Urban governance and sustainability are rapidly becoming key issues around the world. Currently three billion people - half the population of the planet - live in cities, and by 2050 a full two-thirds of the world's population will be housed in ever larger and increasingly densely populated urban areas. The economic, social and environmental challenges posed by urbanization on such a large scale and at such a rapid pace are staggering for local, regional and national governments working towards sustainability. Solutions to the myriad problems plaguing the quest for sustainability at the city-level are equally as diverse and complex, but are rooted in the assumptions of the 'sustainability agenda', developed at the Rio Earth Summit and embodied in Local Agenda/Action 21. These assumptions state that good governance is a necessary precondition for the achievement of sustainable development, particularly at the local level, and that the mobilization of local communities is an essential part of this process. Yet until now, these assumptions, which have guided the policies and programmes of over 6000 local authorities around the world, have never been seriously tested. Drawing on three years of field research in 40 European towns and cities, Governing for Sustainable Cities is the first book to examine empirically the processes of urban governance in sustainable development. Looking at a host of core issues including institutional and social capacity, institutional design, social equity, politics, partnerships and cooperation and creative policy-making, the authors draw compelling conclusions and offer strong guidance. This book is essential reading for policy-makers, politicians, activists and NGOs, planners, researchers and academics, whether in Europe, North America, Australasia or transitional and developing countries, concerned with advancing sustainability in our rapidly urbanizing world.
This book has been considered important throughout the human history, and so that this work is never forgotten we have made efforts in its preservation by republishing this book in a modern format for present and future generations. This whole book has been reformatted, retyped and designed. These books are not made of scanned copies of their original work and hence the text is clear and readable.
A biography of Edgar Evans, principal tenor at the Royal Opera House (1946–1975) and, later, a teacher at the Royal College of Music. This is an e-book version of a biography of Edgar Evans, principal tenor at the Royal Opera House (1946–1975) and, later, a teacher at the Royal College of Music. However, it is far more than a thorough, engaging and at times very amusing biography of an acclaimed performer at one of the world’s top opera houses in the 20th century. It is also an insightful account of what national and international artistic life was like at the time. Woven into the account of Edgar Evans’ life are fascinating anecdotes about famous people of the day set against a colourful local historical background. The stories are made all the more intriguing by the inclusion of copies of scanned documents and black and white photographs of performances and performers. What may interest you about the life of Edgar Evans Edgar Evans will be best remembered for creating the role of Hermann in Tchaikovsky’s The Queen of Spades at the Royal Opera House, Covent Garden. In all, he sang some forty-five roles (most of them major ones) at Covent Garden over a period that stretched from 1946 -when, as one of its three principal tenors, he became a founder member of the Covent Garden Opera Company – to his retirement in 1975. In that time, he sang more roles and gave more performances at the Opera House than any other artist. Subsequently, he conducted his share of masterclasses and adjudicated at singing competitions. Even in his later years he had a regular procession of singers all anxious to learn his secrets of vocal technique and his opinion of their vocal talents and abilities. On his retirement from Covent Garden, Edgar was invited – by Sir David Willcocks – to join the teaching staff at the Royal College of Music. For ten years he taught vocal technique there and many singers can pay tribute to his masterly teaching. He sang with leading singers and with leading orchestras, both in this country and on the Continent, and worked with leading conductors including Erich Kleiber, Karl Rankl, Sir Thomas Beecham, Sir John Barbirolli, Sir Malcolm Sargent, Sir Georg Solti, Otto Klemperer, Rudolf Kempe and Carlo Maria Giulini. Among those to whom he felt he owed a special debt of gratitude was Peter Gellhorn who, as a répétiteur and conductor at Covent Garden, taught Edgar the part of Hermann in The Queen of Spades in the remarkably short time of just fourteen hours. He sang the title role in Peter Grimes and Captain Vere in Billy Budd after Peter Pears had initally brought these characters to theatrical life. He sang Dmitri in Boris Godunov (in English under Clemens Krause and, later, in Russian – being taught the part by David Lloyd Jones and Oda Slobotskyia), Steva in Janacek’s Jenufa under Kubelik, the drum major in Alban Berg’s Wozzeck under Kleiber, Calaf in Turandot under Barbirolli, and many more roles. Barbirolli and Kleiber were among Edgar’s favourite conductors, closely followed by Kempe and Giulini. There are a few recordings of Edgar Evans’ performances. They and this book are a tangible legacy of a performer whose life and influence deserves the recognition of a wider audience.
In 1983, when Evans came up with the vision for the first-ever memorial on the National Mall to honor women who’d worn a military uniform, she wouldn’t be deterred. She remembered not only her sister veterans, but also the hundreds of young wounded men she had cared for, as she expressed during a Congressional hearing in Washington, D.C.: “Women didn’t have to enter military service, but we stepped up to serve believing we belonged with our brothers-in-arms and now we belong with them at the Vietnam Veterans Memorial. If they belong there, we belong there. We were there for them then. We mattered.” In the end, those wounded soldiers who had survived proved to be there for their sisters-in-arms, joining their fight for honor in Evans’ journey of combating unforeseen bureaucratic obstacles and facing mean-spirited opposition. Her impassioned story of serving in Vietnam is a crucial backstory to her fight to honor the women she served beside. She details the gritty and high-intensity experience of being a nurse in the midst of combat and becomes an unlikely hero who ultimately serves her country again as a formidable force in her daunting quest for honor and justice.
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