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 daughter María (Barcelona 1993)-, Becerra traveled to Barcelona and for thirteen years hold the Creative Vice Presidency of one of the most important advertising agencies Spain. In 2000, amidst her professional success, she abandoned her career as a publicist in order to devote herself entirely to her deepest passion: writing. Her work
Her first published work was Alma Abierta (Open Soul) (Planeta Group, 2001), a beautiful collection of poems that deals with the conflicts of the human being in maturity. De los amores negados (Of Useless Loves) (2003), her first published novel (Villegas Editores 2003, Grupo Planeta 2004), marks the beginning of a very personal style described by literary critics as Magic Idealism. This is a story set in the imaginary city of Garmendia del Viento, where time seems to accompany the anxieties of Fiamma and Martin. This work received a warm reception from critics and readers in both Spain and Latin America, obtaining the Chicago Latin American Literary Award for Best Sentimental Novel. The work that established her as a great novelist is El penúltimo sueño (The Penultimate Dream) (Planeta Group 2005, Villegas Editores, 2005), an immense love story that overcomes every obstacle.The story takes place between Barcelona and Cannes, where Joan and Soledad fall in love as teenagers. Throughout its pages, the two characters live a lengthy dream with a surprising ending. This book gets the Azorín Prize in 2005, the Prize for Best Colombian Fiction Book 2005 and the Latin American Literary Award in Chicago for Best Romantic Novel. In 2007, she published Lo que le falta al tiempo (What Time is Missing) (Planeta Group, Villegas Editores), a novel of mystery and love that takes place in the Saint-Germain-des-Prés quarter in Paris. The two main characters of the story are Cadiz, a sexagenarian painter in the


type: original

texts: twilight of his career, and Mazarine, a student in love of her professor who keeps at home a secret that can change the course of art. For this book she received the Chicago Latin American Literary Award 2007 in two categories: Best Mystery Novel and Best Romantic Novel. In 2008, Becerra published Amor con A (Villegas Editores) in Colombia, a collection of poems printed in a limited edition that gathers the beginning, life and death of love.Ella que todo lo tuvo (She, who had it all) (Planeta Group, 2009), a psychological novel, is the story of a writer who suffers an accident and never writes again. In her intention to feel alive again, the writer creates an enigmatic character, a Donna di lágrima, a silent woman adored by men. No one will recognize her as the sad and lonely writer who restores old books in Florence and falls in love with a mysterious book keeper. This book got the Planeta-Casa de America Award in 2009. In 2013 Becerra published Memorias de un sinvergüenza de siete suelas (Memoires of a Seven Soles Scoundrel) (Planeta Group), a novel full of emotional contrasts set in the most glamorous and traditional Seville. It is the story of Francisco Valiente, a casanova of the 21st century who dies suddenly. During his funeral, his wife and his lover will tell his scattered life; what they do not know is that the dead is also listening and will have much to say in that funeral.Her most recent novel Algún día (Someday, today) (Planeta Group, 2019), is based on a real event that took place in 1920 in Colombia, and in which she tells the story of Betsabé Espinal, who at the age of twenty-three becomes the heroine of one of the first feminist strikes in history. The book has been awarded with the XXIV Fernando Lara Novel Award. <mask> Becerra writes regularly for various international media and platforms. She has been guest


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 speaker to events as relevant as Hay Festival. Very few people know her as an active creator in other fields. Some art curators value her approaches to photography, drawing, painting, sculpture and theater, recognizing a powerful aesthetic universe. Books
Alma Abierta (Open Soul), Collection of poems, 2001
 De Los Amores Negados  (Of Useless Loves), 2004
 El penúltimo Sueño  (The Penultimate Dream), 2005
 Lo que le falta al tiempo (What Time is Missing), 2007
 Alma abierta y otros poemas (Open Soul and Other Poems), 2008
 Amor con A, 2008
 Ella que todo lo tuvo (She, who had it all), 2009
 Memorias de un sinvergüenza de siete suelas (Memoirs of a Seven Soles Scoundrel), 2013
 Algún día (Someday, Today), 2019

Awards
De Los Amores Negados (Of Useless Loves), Latin American Literary Award 2004 at the BookExpo America (BEA) in the category of Best Romantic novel.El Penúltimo Sueño (The Penultimate Dream), Azorín Prize 2005. El Penúltimo Sueño (The Penultimate Dream), Latin American Literary Award 2005 at the BookExpo America (BEA) in the category of Best Romantic novel. El Penúltimo Sueño (The Penultimate Dream), Colombian Award for Best Fiction Book of 2005. Lo que le falta al tiempo (What Time is Missing), Latin American Literary Award 2008 at the BookExpo America (BEA) in the categories of Best Mystery novel and Best Romantic novel. Ella que todo lo tuvo (She, who had it all), Planeta-Casa de America Award 2009
Algún día, hoy (Someday, today), Fernando Lara Novel Award 2019

References

External links
 Ángela Becerra en Femenino
Tengo edad para ser lo que quiero
Traducida al rumano
En la ExpoMilan
Ángela Becerra en Escritoras.com
 Ángela Becerra en Grupo -Clarín Revista de Cultura
 Entrevista a Ángela Becerra por Santiago Cruz Hoyos
 Premio Casa de América - Ed. Planeta, 2009

1957 births
Colombian women writers
Living


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<mask> (; born between 1532 and 1542 – August 5 or 6, 1585) was a Cossack ataman and is today a hero in Russian folklore and myths. In the reign of Tsar <mask> started the Russian conquest of Siberia. Russians' fur-trade interests fueled their desire to expand east into Siberia. The Tatar khanate of Kazan was established as the best entryway into Siberia. In 1552, Ivan the Terrible's modernized army toppled the khanate. After the takeover of Kazan, the tsar looked to the powerful and affluent Stroganov merchant family to spearhead the eastward expansion. In the late 1570s, the Stroganovs recruited Cossack fighters to invade Asia on behalf of the tsar.These Cossacks elected Yermak as the leader of their armed forces, and in 1582 Yermak set out with an army of 840 to attack the Khanate of Sibir. On October 26, 1582, Yermak and his soldiers overthrew Kuchum Khan's Tatar empire at Qashliq in a battle that marked the "conquest of Siberia". <mask> remained in Siberia and continued his struggle against the Tatars until 1584, when a raid organized by Kuchum Khan ambushed and killed him and his party. The specifics of Yermak's life, such as his appearance, background, and dates of events, remain points of controversy for historians because the texts that document his life are not reliable. However, his life and conquests had a profound influence on Siberian relations, sparking Russian interest in the region and establishing the Tsardom of Russia as an aggressive imperial power east of the Urals. Authenticity

There is less information about Yermak than most other

masks:
Yermak Timofeyevich
Ivan the Terrible Yermak
Yermak


texts: notable explorers and historical figures. Much of what we know about Yermak is derived from folklore and legend.There are no contemporary descriptions of Yermak and all portraits are merely estimations. One of the Siberian chronicles, the Remezov Chronicle, written more than one hundred years after Yermak's death describes him as “flat-faced, black of beard with curly hair, of medium stature and thick-set and broad-shouldered,” but even this detailed account is not reliable because the narrator had never seen Yermak. In addition to his physical features' being unknown, the details of Yermak's life and the circumstances leading up to his excursion into Siberia are obscure. Russian writer Valentin Rasputin laments the lack of information that we have about Yermak considering the vast scope of his contributions to Russian society. Our knowledge of Yermak's upbringing and voyages pales in comparison to that of other renowned explorers such as Christopher Columbus. Historians encounter serious difficulties when attempting to piece together the specifics of Yermak's life and exploits because the two key, primary sources about Yermak may be biased or inaccurate. These sources are the Stroganov Chronicle, another one of the Siberian chronicles, and the Sinodik.The Stroganov Chronicle was commissioned by the Stroganov family itself, therefore it exaggerates the family's involvement in the conquest of Siberia. The Sinodik is an account of Yermak's campaign written forty years after his death by the archbishop of Tobolsk, Cyprian (Kipriyan). The text was formed based on


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 oral tradition and memories of his expedition but almost certainly was affected by the archbishop's desire to canonize Yermak. The combination of forgotten details over time and the embellishment or omission of facts in order for Yermak to be accepted as a saint suggests that the Sinodik could be erroneous. Though Cyprian failed to canonize Yermak, he made an effort to immortalize the warrior, who he considered being the "Grand Inquisitor" of Siberia. These documents, along with the various others that chronicle Yermak's expeditions, are filled with contradictions that make the truth about Yermak's life difficult to discern. While the sources that exist on Yermak are fallible, those accounts, along with folklore and legend, are all that historians have to base their knowledge on; therefore, they are widely accepted and considered to reflect the truth.Early life

Ancestry
The Don Cossack warrior <mask> Timofeyevich was born by the Chusovaya River on the eastern fringes of the Muscovite lands. The only information about Yermak's upbringing comes from a source called the Cherepanov Chronicle. This chronicle, compiled by a Tobolsk coachman in 1760 - long after <mask>'s death - was never published in full, but in 1894 the historian Aleksandr Alekseyevich Dmitrieyev concluded that it probably represents a copy or paraphrase of an authentic 17th-century document. According to the section of the chronicle entitled "On Yermak, and where he was born", <mask>'s grandfather, Afonasiy Grigor'yevich Alenin, came from Suzdal, north-east of Moscow. To escape poverty, he moved

masks: Yermak Yermak Yermak


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 south to Vladimir where he became a coachman in the Murom forests. In the Murom forests, the voyevoda arrested him for driving unscrupulous passengers - robbers who had hired him. Afonasiy's son  (<mask>'s father) Timofey relocated to the Stroganov lands on the Chusovaya in order to make money.There speculation locates the birthplace of Vasiliy <mask> Alenin, later known as "<mask>". Occupation
Yermak worked in the Stroganovs' river fleet as a porter and a sailor transporting salt along the Kama and the Volga rivers. Growing tired of his work, he assembled a gang, left his employment, and moved to the Don region to become a river pirate. Among his fellow Cossack bandits, he acquired the nickname Yermak. Prior to his conquest of Siberia, Yermak's combat experience consisted of leading a Cossack detachment for the tsar in the Livonian War of 1558-83 and plundering merchant ships. Based on legends and folk songs, for years, Yermak had been involved in robbing and plundering on the Volga with the hetman Ivan Kolzo and four other Cossack leaders. Historian Valerie Kivelson refers to Yermak's group as “his gang of thugs.”  Like many other Cossacks, Yermak's gang was involved in the “thieves” trade [“vorovskim” remeslom].It was typical of Cossacks to engage in piracy on the Sea of Azov or the Caspian Sea and to rob various envoys and Russian or Persian merchants. Though a bandit, <mask> earned a reputation as an eminent and loyal Russian fighter. Through his experience fighting in the Livonian War, he learned war tactics and excelled beyond the other hetmans in

masks: Yermak Timofeyevich Yermak Yermak


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 skill. Conquest background

In the late 1500s, prior to Yermak's expeditions, the Russians attempted to push eastward into Siberia in search of furs. Under Ivan the Great, the Russians entered northwest Siberia but “to approach Siberia from that direction proved too arduous and difficult, even in the best of times.” The Russians decided that taking a southern route through the Tatar khanate of Kazan would allow them to penetrate Siberia more easily, but Kazan would need to be overthrown first. Ivan the Terrible's first foreign objective upon rising to power was to take Kazan. Ivan the Terrible's modernized army proved successful at the beginning of October 1552 and Ivan proceeded to open up the east to enterprising Russian individuals, such as the Stroganovs.Anika Stroganov used the former khanate of Kazan as an entryway into Siberia and established a private empire on the southwest corner of Siberia. Following the Russian conquest under Ivan the Terrible, the Tatar khanate of Kazan became the Russian province of Perm. Ivan the Terrible had tremendous trust in the entrepreneurial prowess of the Stroganov family and granted them the province of Perm as a financial investment which would be sure to benefit Russia in the future. The tsar also gave the Stroganovs permission to expand into the territory along the Tobol and Irtysh Rivers which belonged to the Muslim leader Kuchum Khan. The Stroganovs proceeded to launch expeditions eastward into non-Russian territories. They pushed into the khanate of Sibir, the sister state of the former khanate of Kazan, because


texts: it maintained control over Siberia's fur in the west. During the time of the Russian conquest of Kazan in the 1540s and 1550s, Sibir had been undergoing conflicts of its own with rival clans.The khanate was on the precarious ground until the rise of Kuchum Khan, a descendant of the famed Chingis Khan, in the 1560s. Kuchum Khan built up allies among his neighbors and the Crimean Tatars in order to thwart the Stroganovs’ expansion across the Urals. In July 1572, Kuchum launched his first raid on Stroganov settlements, which resulted in almost one hundred deaths. In 1573, the Tatar army expanded and changed leadership. Kuchum's nephew, Mahmet-kul, assumed control of the Tatar army. The Stroganovs realized that they could no longer expect their settlers to remain in the lands around Perm if they only fought a defensive battle. The tsar granted the Stroganov family permission to invade Asia.However, the tsar soon changed his mind and told the Stroganovs to retract from Siberia, fearing that Russia did not have the resources or manpower to topple Kuchum Khan's empire. The Stroganovs decided to ignore the tsar's orders and, in the late 1570s, Anika Stroganov's grandsons Nikita and Maksim recruited Cossack fighters to wage war on their behalf. They elected the Cossack chieftain <mask> Timofeyevich as the leader of the Cossack brigades. According to the Stroganov Chronicle, on April 6, 1579, after hearing of Yermak's and his comrades’ “daring and bravery,” the Stroganovs sent a letter to the men asking them to come to their ancestral estates in Chusovaya and summoning


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 them to fight against the Tatars in the name of the tsar. Since Yermak had been the most illustrious of the recruits, he became the captain (ataman) of the “conquest of Siberia.” However, there remains the question as to whether Yermak, in fact, decided to fight the war of his own accord without being pursued by the Stroganovs. This question arose due to the discrepancy between the narratives of the Stroganov Chronicle and a different Siberian chronicle, the Yespiov Chronicle. The Stroganov Chronicle portrays the family as the motivating force behind <mask>'s campaign while the Yesipov Chronicle fails even to mention the family.Perhaps the Stroganovs told the story in a way that would inspire the Russian people to feel just as indebted to them as to Yermak for the conquest of Siberia. Siberian historians are divided on the matter, some believing that the Stroganovs were behind Yermak's campaign and others believing that they played no part in it. Conquest of Siberia

Yermak was officially enlisted by the Stroganovs in the spring of 1582. His quest was “to take de facto possession of the country along the Tobol and the Irtysh, which was already de jure in the Stroganovs’ possession under the Tsar's charter of 1574.” The Stroganovs’ ultimate goal was to open up a southern passageway to Mangaseya to access its furs. The Khanate of Sibir blocked the road from the Urals to Mangaseya. After overthrowing the khanate, the intended final destination of Yermak's five thousand mile journey was the Bering Strait. <mask> led a small army of 840 men, made up of 540 of his

masks: Yermak Yermak


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 own followers and three hundred supplied by the Stroganovs.His army was composed of “Russians, Tatars, Lithuanians, and Germans.” The Lithuanians and Germans of the crew came from the Lithuanian front. Nikita and Maksim Stroganov spent twenty thousand rubles of their riches to outfit the army with the best weapons available. This was especially to the advantage of the Russian detachment because their Tatar opponents did not have industrial weapons. According to Russian history specialist W. Bruce Lincoln, the Tatars’ “bows, arrows, and spears” went up against <mask>'s team's “matchlock muskets, sabers, pikes, and several small cannons.” However, according to the Russian author Yuri Semyonov, “Yermak had no cannon, and only a small number of his men carried firearms. The Cossacks had not a single horse, while Kuchum and his men were mounted. His cavalry could move quickly in any direction, while the Cossacks were tied to their rafts, which were laden with all their supplies.”

<mask> first embarked on his journey through Siberia from a frontier fort in Perm on the Chusovaya River on September 1, 1582, though other sources claim that he may have started his campaign in 1579 or 1581. When navigating down rivers, the crew used high-sided boats that originated in Russia.Throughout their journey, they encountered violent opposition from Kuchum Khan's native allies but the high sides of their boats acted as shields. When crossing the Urals, the Cossacks had to carry their possessions on their backs because they did not have horses. After two months, Yermak's army had


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 finally crossed the Urals. They followed the river Tura and found themselves at the outskirts of Kuchum Khan's empire. Soon they reached the kingdom's capital city of Qashliq. On October 23, 1582, <mask>'s army fought the Battle of Chuvash Cape, which initiated three days of fighting against Kuchum's nephew, Mehmet-kul, and the Tatar army. <mask>'s infantry blocked the Tatar charge with mass musket fire, which wounded Mahmet-kul and prevented the Tatars from scoring a single Russian casualty.Yermak succeeded in capturing Qashliq and the battle came to mark the “conquest of Siberia.” The Stroganov Chronicle provides an account of Kuchum Khan's reaction to the attack on Qashliq and Yermak's success:
Khan Kuchyum, seeing his ruin and the loss of his kingdom and riches, said to all his men with bitter lamentation: ‘O murzas and princes, let us flee without delaying…The Stroganovs sent men of the common people against me from their forts to avenge on me the evil I had inflicted; they sent the atamans and Cossacks, Yermak and his comrades, with not many of their men. He came upon us, defeated us and did us such great harm.’

While Yermak had succeeded in taking Qashliq, the battle had reduced his Cossack force to 500 men. Yermak also now faced a supply problem. While the army had found treasures such as fur, silk, and gold in the Tatar city, no food or provisions had been left behind. The inhabitants had also fled the city, preventing their enlistment for aid. However, four days after Yermak claimed Qashliq the people returned, and Yermak soon befriended the Ostyak


texts: people. The Ostyaks would formally declare their allegiance to Yermak on October 30, complementing their pledge by delivering offerings of food to the city.Yermak used the Ostyak tributes to feed his band of Cossacks throughout the winter. However, these supplies proved to be insufficient, and the Cossacks soon ventured into the wilderness to fish and hunt. The Cossacks’ task was not without trouble, as although Yermak had defeated the Tatars they continued to harass the Cossacks, preventing Yermak from establishing complete control over the region. The Tatars struck a decisive blow on December 20, when a Cossack party of twenty men were discovered and slain. Upon their failure to return, Yermak left the city to investigate, eventually finding that Mahmet-kul had recovered from their earlier battle and was responsible for the Cossacks’ murder. Yermak then entered into battle with Mahmet-kul and his forces, defeating him once again. The defeat of Mahmet-kul provided a brief respite to the Cossacks.However, in April 1583, he returned to the region. In an unfortunate twist of fate, Mahmet-kul was quickly ambushed and captured by a small party of Cossacks, whose numbers ranged from as little as 10 to as many as 50. A few days after his capture, Mahmet-kul sent a messenger to Kuchum stating that he was alive and in good health. He also requested that the Khan cease attacks on the Cossacks and those bringing tribute to Yermak. <mask>, taking advantage of this lull in hostilities, set out down the Irtysh and Ob to complete his subjugation of the local tribal princes.


texts: He soon encountered the Ostyak prince Demian, who had fortified himself in a fortress on the banks of the Irtysh with 2,000 loyal fighters. It is reported to have taken Yermak and his men considerable time to break through their defenses due to Demian's possession of a gilded idol.Yermak's forces eventually prevailed; however, upon entering the fort, no idol was found. After dispersing a group of priests and warriors by brandishing their firearms, Yermak determined to subdue the most influential Ostyak prince of the region, Samar, who had joined forces with eight other princes. Yermak, noting that Samar had failed to place guards around his encampment, launched a surprise attack, killing Samar and disbanding his forces. Yermak was then able to secure tribute from the eight other princes. After this conquest, he continued down the river, succeeding in capturing the key Ostyak town of Nazym. Yermak's friend, Ataman Nikita Pan, and several Cossacks lost their lives in the battle. Yermak then directed his forces down the river Ob, conquering several small forts.After reaching a point at which the river broadened to a point of three or four versts, Yermak halted the expedition and returned his forces to Qashliq. Upon returning to Qashliq, Yermak decided to inform the Stroganovs and the tsar of his conquests. While his reasons for this are unclear, experts believe that, in addition to wishing to clear his name of earlier misdeeds, Yermak also desperately needed supplies. To his end, he sent his trusted lieutenant Ivan Kolzo with fifty men, two letters (one each for


texts: the Stroganovs and Ivan the Terrible), and a large assortment of furs for the tsar. The exact amount sent to the tsar is disputed, as descriptions range from 2,500 to 5,000 to sixty sacks of furs. Kozo's arrival at the Stroganovs was well-timed, as Maksim Stroganov had just received a letter from Ivan denouncing Yermak and threatening him and his followers with death. Kolzo, bearing news of Kuchum's defeat, Mahmet-kul's capture, and the subjugation of Tatar lands, was thus well received by a relieved Maksim.Maksim provided Kolzo with lodging, food, and money before sending him on his way. Kolzo, upon reaching Moscow, was granted an audience with Ivan despite having a Muscovite bounty on his head. To the detriment of Moscow's interests, the Livonian War had just been ended and Ivan had begun receiving reports of local tribesman conducting raids in Perm, putting him in a foul mood. Upon reading the news born by Kolzo concerning the extension of his dominion, Ivan became overjoyed, immediately pardoning the Cossacks and proclaiming Yermak to be a hero of the first degree. The triumphant atmosphere extended across the city, as church bells were tolled throughout Moscow to glorify Yermak. Ivan then had many gifts prepared for Yermak, including his personal fur mantle, a goblet, two suits of armor emblazoned with bronze double-headed eagles, and money. Ivan also commanded that a band of streltsy be sent to reinforce Yermak.Reports differ on whether 300 or 500 men were sent. The Stroganovs were also ordered to support this group with an additional fifty men upon


texts: their arrival in Perm. <mask> was bestowed the title “Prince of Siberia” by Ivan, who also commanded that Mahmet-kul be sent to Moscow. Upon returning to Qashliq, Kolzo informed Yermak of the tsar's command that Mahmet-kul be delivered to him. Yermak, aware that doing so would eliminate Kuchum's only motive for peace, nonetheless obeyed the tsar and arranged for his transport. Unsurprisingly, Kuchum's forces began to increase the frequency of their raids. Yermak now found himself in a predicament, as a long winter had prevented the gathering of supplies and tributes and the tsar's reinforcements had not yet arrived.Under orders from the tsar, the Stroganovs had contributed fifty cavalries to the reinforcement party. However, the horses had slowed the party to a crawl across the Siberia landscape, and they did not even cross the Urals until the spring of 1584. In September 1583, a call for help from a Tatar leader named Karacha was delivered to Yermak begging for assistance against the Nogai Tatars. Yermak, wary of Karacha but nonetheless disposed to help, deployed Kolzo with a force of 40 Cossacks. Karacha, however, was not to be trusted, as Kolzo and his men walked into an ambush and were all killed. Now without Kolzo, Yermak was left with a little more than 300 men. Sensing Yermak's waning power, the tribes previously under his control revolted, and Qashliq soon came under siege by a collective army of Tatars, Voguls, and Ostyaks.Cleverly, they encircled the city with a line of wagons, both preventing passage to and from the city while protecting the


texts: attackers from the Russians’ firearms. Yermak, despite having limited supplies, was able to endure the blockade for three months. However, the Cossacks could not last forever, and on the cloudy night of June 12, 1584, Yermak decided to act. Stealthily penetrating the line of wagons, Yermak's men were able to surprise the gathered forces in their sleep, killing a large number. As Karacha's forces had been caught completely unaware, Yermak was able to recover a substantial amount of provisions from the barricade. Karacha, having failed in his mission, was punished by Kuchum, who sentenced Karacha's two sons to death. Karacha, fueled by the loss of his sons, regrouped the native tribes and returned to assault Yermak the next day.Karacha's forces, however, were soundly defeated, as the Cossacks were able to kill one hundred men with only two dozen deaths of their own. Defeated and disgraced, Karacha fled south to the steppes of the Ishim, where Kuchum waited. Freed from confinement, Yermak turned to the offensive, conquering many towns and forts to the east of Qashliq and extending the tsar's dominion. Having already regained the loyalty of the revolting tribes, Yermak continued sailing up the Irtysh throughout the summer of 1584 to subdue tribes and demand tribute. Although he attempted to search for Karacha, Yermak was ultimately unsuccessful in this venture. Also, while Yermak had succeeded in regaining the loyalty of the tribes, his men were now almost completely out of gunpowder. To make matters worse, while his reinforcements arrived, they did so utterly


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 exhausted and depleted by scurvy.Indeed, many of the men, including their commanding officer, had not survived the journey. Thus, in addition to facing the problem of escalating hostilities, their food shortage was magnified by the arrival of more men. Eventually, it is reported the situation grew dire enough that Yermak's men turned to cannibalism, eating the bodies of the deceased. Yermak’s death
The precise details of Yermak's death are lost to history, but legend has preserved multiple variations of the account. With the onset and worsening of the food shortage, Yermak's people had now entered a time of famine. Kuchum, knowing this, set a trap. The most common account is that Kuchum purposely leaked information to Yermak, in which it was claimed that Bukharan merchants from Central Asia, traveling with large amounts of food, were being prevented from moving by Kuchum's men.In August 1584, Yermak set out with a band of men to free the traders. Finding the reports to be false, Yermak ordered a return to Qashliq. Whether because of an ongoing storm or because the men were tired from rowing upstream, Yermak's force stopped on a small island formed by two branches of the Irtysh and set up camp on the night of August 4–5, 1584. Convinced that the river offered protection, Yermak's men fell asleep with no guard. Kuchum, however, had been following Yermak's party and was lying in wait. Kuchum's forces forded the river around midnight; their approach was hidden by the loudness of the storm and the dark of night. Kuchum's Tatars were upon Yermak's men so quickly


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 that they could not use either their guns or weapons, and a slaughter ensued.In the ensuing chaos, it is reported that all but three men on the Russian side were killed, including <mask>. Legend has it that after fighting through the invaders and being wounded in the arm by a knife, <mask>, finding that their boats had been washed away in the storm, attempted to cross the river. Due to the weight of the armor gifted to him by the Tsar, Yermak sank to the bottom and drowned. At least one survivor, unburdened by such heavy armor, was able to flee across the river and return to Qashliq with news of Yermak's death. <mask>'s body was borne down the river, where seven days later it is said to have been found by a Tatar fisherman named Yanish. Easily recognizable by the eagle on his armor, Yermak's corpse was stripped and hung on a frame made out of six poles, where for six weeks archers used his body for target practice. However, it is said that animals did not feed on him and his body produced no odor and that the corpse caused fear and nightmares in the people.Heeding these omens, the Tatars buried him as a hero, killing thirty oxen in his name. His prized armor was eventually distributed among the Tatar chiefs. Legacy
Upon receiving news of <mask>'s death, the Cossacks became immediately demoralized. The original band of men had dwindled to 150 fighters, and command now fell to Glukhoff, the leader of the initial group of reinforcements that the tsar had delivered to Yermak. The Cossacks soon decided to abandon Qashliq and to retreat to Russia. Before traveling a

masks: Yermak Yermak Yermak Yermak


texts: great distance, they ran into a group of one hundred reinforcements that had been sent as additional strength from the tsar. With this upturn in fortune, Yermak's band resolved to return to Qashliq and refortify their position in accordance with the tsar's will.The fast-acting and perceptive Tatars, however, had been informed of the group's flight and had retaken the city almost immediately, preventing any peaceful reoccupation of their former stronghold. Although the Tatar position appeared strong, they were no longer led by Kuchum, who had lost his power, and were thus not as stable as before. Furthermore, another three hundred reinforcements from the tsar soon arrived to join the Russians. Led by Tchulkoff, this new force provided a significant boost in fighting strength to the party. Despite the tumultuous state of the Tatar leadership and their newly received recruits, however, the Russians did not pursue another attempt on Qashliq. Instead, in a culmination of the events immediately following Yermak's fatal plunge, they founded a new settlement in 1587 on the site of what would become Tobolsk, a comfortable twelve miles from Qashliq. Although the Tatars quickly began raids against their familiar foe, after a short period they ceased, leaving the Russians to their new town.Yermak's heroic endeavors in the Russian East laid the groundwork for future Russian expansion and settlement. Soon after <mask> and his initial band set out for Siberia, merchants and peasants followed in their wake, hoping to harness some of the fur riches that abounded in the land.


texts: This trend grew exponentially after <mask>'s death, as his legend spread through the domain rapidly and, with it, the news of a land rich in furs and vulnerable to Russian influence. Colonization attempts soon followed, as Tyumen, the first known town after Yermak's death, was founded in 1586. The settling of this territory facilitated the establishment and development of Siberian agriculture. Most of these farmers were, in fact, soldiers, who grew their own sustenance out of necessity. Yermak had set a precedent of Cossack involvement in Siberian expansion, and the exploration and conquests of these men were responsible for many of the additions to the Russian empire in the east.After the initial return of the Cossacks shortly after Yermak's death, an ambitious project of fortification began under the direction of Boris Godunov. Its achievements, including the extension of protection for Russians in the region, would drive even greater numbers of entrepreneurs to Siberia. In 1590, Tobolsk received a significant boost in prominence as it was dubbed the principal city and administrative center of the region. The fur trade also continued to grow, aided by the Cossacks, who in 1593 established the trading center of Berezof on the Ob River at the sixty-fourth latitude. The practice of collecting tributes of fur from the natives continued to spread, and in the 17th century such furs made up 25-33 percent of the income to the tsar's treasury. Thus, as soon as fifteen years after Yermak's death, the basin of the Ob River had truly become a region of Russian


texts: influence. Even so, the Russians did not rest on their laurels, and the attitude and pace of expansion pioneered by Yermak continued well into the 17th century.Indeed, within the first half of the century the fort of Yeniseysk was established in 1619, the city of Yakutsk founded in 1632, and the important feat of reaching the Sea of Okhotsk on the Pacific coast in 1639. Throughout these campaigns, Yermak's influence was undeniable, as the pace he had established for achievement in his relatively short time in Siberia heralded a new age of Russian pioneering. Yermak's life and conquests had a significant impact on Russian policy towards Siberia and the colonization attempts that followed this shift. Prior to Yermak's agreement with the Strogonovs, the Russian attitude towards the Siberian expanse had been one preoccupied primarily with defense, not aggression. The top priority was the repelling of the Tatar hordes, and, as shown by Ivan's letter to the Strogonovs, the central government rarely involved itself unless the tribes succeeded in entering Russian territory. This, of course, changed with Yermak, whose triumphs showed that the Tatars could be put on the defensive and that Russia could now establish itself as an aggressive power in the East. Yermak also changed the involvement of the tsar in Siberian affairs.In reaching out to the tsar for assistance, Yermak gained the support of the government; indeed, it was reinforcements from the tsar that solidified the Russian presence in the region immediately after Yermak's death. This newfound commitment and


texts: involvement in the area is best summarized by Ivan's acceptance of the title bestowed upon him by Yermak: “Tsar of Sibir.” Yermak's pioneering further enabled this system to exist because it depended on the success he achieved in gaining tribute from conquered peoples. Much like Yermak, future troops were sent with the understanding that it would be necessary to supplement their base payment with treasures and tributes gained from conquest. Without this system in place, it is unlikely such an arrangement would have come to fruition. Future explorers would also take notice of Yermak's strategy in approaching the Siberian lands, which, unlike those in many other colonization attempts, already had an established imperial power. However, Yermak wisely recognized that Kuchum's territories were not unified. Yermak noted that many of these peoples were nothing more than vassals and that they were quite diverse in terms of race, language, and religion.Unlike Kuchum and his Mohammedan Tatars, many of these groups were pagan. Due to the sum of these differences, many simply paid tribute to avoid trouble, and it mattered little to whom the tribute was paid. Yermak's unique strength was thus in recognizing the bigger picture and playing it to his advantage, first identifying and then executing quick, efficient ways to establish influence in the region. The actions of Yermak also redefined the meaning of the word Cossack. While it is uncertain whether Yermak's group was related in any way to the Yaik or Ural Cossacks, it is known that their company was previously outlawed


texts: by the Russian government. However, in sending his letter and his trusted lieutenant Ivan Kolzo to Ivan the Terrible, Yermak transformed the image of the Cossack overnight from a bandit to a soldier recognized by the Tsar of Moscow. Now, Yermak's Cossacks had effectively been incorporated into the military system and were able to receive support from the tsar.This new arrangement also acted as a sort of pressure-relief valve for the Cossacks, who had a history of being troublesome on the Russian frontier. In sending as many of them as possible further east into unconquered lands, the burgeoning and extremely profitable lands on the borders of Russian territory were given respite. Yermak's call for aid thus spawned a new type of Cossack which, by virtue of its link to the government, would enjoy significant favor from future Russian rulers. Despite this new shift in orientation, it is worth noting that the Cossack name remained in place in Siberia and that soldiers sent as reinforcements often adopted this title. Furthermore, this realignment was not without criticism, however, and some saw <mask> as a traitor to the Cossack name. Such detractors saw Yermak's death as punishment for turning away from the Cossack code and becoming a pawn of the tsar. Fittingly, then, it was his armor, the very symbol of the tsar, that dragged him down to his fate.Relics of Yermak also continued to command significant power and prestige years after his death. In particular, the search for his armor affected at least one element of Siberian relations. Decades after <mask>'s death,


texts:
 a Mongol leader who had assisted the Russian government approached the voyevoda of Tobolsk and asked for his assistance in obtaining an item in the Tatar's possession, believed to be Yermak's armor. The reason he approached the voyevoda was that he had previously been denied a trade by the Tatars after offering them ten slave families and a thousand sheep. The Tatars, despite being convinced that the armor had divine properties, agreed to the sale upon the involvement of the voyevoda. Soon after, the Mongol, convinced of the power of Yermak's armor, refused to service the Russian government because he no longer feared their might. Commemoration
 The Russian people pay tribute to the legend of Yermak in a variety of ways.Multiple statues and monuments have been erected in his honor throughout Russia. V. A. Beklemishev began his construction project for a monument dedicated to <mask> in 1903 in the Cathedral Square of Novocherkassk, the capital of the Don Cossack country. On the monument <mask> is shown holding his regimental banner in his left hand and the ceremonial cap of his rival Kuchum Khan in his right hand. The back of the monument reads: “To the Don Cossack Ataman Ermak <mask>, the Siberia conqueror from the grateful posterity. In honor of Don Cossack Army 300th Anniversary. He passed away in Irtysh waves on August 5, 1584.” Some believe that <mask> was born in the village of Kachalinskaya on the Don. Though this region has long claimed Yermak to be one of its own, there is no evidence that he was born there or ever visited.There is also a statue of

masks: Yermak Yermak Timofeyevich Yermak


texts:
 <mask> at Tobolsk and one in the State Russian Museum in Saint Petersburg designed by Mark Antokolsky. Two icebreakers have been named after Yermak. The first, built in Newcastle, England, in 1898, was one of the first major vessels of that type ever built and the second, which entered the service in 1974, was the first of an impressive new type of ship. In commemoration of Yermak, there is a town named after him on the upper Irtysh. Similarly, a mountain in the Perm Region made up of three cliff stacks is called the Yermak Stone after Yermak. Legend has it that Yermak and his brigade passed one of the harsh Siberian winters on the cliff side. In popular culture
Yermak is an important heroic figure in Russian history, depicted in film, literature, poetry, song, and paintings.Film
<mask> makes an appearance in the 1947 film Tale of the Siberian Land (Skazanie o zemle sibirskoi) directed by Ivan Pyryev. The movie tells the story of a pianist named Andrei who moves to Siberia to work at a paper-processing plant after being wounded in World War II and losing his faith in music. Once in Siberia, Andrei reunites with a female singer with whom he had been in love in Moscow. When nothing comes of their second encounter, he heads far north in Siberia and becomes so enamored with the might of Soviet construction projects that he composes a choral symphony entitled the ‘Tale of Siberian Land.’ Andrei is then reunited with his beloved who finds him in the depths of Siberia. The two travel to Moscow where Andrei's symphony is performed in the Conservatory. The symphony


texts:
 tells his life story while presenting the “mysterious, wild, silver grey” landscape of Siberia to the audience. In displaying the “extreme might of the land,” he conveys “the extreme heroism of the Russian and Soviet conquest of Siberia.” The symphony introduces <mask> as a mighty figure who “made his way through the fog and mist to do battle with Siberia.” The film then begins a visual montage which traces Russian history and the representation of the Russian landscape over time.<mask> is shown as a “pantomime hero” leading his forces into battle. Simon Franklin and Emma Widdis describe that “here, the director taps into the folk imagination and the landscape that he evokes is plainly the landscape of the epic. As the battle ends, the natural world itself expresses the majesty of Yermak’s achievement. Fire turns into lightning, and then the rain begins: the conquest of the elements is complete, as nature bows down in the face of Russian strength, and Siberia is conquered.” The montage then shifts to show the landscape as softer, flatter, and gentler. Andrei proceeds to describe the process through which Yermak's descendants continued to dominate Siberia. Ultimately, <mask> is portrayed as the hero who launched the conquest that shaped the whole of Russia. In 1996, directors Vladimir Krasnopolsky and Valeri Uskov produced the film Yermak, a historical drama about the conquest of Siberia which starred Viktor Stepanov, Irina Alfyorova, and Nikita Dzhigurda.Literature
 Yermak, the Conqueror of Siberia (1899) - by Leo Tolstoy
 <mask>, the Conqueror (1930) - a


texts:
 novel by Pyotr Nikolayevich Krassnoff
 Gulyai-Volga (1930) - a novel by Artem Vesely
 The Cossacks (1969) - by Philip Longworth, a historical account of the Cossack experience in Russia which provides portraits of famous Cossack leaders <mask>, Bogdan Khmelnitski, and Stepan Razin
 <mask>'s Campaign in Siberia (1974) - translated from Russian by Tatiana Minorsky and David Wileman and edited, with an introduction and notes, by Terence Armstrong
 In addition to his nonfiction portrayals in the books listed above, Yermak and his expeditions of conquest are mentioned in The Zombie Survival Guide by Max Brooks, as well as being featured in its accompanying tie-in comic Recorded Attacks, wherein an expeditionary party of Yermak seizes a Siberian settlement of an unknown Asiatic tribe, engaging in slaughter and cannabalism, before themselves succumbing to a revived, apparently zombified woman whom they had dug up, leaving only one survivor. Folk songs and poetry
There are many folk songs and much poetry about Yermak which contribute to our vision of the hero. By tracing the transformation of folk songs and poetry about Yermak since his death, it is possible to see how his status as a legendary figure has evolved over time. Over 150 songs about Yermak's exploits have been collected and spread throughout all of Russia since the 18th century. As many as 35 of these songs have been collected in a text by V. Th. Miller entitled “Historical Songs of the Russian People of the XVI-XVII Centuries.” One song describes how “Yermak’s men kill the Muscovite ambassador to Persia


texts:
 named as Semen Konstantinovich Karamyshev” while others speak of Yermak's acts of piracy and pillaging with his Cossack brigade. Though most folk songs are not entirely consistent with the historical accounts of Yermak's life, there are many similarities and much overlap among the different songs.There are often several versions of the same song that share certain details but differ on others. I. I. Dmitriyev (1760–1837) wrote the dramatic poem “Yermak” and K. P. Ryleyev (1795–1826) in 1821 wrote a poem entitled “The death of Yermak.”

Paintings
 “The Conquest of Siberia by Yermak” (1895) by Vasily Surikov, located in the State Russian Museum in St. Petersburg
 various paintings by Semyon Remezov in the Remezov Chronicle

See also

Icebreaker Yermak
History of Siberia
Exploration of Siberia
Exploration of Asia
Russian conquest of Siberia
Conquest of the Khanate of Sibir

Notes

References
This article incorporates text from the Great Soviet Encyclopedia

 Armstrong, Terence E. <mask>'s Campaign in Siberia: A Selection of Documents. London: Hakluyt Society, 1975. Baikalov, Anatole V.. The Conquest and Colonisation of Siberia. The Slavonic and East European Review 10, no. 30 (1932): 557-571.Bisher, Jamie. White Terror: Cossack Warlords of the Trans-Siberian. London: Frank Cass, 2005. Cresson, W. P.. The Cossacks: Their History and Country. New York: Brentano's, 1919. Czaplicka, Miss, and Leslie Urquhart.The Future of Siberia: Discussion. The Geographical Journal 51, no. 3 (1918): 159-164. Feodoroff, Nicholas V. Soviet Communists and Russian History: A Frame in


texts: Time. Commack, NY: Nova Science, 1997. Franklin, Simon, and Emma Widdis. National Identity in Russian Culture: An Introduction.Cambridge: Cambridge University Press, 2004. Haywood, A. J.. Siberia: A Cultural History. Oxford: Oxford University Press, 2010. Howe, Sonia E.. Some Russian Heroes, Saints and Sinners, Legendary and Historical. London: Williams and Norgate, 1916. Kerner, Robert Joseph.The Russian Eastward Movement: Some Observations on its Historical Significance. Berkeley: Pacific Historical Review, 1948. Kivelson, Valerie A. Cartographies of Tsardom: The Land and Its Meanings in Seventeenth-Century Russia. Ithaca, N.Y.: Cornell University Press, 2006. Landers, Brian. Empires Apart: A History of American and Russian Imperialism. New York: Pegasus Books :, 2010.Lincoln, W. Bruce. The Conquest of a Continent: Siberia and the Russians. New York: Random House, 1994. Longworth, Philip. The Cossacks. New York: Holt, Rinehart and Winston, 1969. Manning, Clarence Augustus."<mask> <mask> in Russian Folk Poetry." Journal of the American Oriental Society 43 (1923): 206-215. https://www.jstor.org/stable/593339 (accessed January 13, 2012). March, G. Patrick. Eastern Destiny: Russia in Asia and the North Pacific. Westport, Conn.: Praeger, 1996. "Monument to the legendary Cossack Ermak - Sights." The Official Website of the City of Novocherkassk.http://www.novochgrad.ru/en/sights/id/1873.html (accessed January 14, 2012). Naumov, I. V., and David Norman Collins. The History of Siberia. London: Routledge, 2006. Perkhavko, Valery. Soft Gold. Science in Russia 4

masks: Yermak Timofeyevich


texts:
 (2008): 50-56.Rasputin, Valentin. Siberia, Siberia. Evanston, Ill.: Northwestern University Press, 1996. Semyenov, Yuri. The Conquest of Siberia. Ed. E. W. Dickes.London: G. Routledge & Sons, Ltd., 1944. Stites, Richard. Russian Popular Culture: Entertainment and Society Since 1900. Cambridge, England: Cambridge University Press, 1992. Print. Wright, G. Frederick. Asiatic Russia,.New York: McClure, Phillips & co., 1902. "Yermak (1996) - IMDb." The Internet Movie Database (IMDb). https://www.imdb.com/title/tt0126894/ (accessed January 17, 2012). External links

1585 deaths
Cossack explorers
Explorers of Asia
Explorers of Siberia
Russian explorers
Don Cossacks
Russian folklore characters
Characters in Bylina
History of Siberia
Deaths by drowning
16th-century Russian people
Russian folklore
Russian knights
Year of birth unknown
History of


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<mask> (born July 14, 1945) is an American musician, songwriter, and convicted felon. <mask> was a popular session drummer in the late 1960s and 1970s and was the drummer in the blues rock supergroup Derek and the Dominos. In 1983, in a psychotic episode associated with undiagnosed schizophrenia, <mask> murdered his mother and was sentenced to 16 years to life in prison. As of 2021, he remains incarcerated at the California Medical Facility. Music career
<mask> was raised in the San Fernando Valley of Los Angeles and attended Grant High School. He passed up a music scholarship to UCLA in order to begin his professional career in 1963, at age 17, backing the Everly Brothers. He went on to become one of the most sought-after recording session drummers in Los Angeles.The protégé of studio drummer Hal Blaine, <mask> performed on many notable recordings in the 1960s, including Pet Sounds, by the Beach Boys (1966); Gene Clark with the Gosdin Brothers, by Gene Clark (1967); The Notorious Byrd Brothers, by the Byrds (1968); and the hit "Classical Gas", by Mason Williams (1968). At the height of his career <mask> was reportedly so busy as a studio musician that he flew back to Los Angeles from Las Vegas every day to do two or three recording sessions and then returned in time to play the evening show at Caesars Palace. In 1969 and 1970 <mask> toured as part of the backing band for Delaney & Bonnie, which at the time included Eric Clapton. Clapton subsequently took over the group's rhythm section — <mask> (drummer), Carl Radle (bassist), Bobby Whitlock

masks:
James Beck Gordon
Gordon
Gordon
Gordon
Gordon
Gordon
Gordon
Gordon


texts: (keyboardist, singer, songwriter) — and they formed a new band, later called Derek and the Dominos. The band's first studio work was as the house band for George Harrison's three-disc set All Things Must Pass (1970). <mask> then played on Derek and the Dominos' 1970 double album, Layla and Other Assorted Love Songs and also played with the band on subsequent U.S. and UK tours. The group split in spring 1971 before they finished recording their second album.In addition to his drumming, <mask> was credited with contributing the elegiac piano coda for the title track, "Layla". In later years, Whitlock claimed that the coda was not actually written by <mask>: "<mask> took that piano melody from his ex-girlfriend Rita Coolidge. I know because in the D&B days I lived in John Garfield's old house in the Hollywood Hills and there was a guest house with an upright piano in it. Rita and <mask> were up there in the guest house and invited me to join in on writing this song with them called "Time". (Her sister Priscilla wound up recording it with Booker T. Jones) <mask> took the melody from Rita's song and didn't give her credit for writing it. Her boyfriend ripped her off". Graham Nash (who later dated Coolidge) substantiated Whitlock's claim in his memoir."Time" was not released by Priscilla Coolidge and Booker T. until 1973, on their album Chronicles. In 1970 <mask> was part of Joe Cocker's Mad Dogs & Englishmen tour and played on Dave Mason's album Alone Together. In 1971, he toured with Traffic and appeared on two of their albums, including The Low Spark of

masks: Gordon Gordon Gordon Jim Jim Jim Gordon


texts:
 High Heeled Boys. That same year he played on Harry Nilsson's album Nilsson Schmilsson, contributing the drum solo to the track "Jump into the Fire". <mask> was the drummer on the Incredible Bongo Band's album Bongo Rock, released in 1972, and his drum break on the LP version of "Apache" has been frequently sampled by rap music artists. In 1972, <mask> was also part of Frank Zappa's 20-piece 'Grand Wazoo' big band and the subsequent 10-piece 'Petit Wazoo' band. Perhaps his best-known recording with Zappa is the title track of the 1974 album Apostrophe ('), a jam with Zappa and Tony Duran on guitar and Jack Bruce on bass guitar, for which both Bruce and <mask> received a writing credit (Zappa, when introducing <mask> onstage, frequently referred to him as "Skippy", because of his youthful appearance).Also in 1972, <mask> played drums on Helen Reddy's Top 20 US album I Am Woman. In 1973 <mask> played on Johnny Rivers' Blue Suede Shoes as well as on Art Garfunkel's Angel Clare albums, and toured with Rivers through 1974 appearing on the Last Boogie in Paris live album. Also in 1974, <mask> played on most of the tracks on Steely Dan's album Pretzel Logic, including the single "Rikki Don't Lose That Number". He again worked with Chris Hillman of the Byrds as the drummer in the Souther–Hillman–Furay Band from 1973 to 1975. He also played drums on three tracks on Alice Cooper's 1976 album, Alice Cooper Goes to Hell. Mental health
<mask> developed schizophrenia and began to hear voices (including his mother’s) which compelled him to starve himself and

masks: Gordon Gordon Gordon Gordon Gordon Gordon Gordon Gordon


texts:
 prevented him from sleeping, relaxing or playing drums. His physicians misdiagnosed the problems and instead treated him for alcohol abuse.While on tour with Joe Cocker in the early 1970s, <mask> reportedly punched his then-girlfriend Rita Coolidge in a hotel hallway, thereby ending their relationship. Murder of mother, conviction and incarceration
On June 3, 1983, <mask> attacked his 72-year-old mother, Osa <mask>, with a hammer before fatally stabbing her with a butcher knife; he claimed that a voice told him to kill her. Only after his arrest for murder was <mask> properly diagnosed with schizophrenia. At his trial, the court accepted that he had acute schizophrenia, but he was not allowed to use an insanity defense because of changes to California law due to the Insanity Defense Reform Act. On July 10, 1984, <mask> was sentenced to 16 years to life in prison. He was first eligible for parole in 1991, but parole has been denied several times as he has never attended a parole hearing. In 2014, he declined to attend his hearing and was denied parole until at least 2018.A Los Angeles deputy district attorney stated at the hearing that he was still "seriously psychologically incapacitated" and "a danger when he is not taking his medication". In November 2017, <mask> was rediagnosed with schizophrenia. On March 7, 2018, <mask> was denied parole for the tenth time and was tentatively scheduled to become eligible again in March 2021. , he was serving his sentence at the California Medical Facility, a medical and psychiatric prison in Vacaville,

masks:
Gordon
Gordon
Marie Gordon
Gordon
Gordon
Gordon
Gordon


texts:
<mask>  <mask> (19 February 1878 – 2 November 1961) was a Swedish–Norwegian actress. A celebrity in her day, Bosse is now most commonly remembered as the third wife of the playwright August Strindberg. Bosse began her career in a minor company run by her forceful older sister Alma Fahlstrøm in Kristiania (now Oslo, the capital of Norway). Having secured an engagement at the Royal Dramatic Theatre ("Dramaten"), the main drama venue of Sweden's capital Stockholm, Bosse caught the attention of Strindberg with her intelligent acting and exotic "oriental" appearance. After a whirlwind courtship, which unfolds in detail in Strindberg's letters and diary, Strindberg and <mask> were married in 1901, when he was 52 and she 23. Strindberg wrote a number of major roles for <mask> during their short and stormy relationship, especially in 1900–01, a period of great creativity and productivity for him. Like his previous two marriages, the relationship failed as a result of Strindberg's jealousy, which some biographers have characterized as paranoid.The spectrum of Strindberg's feelings about Bosse, ranging from worship to rage, is reflected in the roles he wrote for her to play, or as portraits of her. Despite her real-life role as muse to Strindberg, she remained an independent artist. Bosse married Swedish actor Anders Gunnar Wingård in 1908, and Swedish screen actor, director, and matinee idol Edvin Adolphson in 1927. All three of her marriages ended in divorce after a few years, leaving her with a daughter by Strindberg and a son by Wingård. On retiring after a high-profile acting career based in Stockholm, she returned to her roots in Oslo. Early career
<mask> was born in Norway's capital Kristiania, today called Oslo, as the thirteenth of fourteen children of Anne-Marie and Johann Heinrich <mask>. Her German father was a publisher and bookseller, and his business led to the family's alternating residence in Kristiania

masks:
Harriet Sofie
Bosse
Bosse
Bosse
Bosse
Bosse


texts: and Stockholm, the capital of Sweden.Bosse was to experience some confusion of national identity throughout her life, and to take the  rail trip between the cities many times. A bold, independent child, she first made the journey alone when she was only six years old. Two of <mask>'s older sisters, Alma (1863–1947) and Dagmar (1866–1954), were already successful performers when <mask> was a small child. Inspired by these role models, <mask> began her acting career in a Norwegian touring company run by her sister Alma and Alma's husband Johan Fahlstrøm (1867–1938). Invited to play Juliet in Romeo and Juliet, the eighteen-year-old <mask> reported in a letter to her sister Inez that she had been paralysed by stage-fright before the premiere, but had then taken delight in the performance, the curtain-calls, and the way people stared at her in the street the next day. Alma was <mask>'s first and only—rather authoritarian—acting teacher. Their harmonious and sisterly teacher–pupil relationship became strained when Alma discovered that her husband Johan and <mask> were having an affair.Both Bosse parents were now dead, and <mask>, ordered by Alma to leave, used a modest legacy from her father to finance studies in Stockholm, Copenhagen, and Paris. The Paris stage—at that time in dynamic conflict between traditional and experimental production styles—was inspirational for Bosse and convinced her that the low-key realistic acting style in which she was training herself was the right choice. Returning to Scandinavia, she was hesitant as to whether she should carve out a career in Stockholm, with its greater opportunities, or in Kristiania, to which she had closer emotional ties. In spite of the disadvantage of speaking Swedish with a Norwegian accent, Bosse let herself be persuaded by her opera-singer sister Dagmar to try her luck in Stockholm. She applied for a place at the Royal Dramatic Theatre ("Dramaten"), the main

masks: Bosse Harriet Harriet Harriet Harriet Harriet Harriet


texts:
 drama venue of Stockholm, governed by the conservative tastes of King Oscar II and his personal advisors. After working hard at elocution lessons to improve her Swedish, which was Dramaten's condition for employing her, Bosse was eventually to become famous on the Swedish stage for her beautiful speaking voice and precise articulation. Having trained her Swedish to a high level, she was engaged by Dramaten in 1899, where the sensation of the day was the innovative play Gustaf Vasa by August Strindberg.Marriage to August Strindberg

August Strindberg

Although <mask> was a successful professional, she is chiefly remembered as the third wife of Swedish dramatist August Strindberg (1849–1912). Strindberg, an important influence on the development of modern drama, had become nationally known in the 1870s as an angry young socialist muckraker and had risen to fame with his satire on the Swedish establishment, The Red Room (1879). In the 1890s,  he had suffered a long and miserable psychotic interlude, known as the "Inferno Crisis", and, emerging from this ordeal, he remained marked by it. He turned from naturalism to symbolism in his prolific literary output, and his convictions and interests at the turn of the twentieth century focused less on politics and more on theosophy, mysticism, and the occult. When Bosse met him in 1899–1900, he was, at age 51, at the height of his creative powers, his name "red-hot" on the stage. Strindberg had the reputation of a misogynist, something which all of his wives stoutly denied. Bosse wrote in an unpublished statement which she left to her daughter with Strindberg, Anne-Marie: "During the years I knew and was married to Strindberg I saw only a completely natural, kind, honorable, faithful man—a 'gentleman'".However, all of Strindberg's marriages were blighted by his jealousy and a sensitivity which has sometimes been considered paranoid and delusional. Courtship
 Bosse later


texts: published Strindberg's letters from their courtship and marriage. Incidents narrated in those letters and in <mask>'s own interspersed comments have been analysed at length by biographers and psychiatrists, and have become part of the "Strindberg legend". Even before their first meeting, <mask> had been inspired by the newness and freshness of Strindberg's pioneering plays; an iconoclast and radical with two turbulent marriages already behind him presented an intriguing and irresistible mix to her. Strindberg was susceptible to strong, independent career women, as well as to dainty, delicate-looking young girls; like his first and second wives—Siri von Essen and Frida Uhl—Bosse combined these qualities. He was entranced when he saw the dark, exotic-looking, petite twenty-two-year-old <mask> (who was often cast in sprite roles or what were conceptualized as "Oriental" roles) play her first major part, an impish Puck in A Midsummer Night's Dream. He immediately picked her out as a suitable actress for the part of The Lady in his coming play To Damascus, and invited  her to his bachelor establishment to discuss the role.At this famous first meeting, Strindberg, according to <mask>'s narrative of the event, met her at the door all smiles and charm. Offering her wine, flowers, and beautifully arranged fruit, he shared with her his fascination with alchemy, showing her a golden brown mixture he told her was gold he had made. When she got up to leave, Bosse claims Strindberg asked for the feather in her hat to use for writing his plays. Bosse gave it to him, and he used this feather, with a steel nib insert, to write all his dramas during their marriage. It is now in the Strindberg Museum in Stockholm. Strindberg wooed Bosse by sending her books about theosophy and the occult, by attempting to mould her mind, and by furthering her career. Throwing himself into writing plays with central parts he considered suitable

masks: Bosse Bosse Bosse Bosse


texts:
 for her, he tried to persuade her to act them, and the Dramaten management to cast her in them.<mask> asserts in her edition of the Letters that she tended to hang back, as did the management, being in agreement that she lacked the experience for major and complex roles. Strindberg, a power in the theatre, nevertheless often prevailed. The role of Eleonora in Easter (1901), which intimidated Bosse by its sensitivity and delicacy, but which she finally undertook to play, turned out to be <mask>'s most successful and beloved role, and a turning-point in <mask>'s and Strindberg's relationship. They became engaged in March 1901, during the rehearsals of Easter, in what in Bosse's narrative may be the best-known incident of the Strindberg legend. Bosse relates how she went to see Strindberg to ask him to give the part to a more experienced actress, but he assured her she would be perfect for it. "Then he placed his hands on my shoulders, looked at me long and ardently, and asked: 'Would you like to have a little child with me, Miss Bosse?' I made a curtsey and answered, as though hypnotized: 'Yes, thank you!'—and we were engaged." Marriage and divorce
<mask> and Strindberg were married on 6 May 1901. Strindberg insisted that Bosse bring none of her possessions to the home he had furnished for her, creating a "setting in which to nurture and dominate her". In this setting, his taste in interior decoration was revealed to be Oscarian and old-fashioned, with pedestals, aspidistras, and dining-room furniture in hideous imitation of German renaissance, to <mask>'s modern judgment. Striving towards the life beyond, Strindberg explained, he could permit nothing in the apartment that would lead the thoughts towards the earthly and material. In her comments in the Letters, Bosse described with loyalty and affection Strindberg's protectiveness and his efforts to bring his young wife with him along his own spiritual paths;

masks: Bosse Bosse Bosse Bosse Bosse


texts: nevertheless, she chafed under these efforts, pointing out that she herself, at 22, was not even remotely finished with this world. Increasingly agoraphobic, Strindberg attempted to overcome his anxieties and allow his young wife the summer excursions she longed for.He planned sunny drives in hired victorias, but often the mystical "Powers" which governed him intervened. A crisis came as early as June 1901, when Strindberg arranged, and then at the last moment called off, a honeymoon trip to Germany and Switzerland. Bosse wrote in the Letters that she had nothing to do but stay at home and choke down the tears while Strindberg attempted consolation by giving her a Baedeker "to read a trip in". The cancelled journey was the beginning of the end. A crying, defiant Bosse went off by herself to the seaside resort Hornbæk in Denmark, a much shorter trip, but to her senses, a delightfully refreshing one. There, she was soon followed by Strindberg's letters, full of agonized remorse at having given her pain, and then by Strindberg himself, steeling himself to bear the social life Bosse relished. However, the relationship quickly foundered on jealousy and suspicion, as when Strindberg struck a photographer over the head with his stick, unable to endure any attention to Bosse.In August, when Bosse discovered that she was pregnant, even Strindberg's delight (he was a fond parent of the four children of his previous marriages) could not save a marriage full of distrust and accusation. This was illustrated in Strindberg's increasingly frantic letters to Bosse When their daughter Anne-Marie was born on 25 March 1902, they were already living apart. "For the sake of us both it is best that I do not return", wrote Bosse in a letter to Strindberg. "A continuation of life together with suspicion of every word, every act of mine, would be the end of me." At her insistence, Strindberg began divorce proceedings. Strindberg's roles


texts:
 for Bosse
The relationship of Strindberg and Bosse was highly dramatic. Strindberg would lurch back and forth from adoration of Bosse as the regenerator of his creativity ("lovely, amiable, and kind") to a wild jealousy (calling her "a small, nasty woman", "evil", "stupid", "black", "arrogant", "venomous", and "whore").His letters show that Bosse inspired several important characters in his plays, especially during the course of 1901, and that he manipulated her by promising to pull strings so that she could play them. During the brief, intense, creative 1901 period, the roles Strindberg wrote as artistic vehicles for Bosse, or that were based on their relationship, reflect this combination of adoration and "suspicion of every word, every act". Carla Waal counts eight minor and six major roles written for Bosse to act, or as portraits of her, several of them classics of Western theatre history. The major roles enumerated by Waal are The Lady in To Damascus (1900; mainly already written when <mask> and Strindberg met, but used between them to enhance their intimacy); Eleonora in Easter (1901; modelled on Strindberg's sister Elisabeth, but intended for Bosse to star in); Henriette in Crimes and Crimes (1901); Swan White in Swan White (1901); Christina in Queen Christina (1901); and Indra's daughter in A Dream Play (1902). The years refer to dates of publication; <mask> never played in Swan White, even though Strindberg kept proposing it, and though she was many years later to describe this play as Strindberg's wedding present to her. Strindberg claimed that Queen Christina was an "explanation" of Bosse's character as being that of an actress in real life, flirtatious and deceitful. In his influential Strindberg biography, Lagercrantz describes this play as a synopsis of the entire course of the Bosse–Strindberg marriage.He sees the courtiers as representing various stages of Strindberg's own emotions: Tott, in

masks: Bosse Bosse


texts:
 the first glow of love; de la Gardie, betrayed but loyal; Oxenstierna, who has rejected her. Each of the three men has words to speak which Strindberg himself had spoken to Bosse. A Dream Play is positioned at the median of Strindberg's series of portrayals of his own marriage, the Bosse role imbued with both light and darkness. With its associative dream structure, this play is a milestone of modernist drama, described by Strindberg as a lawless reflection of The Dreamer's (Strindberg's) consciousness, limited only by his imagination which "spins and weaves new patterns… on an insignificant basis of reality". Agnes, played by and representing Bosse, is the daughter of the Vedic god Indra, descending to earth to observe human life and bring its disappointments to the attention of her divine father. The "Oriental" aspect of the play is based on Bosse's dark, exotic looks. Yet she is also drawn into mere humanity and into a claustrophobic marriage to The Lawyer, one of the versions of The Dreamer and, thereby, of Strindberg.Shut up indoors by a possessive husband, Agnes can not breathe; she despondently watches the servant working to exclude light and air from the house by pasting insulating strips of paper along the windows' edges. Recognizably, the "insignificant basis of reality" of Agnes' marriage to The Lawyer is the frustration of the newly married Bosse, yearning for fresh air, sunshine, and travel but fobbed off with a Baedeker. Independence

Both before and after the divorce from Strindberg, <mask> was a Stockholm celebrity in her own right. Her independence and self-supporting status gained her a reputation for being strong-willed and opinionated, insisting on, and receiving, high pay and significant roles. She left Dramaten with its conventional repertoire and began working at Albert Ranft's Swedish Theatre, where she and the skillful but more modest actor (Anders) Gunnar Wingård (1878–1912) formed a


texts: popular co-star team. She travelled frequently, particularly for guest performances in Helsinki, leaving little Anne-Marie with Strindberg, a competent and affectionate father. In 1907, Bosse made theatrical history as Indra's daughter in Strindberg's epoch-making Dream Play.She and Strindberg met weekly for dinner at his house, and remained lovers until she severed connections in preparation for her marriage with Gunnar Wingård in 1908. In 1909 the Wingårds had a son, Bo. This marriage was also brief, ending in divorce in 1912. According to rumour, the cause of the divorce was Wingård's infidelity. However, Strindberg also heard gossip that Wingård's large debts threatened Bosse's finances. In 1911, a divorced woman with two children to care for and support, <mask> returned to Dramaten. Strindberg was at that time fatally ill with cancer; he died on 14 May 1912.1912 was altogether a year of death and disaster for the <mask> and Strindberg families: Alma Fahlstrøm's son Arne went down with the Titanic on 15 April; Strindberg's first wife Siri von Essen died later the same month; von Essen's and Strindberg's daughter Greta, a promising young actress, was killed in a train crash in June; and Bosse's divorced husband Gunnar Wingård shot himself on 7 October. Strindberg's funeral was a national event. Gunnar Wingård, a popular and charming actor, was also the subject of public grief. Throughout these shattering events, which left both her children fatherless, Bosse kept up her busy schedule, apart from a few days off, distraught and grief-stricken, after Wingård's suicide. For months after it, she received anonymous letters and threatening phone-calls, blaming her for Wingård's depression and death. <mask>'s third marriage, 1927–32, was to Edvin Adolphson (1893–1979), fifteen years her junior. Adolphson had abandoned his stage career in order to become instead a film director and one of the best-known Swedish film

masks: Bosse Bosse Bosse


texts:
 actors, a ruggedly handsome matinée idol whose screen persona Nils Beyer referred to as a combination of "apache, gangster and gigolo".<mask> made two films, ambitiously shot and directed and based on novels by well-known writers. The artistic achievement of Sons of Ingmar (1919) has been highly praised. Directed by and co-starring Victor Sjöström, it was based on a novel by Swedish Nobel Prize winner Selma Lagerlöf; many years later, Ingmar Bergman referred to Sons of Ingmar as a "magnificent, remarkable film" and acknowledged his own debt to Sjöström. <mask>, who played the female lead Brita, called Sons of Ingmar "the only worthwhile Swedish film I was involved in." However, the film failed to give her career the kind of fresh start that the Swedish film industry had given Edvin Adolphson, and it was seventeen years before she made another film. This was Bombi Bitt and I (1936), her only talkie, based on Fritiof Nilsson Piraten's popular first novel with the same title and directed by Gösta Rodin. Bombi Bitt was a successful, though more lightweight, production with a smaller Bosse role ("Franskan").Retirement
After many years of ambitious and successful free-lance acting, <mask> found her options narrowing in the 1930s. The Great Depression brought her economic hardship, and, even though she looked younger than her age, most important women's roles were out of her age range. Her technique was still often praised, but also sometimes perceived as old-fashioned and mannered, in comparison with the more ensemble-oriented style of the times. Finding herself unneeded by any Swedish repertory theatre, she only managed to return as a member of Dramaten by means of skillful persuasion and pointed reminders of her long history there. A humble employee at a humble salary, she played only fifteen roles, all minor, during her last ten years at Dramaten, 1933–43. Retiring from the stage during World War II, <mask>


texts:
 considered moving back to Norway's capital Oslo, the home of her childhood and youth. Both her children had settled there.The move was delayed for ten years, during which she travelled whenever possible, and when it took place in 1955, she perceived it to be a mistake. Her brother Ewald's death in 1956 left her the only survivor of the fourteen children of Anne-Marie and Johann Heinrich Bosse. "How I long desperately for Stockholm", she wrote to a friend in 1958. "My whole life is there." She became chronically melancholy, enduring failing health and bitter memories of the final phase of her career at Dramaten. She died on 2 November 1961 in Oslo. Bosse always guarded her privacy, so much so that the memoir she wrote of her life with Strindberg was deemed to be too uninterestingly discreet to be publishable.Notes

References
 Beyer, Nils (1945). Skådespelare. Stockholm: Kooperative Förbundets bokförlag. Brandell, Gunnar (1950). Strindbergs infernokris. Stockholm: Bonniers. Lagercrantz, Olof (1979; translated from Swedish by Anselm Hollo, 1984).August Strindberg. London: Faber and Faber. Martinus, Eivor (2001). Strindberg and Love. Oxford: Amber Lane Press. Paulson, Arvid (ed. and translated, 1959).Letters of Strindberg to <mask>. New York: Thomas Nelson and Sons. Strindberg on Drama and Theatre: A Source Book. (Selected, translated and edited by Egil Törnqvist and Birgitta Steene, 2007). Amsterdam University Press. Waal, Carla (1990). <mask>: Strindberg's Muse and Interpreter.Carbondale and Edwardsville: Southern Illinois Univ. Press. Further reading

External links

 The Strindberg Museum in Stockholm

1878 births
1961 deaths
Actresses from Oslo
Norwegian stage actresses
Norwegian film actresses
Norwegian silent film actresses
20th-century Norwegian actresses
Norwegian people of German descent
Swedish stage actresses
Swedish film actresses
Swedish silent film actresses
20th-century Swedish actresses
Litteris

masks:
Harriet Bosse
Harriet Bosse


texts:
<mask> (born March 25, 1985) is a Canadian-American country music artist who ranked sixth on the second season of American Idol in 2003. Rasmusen also plays piano and guitar. Early life
Rasmusen was born on March 25, 1985 in Edmonton and is of Norwegian heritage. She is a member of The Church of Jesus Christ of Latter-day Saints. The second of four children, Rasmusen has been performing in public since the age of five: singing, dancing (including cheerleading, tap, ballet and hip-hop dance), and playing the piano. She graduated from Woods Cross High School in Northern Utah in 2003, and is an alumna of Brigham Young University. American Idol
Rasmusen auditioned initially in Los Angeles and was put through to Hollywood.She was originally eliminated by the judges during the Top 100 stage. In a surprise move, Rasmusen and three other young female singers were brought back to compete in the Wild Card show. No clear reason was made public, but speculation at the time centered on the show's producers wanting to provide a greater demographic diversity in the Final 12. Rasmusen performed "Can't Fight the Moonlight" by LeAnn Rimes for her Wild Card performance. Although the judges, including Simon Cowell, opined that it was not a good enough performance to advance, the next night Cowell chose her as his "judge's choice" to move into the Top 12. <mask> survived for seven weeks in the finals, earning generally mixed reviews from the judges throughout her stay. Her performances of "You Can't Hurry Love" and "Turn the Beat Around" received relatively high marks from both judges and viewers, while her rendition of Blondie's

masks:
Carmen Rasmusen Herbert
Carmen


texts:
 "Call Me" during Billboard Number One Hits Night drew brickbats.Judge Randy Jackson was often one of her harshest critics. <mask> was praised by her fans as having a wholesome, girlish appeal and for refusing to wear outfits she thought were inappropriate for her. Fans also cited her on-stage energy and strong vocal projection. Detractors pointed to her recurring difficulty in controlling her natural vibrato and her tendency to yodel when changing registers. She was also one of the most outspoken defenders of the show among the second season finalists in the wake of the scandal involving Corey Clark's allegations regarding Paula Abdul. As the only contestant in the second season under the age of eighteen, she had to spend three hours a day with an on-set tutor. Her mother had to accompany her with the other contestants to the special American Idol house, where they all lived during the competition.She also became close friends with season 2 runner-up Clay Aiken. After her elimination, she went on to appear in numerous shows promoting American Idol and she appeared on the last episode of the second season singing with the other finalists. Rasmusen also appeared on the American Idol Season 2: All-Time Classic American Love Songs singing "How Do I Live" by LeAnn Rimes. In June 2008, Rasmusen starred as one of the headliners for a live music show in Branson, MO, called America's Favorite Finalists. The show featured six top 12 American Idol Finalists performing their own music, cover songs and group numbers. The show ran at the Grand Palace. Performances
Wildcards - "Can't Fight the Moonlight" by LeAnn Rimes
Top


texts:
 12 (Motown) - "You Can't Hurry Love" by The Supremes
Top 11 (Movies) - "Hopelessly Devoted to You" by Olivia Newton-John
Top 10 (Country Rock) - "Wild Angels" by Martina McBride
Top 8 (Disco) - "Turn the Beat Around" by Vicki Sue Robinson (Bottom 2)
Top 8 (Billboard Number One Hits) - "Call Me" by Blondie
Top 7 (Billy Joel's Music) - "And So It Goes" (Bottom 2)
Top 6 (Diane Warren's Music) - "Love Will Lead You Back" by Taylor Dayne (Eliminated)
 Due to Corey Clark's disqualification, the Top 9 performances became Top 8 when no one was eliminated.Music career

<mask>
Her first EP, <mask>, was self-released and included her first single, Photograph. Nothin' Like the Summer
Rasmusen is signed with Lofton Creek Records. Her debut album, Nothin' Like the Summer was released on August 28, 2007, and the first single, "Nothin' Like the Summer", debuted in the United States on April 24, 2007 and also debuted in Shanghai, Australia and United Kingdom. The song was written by Rasmusen, Victoria Shaw and Jason Deere, who also produced both the song and her album. Rasmusen did a radio tour in support of the album; she participated in shows at 30 radio stations and 10 television shows including Fox, MSNBC, Today, and Geraldo. She also opened concerts for Tracy Byrd and Jason Michael Carroll. As part of her tour, she started a new program called "Hitching a Ride" where fans can hitch a ride and hang on her tour bus.Acting career
<mask> made her acting debut in 2003 in the feature film Pride and Prejudice: A Latter-Day Comedy as Charlotte Lucas. In 2004, <mask> released an EP by R3 Records, <mask>. Rasmusen also appeared in

masks: Carmen Carmen Rasmusen Carmen Carmen


texts:
 a three episode series of NBC's Fear Factor, aired on June 13, 2006 - June 27, 2006. In the first episode, she was teamed with Anthony Fedorov, and won the first challenge involving a demolition derby, ultimately winning a trip to Africa. She finished in second place. In June 2006, <mask> played a news reporter in commercials for Maverik, a convenience store in the western USA. Other projects
In the fall of 2007, <mask>'s first book was released.Staying in Tune discusses how she's been able to uphold her values while involved with the entertainment industry. Personal life
On December 15, 2005, <mask> married Bradley Herbert, the son of former Utah Governor Gary R. Herbert in Bountiful, Utah. In December 2008, she gave birth to a son named Boston. Her second son, Beckham, was born on October 26, 2010. <mask> currently writes an entertainment column for the Deseret News. Discography

Studio albums

Singles

Music videos

Filmography
Pride & Prejudice: A Latter-Day Comedy (2003), as Charlotte Lucas
Down and Derby (2005), as Marilyn

Awards and nominations

References

External links
Lofton Creek Records

1985 births
Living people
Canadian people of Norwegian descent
Canadian Latter Day Saints
Canadian emigrants to the United States
Brigham Young University alumni
Deseret News people
Actresses from Edmonton
American Idol participants
Canadian television actresses
Canadian child singers
Canadian country singer-songwriters
Musicians from Edmonton
Lofton Creek Records artists
21st-century Canadian actresses
American columnists
American women columnists
21st-century Canadian women singers
21st-century American

masks: Carmen Carmen Carmen Carmen


texts:
<mask> (born 21 September 1957) is a Russian operatic soprano. Her son <mask> (1980) – pianist, conductor, composer. Biography

For the first nineteen years of her life, <mask> lived in Petrozavodsk (Republic of Karelia, Russia). To begin with, she graduated as a pianist from the Petrozavodsk School of Music, and then completed a Dual Degree, studying theory and singing (the latter with Z.I. Larkina) – achieving distinction in both disciplines – at the K.E. Rautio Music College. In 1983 she graduated from the Saint Petersburg Conservatory (vocal class of E.A.Abrosimova) as a spinto soprano. During her studies at the conservatoire, <mask> performed the role of Violetta ("La Traviata") at the Conservatoire Opera Studio. She was the winner of the Second Prize at the Villa-Lobos Competition in Rio de Janeiro in 1983, as well as receiving the Fourth Prize in the International Tchaikovsky Competition in 1986. She began her operatic career in earnest in 1984, performing a number of leading roles as part of the Mikhaylovsky Theatre (formerly the Maly Opera Theatre) in St. Petersburg. After competing in the Tchaikovsky Competition she was invited to join the Bolshoi Theatre company where, starting in January 1987, she became one of its leading sopranos, as well as performing in many renowned concert halls in Moscow and St. Petersburg. She made numerous radio and State Television appearances. Between 1987 and 1993, <mask> was the Prima Donna of choice for a wide variety of roles, including those of Maria (Tchaikovsky's "Mazeppa", dir.S.F. Bondarchuk) and Amelia (Verdi's "Un Ballo in Maschera", dir. S.A. Stein) in 1987; Elisabeth of Valois

masks:
Nina Rautio
Jan Karl Rautio
Nina Rautio
Nina
Nina Rautio


texts: (Verdi's "Don Carlos", dir. I.M. Tumanov) and Santuzza (Mascagni's "Cavalleria Rusticana", dir. S.A. Stein) in 1988; Tatyana (Tchaikovsky's "Eugene Onegin", dir. B.A.Pokrovsky) and Lisa (Tchaikovsky's "The Queen of Spades", dir. Baratov) in 1989; Oksana (Rimsky-Korsakov's "Christmas Eve", dir. A.B. Tittel) in 1990; and Joan (Tchaikovsky's "Maid of Orleans", dir. B.A. Pokrovsky) in 1992 and 1993, as well as many others. One of the directors of the Bolshoi company, V.G.Milkov, offered this appraisal of <mask>'s talent: "She wields a voice possessed of the most radiant timbre, imbued with a wide palette of shades and hues, all underpinned by an acting ability of great resolve and persuasion". Renowned Russian music critic A.E. Hripin noted that "any classification of this soprano can only be tentative and provisional, for she combines all the colours and sounds feasible for a female voice, from the velvety contralto timbre of the lower register to the brilliant coloratura at the high end of her diapason. Her vocal range  is unique – from Es3 to Es6. The lower, "chest" register envelops the ear, it's dense and resonant. The top is remarkable for its clear, silvery penetration. She combines tremendous virtuosity with incredible power..." ("SK", 06/10/1990).At the end of the 1980s <mask> collaborated with M.V. Yurovsky's "Forum" theatre on a revival of Bortniansky's opera "Quinto Fabio", culminating in her taking on the role of priestess Fausta in the first ever performances of the opera in Russia (1990). She first sang in the West in 1991 when she travelled to the Metropolitan Opera, New York, and the Edinburgh festival with the

masks:
Nina Rautio
Nina Rautio


texts: Bolshoi Company. She was immediately acclaimed as an artist of exceptional talent and invited by the La Scala Theatre to act as an understudy for the title role of Puccini's "Manon Lescaut" in February 1992. After only a few rehearsals, the conductor, Lorin Maazel, promoted her to the premiere cast, as well as inviting her to record the role with Sony Classical. The performances and the recording met with tremendous acclaim, and this turn of events served as the catalyst that established the young soprano's reputation on the international stage. Later the same year, again at La Scala, <mask> took on the role of Elisabeth of Valois in Verdi's "Don Carlos" (under the baton of Riccardo Muti), and sang the soprano solo in Janáček's "Glagolitic Mass" under Riccardo Chailly.After the successful La Scala debut, <mask> began a long and fruitful creative partnership with some of the most celebrated conductors of recent times, including Lorin Maazel (with whom she toured across Europe, together with the Pittsburgh Symphony Orchestra, throughout 1992, including the World Exposition in Seville) and Riccardo Chailly (the latter having invited her to perform as a soloist with the Royal Concertgebouw Orchestra). <mask> was held in very high regard by Luciano Pavarotti, who performed with her in numerous productions in the 1990s, including "Don Carlos", "Un Ballo in Maschera", "Manon Lescaut", "Andrea Chenier", Verdi's Requiem Mass, amongst others. In the early 1990s <mask> relocated to London and has since performed across the world. She made many critically acclaimed appearances on the stage of the Royal Opera House, London, as Amelia ("Un

masks:
Nina Rautio
Nina
Nina Rautio
Nina


texts: Ballo in maschera"),  as the eponymous heroine in "Aida", Desdemona in "Othello" (all under Daniele Gatti), as well as Abigaille in Verdi's "Nabucco"; performed "Aida" with Daniel Oren at the Teatro dell'Opera di Roma; took on the title roles in "Tosca" and "Aida" for the New York Metropolitan Opera productions; sang the role of Lisa in Opera Bastille's production of "The Queen of Spades" (dir. A.S. Konchalovsky); appeared as Aida and performed the soprano solo part in Verdi's "Requiem", with Zubin Mehta conducting the Israel Philharmonic Orchestra; as Lisa ("The Queen of Spades") and Manon Lescaut at the Wiener Staatsoper, conducted by Lorin Maazel; as Desdemona in Verdi's "Othello" (Teatro Comunale, Florence); as Leonora in Verdi's "La Forza del destino", Aida and Amelia in "Simone Boccanegra", all for the productions at the Berlin State OperaHouse, Berlin; as Aida in Arena di Verona; and many others. Nina Rautio has performed over twenty leading operatic roles, which included Lady Macbeth ("Macbeth", Verdi); Leonora ("Il Trovatore", Verdi); Mathilde ("William Tell", Rossini); Donna Anna ("Don Giovanni", Mozart). Nina made numerous appearances at the Savonlinna Opera Festival in Finland, reprising the role of Aida, as well as starring as a soloist in gala performances.She participated in the Choregies d'Orange, France, as Desdemona ("Othello), and in the Salzburg Festival, singing the soprano solo in Mahler's Second Symphony – on both occasions the conductor was Lorin Maazel. Back in Russia, <mask> has been involved in a number of projects, such as the "Golden Voices of the Opera" festival in Moscow; the "Stars of the Operatic


texts:
 Stage" concerts, Moscow; the International M.D. Mikhailov Opera Festival in Chebokhsary; the "Aliabyevskaya Musikalnaya Osen" festival, amongst a number of others. As a recitalist/solo soprano, <mask> has a wide-ranging repertoire which includes works by composers such as Beethoven, Mahler, Tchaikovsky, Rachmaninov, Poulenc, Tippett, Stravinsky, G.V. Sviridov, etc. In 1990, in a concert celebrating the 75th birthday of a renowned Russian composer Sviridov, <mask> performed his entire "Cast-off Russia"  lieder cycle (words by Sergei Yesenin), accompanied by E.P. Savelyeva on the piano.In 2002–2003, in the role of Artistic Director of the Musical Theatre of Karelia, <mask> directed their production of Mascagni's "Cavalleria rusticana", as well as taking on the part of Santuzza. In 2003 the government of the Karelian Republic invited her to become the Cultural Affairs Advisor to the president of the republic. She taught vocal studies at the Popov Academy of Choral Art in Moscow. <mask> currently resides in the United Kingdom, London. She is a dedicated teacher, preparing ambitious, promising young students for the demands of the operatic stage. Tchaikovsky's "The Maid of Orleans" (Russian version)
 Debut in Metropolitan Opera (Russian version)
Agency Artistique
 Сольный концерт Нины Раутио на сцене Большого зала консерватории в рамках фестиваля 'Золотые голоса мира в Москве'
 Официальный портал органов государственной власти Республики Карелия

1957 births
Living people
Russian operatic sopranos
Saint Petersburg Conservatory alumni
People from Petrozavodsk
20th-century Russian women opera  singers
21st-century Russian women opera

masks:
Nina
Nina
Nina Rautio
Nina Rautio


texts:
Judy Kay "<mask>" <mask> (born February 18, 1952) is an American pop and country singer, songwriter, and musician. To date, <mask> has received five Grammy Award nominations in the Pop and Country Best Female Vocalist categorieswinning once in 1983as well as an ACM Award for Top New Female Artist and two Billboard Female Album Artist of the Year awards (won consecutively). <mask>'s other awards include a People's Choice Award for "Best Female Vocalist" and the Australian Music Media's "Number One International Country Artist." <mask> has several Gold and Platinum records to her credit, including Juice, Quiet Lies and her first Greatest Hits album. During the 1980s, she charted 14 Top-10 hits across the Billboard Country, AC, and Billboard Hot 100 charts, with many of the recordings achieving crossover success and six of the songs hitting the No. 1 position. Early years
<mask> was born in Lakehurst, New Jersey, and graduated from First Colonial High School in Virginia Beach, Virginia.Her mother encouraged her interest in music, giving <mask> a guitar for her 13th birthday. After high school graduation, <mask> attended Foothill College in Los Altos Hills, California, where she also performed folk music in some local coffeehouses. She then formed a folk-rock band with guitarist and songwriter Otha Young, and toured bars in Northern California with her band. Early music career
In the early 1970s, <mask>, Otha Young and Tom Kealey formed a band that would eventually be called Juice Newton & Silver Spur, which was signed to RCA Records. The group released two albums for RCA,

masks: Juice Newton Newton Newton Newton Newton Newton Newton Newton


texts: in 1975 and 1976, but scored only one charting country single with "Love Is a Word." The band was dropped by RCA, then joined Capitol Records in 1977. The band disbanded shortly after releasing just one more album.In late 1977, <mask> went solo, continuing to record for Capitol, and until 1982 Silver Spur remained the name of her backing band. <mask> also sang backing vocals for three tracks on Bob Welch's platinum solo debut album, including his hit "Ebony Eyes". Near the end of 1977, "It's a Heartache" became <mask>'s first solo record and a major hit in Mexico, where it was eventually certified Gold, and 1978, she released it in the United States. “It’s a Heartache”  became the first of what would eventually be her 11 "Hot 100" pop hits. Also in 1978, The Carpenters' version of the <mask>-penned song "Sweet, Sweet Smile" reached the Top 10 on both the Country and Adult Contemporary charts, and #44 on the Billboard Hot 100 chart. 1978 was notably also when <mask> legally changed her name from "Judy Kay <mask>" to "<mask> <mask>." ("Juice" having been her nickname until then.)<mask>'s solo debut album Well Kept Secret was released later in 1978. Neither Well Kept Secret nor its sole single "Hey Baby" charted, but Capitol Records did renew <mask>'s contract. In 1979 Capitol's investment in <mask> began to pay off as <mask> had her first Top-40 Country hit with "Let's Keep It That Way" (another one-off single). Later that year, the album Take Heart featured five modestly-charting singles: "Until Tonight", "Any Way That You Want Me", "You Fill My Life", "Lay Back In The

masks:
Newton
Newton
Newton
Newton Young
Newton
Newton
Juice
Newton
Newton
Newton
Newton
Newton


texts:
 Arms of Someone", and "Sunshine". In 1980, "Sunshine" became <mask>'s second top-40 country chart single, "You Fill My Life" reached No. 41, and "Until Tonight" was No. 42.Both of <mask>'s initial solo efforts performed with modest success but failed to have lasting impacts on the album charts. Early 1980s pop music success
In 1981, <mask>'s third solo album, simply titled Juice, was released. It spawned three consecutive Top-10 pop hits, namely "Angel of the Morning" (written by Chip Taylor), "Queen of Hearts", and an updated version of "The Sweetest Thing (I've Ever Known)" (the original version had appeared on the Silver Spur debut album) earned <mask> the first of several No. 1 Country chart singles. A fourth single "Ride 'Em Cowboy" from Juice was released in 1984 to support <mask>'s first Greatest Hits album, reaching  the Billboard Country Top 40 chart. In 1981, <mask>'s video for "Angel of the Morning" was the first country-music video to air on MTV, and the 40th video to air on the channel overall. <mask> was the third female solo artist to be featured on MTV's first air date (after videos by Pat Benatar and Carly Simon).Juice sold more than a million copies in the United States and went Triple-Platinum (300,000 copies) in Canada. "Angel of the Morning" and "The Sweetest Thing (I've Ever Known)" each reached #1 on the Billboard Adult Contemporary chart, where <mask> would chart regularly for the next several years. In 1982, <mask> received two Grammy nominations for Best Female Vocalist: one for "Angel of the Morning" in the Pop category, and another for "Queen

masks: Newton Newton Newton Newton Newton Newton Newton Newton Newton


texts: of Hearts" in Country. These two singles became her biggest sellers in the United States, each earning an RIAA Gold certification. (Note: in 1981 and 1982, when these singles were certified, the RIAA standard for Gold singles was "more than 1 million copies sold"; in 1989, RIAA lowered the standard to 500,000 for Gold single certifications.) The songs were also sizable hits in Canada, Australia, Germany, the Netherlands, and other countries. For example, "Angel of the Morning" peaked at No.1 in Canada and No. 43 in the UK Singles Chart in 1981. While "The Sweetest Thing (I've Ever Known)" did not receive a U.S. certification, the song's popularity propelled album sales from Gold to Platinum, and the recording remained in the Top 40 (of the Hot 100) for 18 weeks. "Shot Full Of Love" was released as a single in the UK, but failed to chart. In the spring of 1982 <mask> released her fourth solo album, Quiet Lies, which sold 900,000 copies in the United States. The album went platinum in Canada (100,000 copies). From Quiet Lies came the Top 10 Pop and Adult Contemporary hit "Love's Been a Little Bit Hard on Me" (which garnered her another Pop Female Vocalist Grammy nomination)."Break It to Me Gently" was the second single and hit #1 on the Billboard Adult Contemporary chart, #2 on the Billboard Country chart, as well as #9 in Cash Box and #11 on the Billboard Hot 100. The recording, a contemporary remake of a Brenda Lee hit from the 1960s, won <mask> her first Grammy Award for Best Female Country Vocal Performance, beating out contemporaries Dolly Parton, Rosanne Cash,

masks: Newton Newton