
356:
351:
347:
346:
341:
337:
336:
331:
330:
329:Boris Godunov
325:
321:
320:
315:
311:
310:
305:
301:
297:
296:
280:
277:
276:Verdi Requiem
273:
272:
267:
263:
258:
256:
255:
250:
246:
242:
238:
233:
231:
227:
221:
219:
215:
211:
207:
203:
193:
191:
187:
183:
179:
175:
172:(co-starring
171:
170:
164:
162:
161:
155:
154:mezzo-soprano
151:
143:
142:Mezzo-soprano
140:
136:
124:
120:
115:
102:
98:
94:
89:
82:
73:
70:
62:
52:
48:
42:
41:
35:
30:
21:
20:
2890:
2879:
2872:
2859:The Guardian
2858:
2851:
2841:
2834:
2819:
2812:
2794:
2787:
2777:
2763:
2756:
2743:
2733:
2726:
2723:Ardoin, John
2716:
2687:
2679:
2674:
2661:
2653:
2644:
2636:Boston Globe
2634:
2625:
2617:
2612:
2604:
2595:
2587:
2578:
2570:
2562:
2549:
2541:
2532:
2524:
2519:
2511:
2502:
2494:
2485:
2477:
2472:
2464:
2455:
2429:. Retrieved
2419:
2411:
2402:
2394:
2389:
2369:
2357:
2349:
2346:Gurre Lieder
2345:
2340:
2325:
2302:
2297:
2289:
2284:
2276:
2263:
2255:
2246:
2233:
2225:
2216:
2208:
2203:
2191:
2183:
2175:
2167:
2158:
2150:
2141:
2133:
2128:
2111:
2102:
2096:
2081:
2076:
2068:
2063:
2055:
2026:
2018:
2006:
1999:Boston Globe
1998:
1993:
1985:
1976:
1968:
1952:
1930:
1907:Classicalite
1906:
1897:
1889:
1877:
1869:
1849:
1844:
1827:
1823:
1816:
1809:
1801:
1795:
1790:
1783:Boston Globe
1782:
1769:
1763:
1753:
1751:
1746:James Levine
1740:
1735:
1733:
1730:Final season
1722:
1716:
1713:
1707:
1703:
1699:Susan Graham
1696:
1692:
1689:Other voices
1681:
1677:
1671:
1663:
1657:
1652:
1646:
1639:
1632:
1625:
1618:
1611:
1604:
1597:
1590:
1583:
1577:
1557:
1550:
1549:Stravinsky,
1543:
1542:Stravinsky,
1536:
1529:
1522:
1515:
1508:
1502:Gurre-Lieder
1501:
1500:Schoenberg,
1494:
1487:
1480:
1473:
1472:Penderecki,
1466:
1459:
1452:
1445:
1438:
1431:
1424:
1417:
1410:
1403:
1396:
1389:
1382:
1375:
1361:James Levine
1338:
1328:
1321:
1314:
1307:
1300:
1294:
1288:
1282:
1266:
1262:
1258:
1254:
1250:
1232:
1226:
1210:
1200:
1188:Gurre-Lieder
1186:
1178:
1168:
1157:
1151:
1137:
1131:
1125:
1122:Monna Vanna,
1121:
1111:
1108:Rachmaninoff
1087:
1081:
1075:
1069:
1067:
1062:
1058:
1056:
1050:
1037:
1029:
1019:
1012:
1000:
990:
982:
970:
958:
946:
934:
928:
922:
916:
910:
898:
886:
874:
868:
858:Don Giovanni
856:
850:
838:
826:
814:
805:
797:Karl Richter
786:
785:In Handel's
784:
781:
776:
772:
770:
756:
746:
742:
738:
733:
722:
706:
692:
685:
674:
670:
668:
662:
657:
653:
651:
647:
640:
630:
620:
610:
601:
597:Martin Mayer
590:
583:trouser role
576:
572:
565:
549:
543:
529:
519:
512:Dallas Opera
505:
494:Julius Rudel
479:
473:
466:
459:Walter Legge
456:
446:at London's
441:
439:
424:
414:
407:
401:
395:
382:to make the
380:
369:
359:
353:
343:
333:
327:
317:
307:
293:
291:
269:
259:
253:
248:
245:Random House
234:
222:
199:
181:
167:
165:
158:
149:
148:
127:(1993-08-21)
65:
56:
37:
2965:1993 deaths
2960:1938 births
2795:After Dark,
2757:Der Spiegel
1682:Oedipus Rex
1638:Composer –
1633:Les Troyens
1617:Octavian –
1610:Adalgisa –
1589:Santuzza –
1551:Oedipus Rex
1544:Oedipus Rex
1395:Donizetti,
1388:Cavalieri,
1374:Bernstein,
1340:Les Troyens
1306:Beethoven,
1202:Shéhérazade
1197:Martin Katz
1169:She made a
1164:Paris Opera
1113:Monna Vanna
1092:Georg Solti
979:Saint-Saëns
943:Humperdinck
870:Anna Bolena
739:Oedipus Rex
724:Les Troyens
615:, Venus in
585:, Sesto in
538:(Poppea in
319:Oedipus rex
178:Georg Solti
51:introducing
2954:Categories
2873:Gramophone
2820:Opera News
2542:Opera News
2525:Gramophone
2431:2015-07-15
2269:Alan Blyth
1953:Opera News
1931:Opera News
1870:Opera News
1836:References
1798:Tanglewood
1741:Opera News
1736:Opera News
1645:Clairon –
1626:Tannhäuser
1423:Massenet,
1416:Mascagni,
1040:(opposite
1036:, as were
1013:The Voyage
996:Penderecki
912:Tannhäuser
816:La Calisto
671:Tannhäuser
652:While the
642:Don Carlos
622:Tannhäuser
540:Monteverdi
324:Mussorgsky
314:Stravinsky
214:Cephalonia
196:Early life
160:Opera News
138:Occupation
106:1938-09-12
59:April 2022
34:references
2226:Billboard
1802:Capriccio
1776:with the
1647:Capriccio
1598:Don Carlo
1582:Jeanne –
1535:Strauss,
1530:Capriccio
1528:Strauss,
1521:Strauss,
1514:Strauss,
1507:Strauss,
1486:Purcell,
1479:Purcell,
1327:Bellini,
1320:Bellini,
1313:Bellini,
1269:for both
1247:Karl Böhm
1219:in 1985.
1191:with the
1179:Ariodante
1166:in 1972.
1110:'s opera
1051:Capriccio
1034:televised
1030:Rheingold
960:Capriccio
865:Donizetti
759:opposite
715:Kurt Moll
627:Offenbach
599:wrote in
554:reviewer
551:Chronicle
524:, 1972),
514:(Dido in
510:, 1971),
484:opposite
481:Ariodante
392:intendant
374:with the
218:Stuttgart
2852:Le Monde
2717:Newsweek
2696:Archived
2440:cite web
2121:Part Two
2117:Part One
2069:Playbill
2048:Archived
1759:Tim Page
1708:Clemenza
1624:Venus –
1603:Sesto –
1596:Eboli –
1556:Wagner,
1465:Mozart,
1458:Mozart,
1451:Mozart,
1444:Mozart,
1437:Mozart,
1430:Mozart,
1409:Mahler,
1402:Handel,
1299:BartĂłk,
1071:Deidamia
936:Parsifal
835:Cimarosa
753:La Scala
676:Parsifal
502:Massenet
355:Iolanthe
2906:at the
2863:Fotolog
2829:at the
2804:at the
1808:of the
1425:Werther
1381:Bizet,
1363:. DVD:
1335:Berlioz
1259:Ariadne
1181:at the
967:Berlioz
895:Puccini
811:Cavalli
719:Berlioz
689:Bellini
681:Cavalli
575:in the
516:Purcell
507:Werther
364:at the
348:at the
338:at the
304:Britten
241:old Met
226:solfège
47:improve
2835:Opera,
2332:
2309:
2088:
1383:Carmen
1255:Carmen
1237:under
907:Wagner
847:Mozart
658:Carmen
617:Wagner
595:, and
587:Mozart
476:Handel
409:Carmen
371:Salome
345:Carmen
182:Carmen
169:Carmen
116:, U.S.
36:, but
2605:Opera
2277:Opera
1754:Opera
1612:Norma
1329:Norma
1322:Norma
1207:Falla
1044:) at
1038:Norma
1008:Glass
883:Verdi
823:Gluck
757:Norma
694:Norma
637:Verdi
602:Opera
254:Fanny
2933:IMDb
2446:link
2330:ISBN
2307:ISBN
2119:and
2086:ISBN
1273:and
1136:and
1098:and
1061:and
888:Aida
734:Lulu
729:Berg
713:and
701:and
358:and
266:Bach
122:Died
100:Born
2931:at
2776:.
2633:.
2493:.
1789:in
1263:and
1209:'s
795:on
731:'s
721:'s
691:'s
639:'s
629:'s
619:'s
609:'s
589:'s
542:'s
518:'s
504:'s
478:'s
423:'s
326:'s
316:'s
306:'s
268:'s
2956::
2889:.
2850:.
2772:.
2755:.
2652:.
2603:.
2586:.
2569:.
2540:,
2510:.
2463:,
2442:}}
2438:{{
2410:.
2377:^
2368:,
2364:.
2317:^
2275:.
2271:.
2254:.
2224:.
2166:.
2149:,
2054:,
2034:^
2025:,
1984:.
1960:^
1951:.
1938:^
1914:^
1905:.
1888:,
1884:.
1868:,
1857:^
1821:.
1355:;
1337::
1205:,
1094:,
683:.
645:.
378:.
342:,
163:.
2448:)
2434:.
1342:,
987:)
975:)
963:)
951:)
939:)
903:)
891:)
879:)
861:)
843:)
831:)
819:)
108:)
104:(
72:)
66:(
61:)
57:(
43:.
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