Rosa Ponselle
Juan Carlos Radzinschi
I would like to hear opinions about Rosa Ponselle. I didn't see
any postings about her career even though she sang with Enrico Caruso,
Giovanni Martinelli, Ezio Pinza, Beniamino Gigli among others. Something
wrong with her?
--
Juan Carlos Radzinschi
Desde Baltimore.
"Every private citizen has a public responsability"
Musipro
Hi all:
I would like to hear opinions about Rosa Ponselle. I didn't see
any postings about her career even though she sang with Enrico Caruso,
Giovanni Martinelli, Ezio Pinza, Beniamino Gigli among others. Something
wrong with her?
--On the contrary, I and many others agree with Rupert Christiansen, who
in _Prima Donna_ calls Ponselle "one of the very greatest names...in the
history of Italian singing." He goes on to say: "The fullness of
Ponselle's natural endowment--on opulent timbre, seamlessly even
throughout its range, surprisingly flexible in coloratura--[is] matched to
a deep musicality....Like Caruso's or Schumann-Heink's, Ponselle's tone
*floats*--it never sounds pushed. It is like a liquid that does not
freeze or congeal or evaporate." I have to admit I agree with this
rapturous assessment. Her instinctive greatness in the Italian repertoire
is all the more surprising considering her background: born in
Connecticut, she came to singing through vaudeville, and met Caruso
through a New York voice teacher; it was Caruso who got her the Met
audition and Caruso who sang with her in her stage debut in La Forza del
Destino. One reason for there not being as much literature on her as some
others, perhaps, is that her career mainly centered around the one house
in America, the Met, where she was based from her debut in 1918 to her
retirement in 1937. Unfortunately, her prime years were during the
Depression, which means that not enough recordings were preserved of her
art: however, superb souvenirs remain of excerpts from Norma, La Forza,
La Vestale, and Aida, among others. She is considered one of the great
Normas of the twentieth century, and her early retirement--caused by
unfavorable reactions to her Carmen, and difficulties with Met
management--robbed the public of a good many years of great singing. Any
other opinions?
mikri...@interramp.com
In Article<315F12...@mail.bcpl.lib.md.us>, <aval...@mail.bcpl.lib.md.us>
writes:
> Hi all:
> I would like to hear opinions about Rosa Ponselle. I didn't see
> any postings about her career even though she sang with Enrico Caruso,
> Giovanni Martinelli, Ezio Pinza, Beniamino Gigli among others. Something
> wrong with her?
Many things wrong with her. She retired a couple of decades too soon. She had
the greatest soprano voice (overall assessment) on recording and shames almost
all her competition. She was inadequately recorded in quality and quantity.
Listen to almost anything she did record or that was captured from broadcast
to learn what great singing is (was) about. The Traviata from her last season
of opera has faults - transposition most prominently - but it ranks number two
on my list of performances of the role. (Number one is an unavailable acoustic
set from La Scala.) Yes, I prefer her to Callas.
Is a complete opera too much in that sound quality. Okay, try the "La Vestale"
arias. When she sang it in Italy, an encore was demanded by the audience. The
conductor was adamant until a cry came from the audience: When shall we hear
such singing again. The encore was provided.
Or try one of the versions of Ernani, involami. Here's a big, dramatic voice
with the range needed for the aria. And the flexibility, phrasing and trill
that challenge 'coloratura' sopranos in the cabaletta. There's one phrase that
sends chills down my spine every time I hear it.
With the probable exception of Lili Lehmann (whose recordings are far fewer,
far poorer, and from far later in her career), there simply was no other
soprano with Ponselle's abilities. As with Caruso, Ponselle stands apart from
the crowd of great singers. Ah, to have been at the Met for their first Forza
..
Mike
Sten4PGD
Listen to ANYTHING she recorded - including so-called popular songs - and
you'll see what's missing today.
Mark Stenroos
dtri...@bway.net
the western hemisphere. With all the recording problems of her era
(1918-1937 ... and a curtain call made in the '50's) the greatness of this
voice dwarfs all competition.
dft
Bob Jones
<aval...@mail.bcpl.lib.md.us> wrote:
> Hi all:
> I would like to hear opinions about Rosa Ponselle. I didn't see
> any postings about her career even though she sang with Enrico Caruso,
> Giovanni Martinelli, Ezio Pinza, Beniamino Gigli among others. Something
> wrong with her?
> --
> Juan Carlos Radzinschi
> Desde Baltimore.
> "Every private citizen has a public responsability"
There seem no two opinions, and that's appropriate. Geraldine Farrar said
something about leaving Caruso and Ponselle beyond all considerations when
discussing singers. Although her public career ended early, there are
dozens of other selections available, many which she sent as Christmas
gifts to friends, many taped privately at her home at Villa Pace, and some
of the latest, in the 1960's, and even 70's, still remarkable in many
ways. RCA Victor produced two 10" lp albums in about 1950, with wonderful
things (try Tod und das Mädchen). In addition to the live Traviata from
the Met, there are several Carmens, and a extdned excerpt from Don
Giovanni. Others were broadcast (Norma, Africaine) but seem not to have
survived in sound.
Bob Jones
--
Lightfoot Lad
"by brooks too broad for leaping"
email: us01...@interramp.com
Karen Mercedes
Nellie Melba, Mary Garden, Louise Homer, Alma Gluck, Frances Alda, Ellen
Beach Yaw, Clara Butt, Emmy Destinn, Frieda Hempel, Emma Eames, etc. etc.
etc. They've all been dead a long time, so people tend to focus on
singers who are/were active more recently.
Karen Mercedes
=====
Lisa R. Hirsch
>There seem no two opinions, and that's appropriate. Geraldine Farrar said
>something about leaving Caruso and Ponselle beyond all considerations when
>discussing singers. Although her public career ended early, there are
>dozens of other selections available, many which she sent as Christmas
>gifts to friends, many taped privately at her home at Villa Pace, and some
>of the latest, in the 1960's, and even 70's, still remarkable in many
>ways. RCA Victor produced two 10" lp albums in about 1950, with wonderful
>things (try Tod und das Mädchen). In addition to the live Traviata from
>the Met, there are several Carmens, and a extdned excerpt from Don
>Giovanni. Others were broadcast (Norma, Africaine) but seem not to have
>survived in sound.
>Bob Jones
There is one other opinion I have heard about Ponselle. Michael
Scott, in "The Record of Singing," finds little or nothing good to say
about her. He says, among other things, that her vocal production was
strange (he doesn't like the method he presumes she uses to get that
dark, velvety tone) and that she's best in music that is emotionally
simple. I wish I could remember the rest of his comments on her,
which I found somewhat shocking. (His opinion on Muzio made me want
to burn the book right there in Tower Records.)
Of this opinion, I note first that he is speaking exclusively of her
acoustic era studio recordings, when she was a very young and
inexperienced singer, and second, that the only soprano he seems to
like unreservedly is Florence Easton.
-- Lisa
Bob Jones
> us01...@interramp.com (Bob Jones) wrote:
>
>
> >There seem no two opinions, and that's appropriate.
> There is one other opinion I have heard about Ponselle. Michael
> Scott, in "The Record of Singing," finds little or nothing good to say
> about her....
> the only soprano he seems to
> like unreservedly is Florence Easton.
>
> -- Lisa
Perhaps this says more about Michael Scott than about Ponselle (or, for
that matter, Florence Easton).
Best,
Hans C Hoff
>
> In Article<315F12...@mail.bcpl.lib.md.us>, <aval...@mail.bcpl.lib.md.us>
> writes:
>
> > I would like to hear opinions about Rosa Ponselle. I didn't see
> > any postings about her career even though she sang with Enrico Caruso,
> > Giovanni Martinelli, Ezio Pinza, Beniamino Gigli among others. Something
> > wrong with her?
>
> the greatest soprano voice (overall assessment) on recording and shames almost
> all her competition. She was inadequately recorded in quality and quantity.
>
> Listen to almost anything she did record or that was captured from broadcast
> to learn what great singing is (was) about. The Traviata from her last season
> of opera has faults - transposition most prominently - but it ranks number two
> on my list of performances of the role. (Number one is an unavailable acoustic
> set from La Scala.) Yes, I prefer her to Callas.
>
> Is a complete opera too much in that sound quality. Okay, try the "La Vestale"
> arias. When she sang it in Italy, an encore was demanded by the audience. The
> conductor was adamant until a cry came from the audience: When shall we hear
> such singing again. The encore was provided.
>
> Or try one of the versions of Ernani, involami. Here's a big, dramatic voice
> with the range needed for the aria. And the flexibility, phrasing and trill
> that challenge 'coloratura' sopranos in the cabaletta. There's one phrase that
> sends chills down my spine every time I hear it.
>
> With the probable exception of Lili Lehmann (whose recordings are far fewer,
> far poorer, and from far later in her career), there simply was no other
> soprano with Ponselle's abilities. As with Caruso, Ponselle stands apart from
> the crowd of great singers. Ah, to have been at the Met for their first Forza
>
> Mike
The story goes that Lotte Lehmann once asked Geraldine Farrar how Ponselle had
acquired such a wonder of a voice. Farrars answer was: 'Special agreement with
God'.
Such a testimony from two singers of this calibre surely confirms your asessment !
HCH
Juan Carlos Radzinschi
> The same thing that's wrong with Luisa Tetrazzini, Amelita Galli-Curci,
> Nellie Melba, Mary Garden, Louise Homer, Alma Gluck, Frances Alda, Ellen
> Beach Yaw, Clara Butt, Emmy Destinn, Frieda Hempel, Emma Eames, etc. etc.
> etc. They've all been dead a long time, so people tend to focus on
> singers who are/were active more recently.
>
> Karen Mercedes
>
Then Karen what you are telling me is that people don't pay any attention
to Leonardo Da Vinci beacuse he is been dead for a long time??
I believe that if you are a voracious learner, you want to know
everything about the field you are in. Folks in this newsgroup talked a
lot-and still talking- about Franco Corelli, Gigli, Gedda, Ruffo etc,
none of them sings anymore-unless you can hear the sound of heaven
:-)-but they where so gooooooooooodddddd that on the contrary, you tend
to listen to them on and on and on.
Sincerily,
Juan Carlos Radzinschi
Elizabeth Endsley
> On Sun, 31 Mar 1996, Juan Carlos Radzinschi wrote:
>
> > I would like to hear opinions about Rosa Ponselle. I didn't see
> > any postings about her career even though she sang with Enrico Caruso,
> > Giovanni Martinelli, Ezio Pinza, Beniamino Gigli among others. Something
> > wrong with her?
> > Juan Carlos Radzinschi
> > Desde Baltimore.
> > "Every private citizen has a public responsability"
I read that Maria Callas would have gone down on her knees before
Ponselle. She worshipped her and considered her the greatest. A most
appropriate insight. I have heard many, many singers live and many, many
more on record. Ponselle is IMHO the greatest soprano. She is the finest
Norma I have ever heard (sadly only exerpts - I would *kill* for a
complete recording of her Norma). She is the most moving Traviata I have
heard. If I were to teach singing, the first required singer to listen to
would be Ponselle. Her singing moves me to tears - and that's the highest
personal compliment I can pay any singer.
Elizabeth
Lisa R. Hirsch
>In article <4k5648$p...@nkosi.well.com>, sun...@well.com (Lisa R. Hirsch) wrote:
>> us01...@interramp.com (Bob Jones) wrote:
>>
>>
>> >There seem no two opinions, and that's appropriate.
>> There is one other opinion I have heard about Ponselle. Michael
>> Scott, in "The Record of Singing," finds little or nothing good to say
>> about her....
>> the only soprano he seems to
>> like unreservedly is Florence Easton.
>>
>> -- Lisa
>Perhaps this says more about Michael Scott than about Ponselle (or, for
>that matter, Florence Easton).
>Best,
>Bob Jones
Yup!
My one personal caveat about Ponselle is that her Carmen is, well,
terrible. I would not have thought the character could sound quite so
graceless, charmless and coarse, but Ponselle did it.
-- Lisa
mikri...@interramp.com
In Article<eendsley-060...@ip214.pom.primenet.com>,
<eend...@primenet.com> writes:
> I read that Maria Callas would have gone down on her knees before
> Ponselle. She worshipped her and considered her the greatest. A most
> appropriate insight. I have heard many, many singers live and many, many
> more on record. Ponselle is IMHO the greatest soprano. She is the finest
> Norma I have ever heard (sadly only exerpts - I would *kill* for a
> complete recording of her Norma). She is the most moving Traviata I have
> heard. If I were to teach singing, the first required singer to listen to
> would be Ponselle. Her singing moves me to tears - and that's the highest
> personal compliment I can pay any singer.
>
> Elizabeth
Interestingly, Ponselle herself hunted for a copy of one of her Norma's (I
believe that two were broadcast) without success. Apparently, she was less
critical of 'pirate' recordings than many other artists then and now.
Mike
Musipro
My one personal caveat about Ponselle is that her Carmen is, well,
terrible. I would not have thought the character could sound quite so
graceless, charmless and coarse, but Ponselle did it.
--In fact, it was heavy criticism of her Carmen, about which many critics
agreed with the opinion given above, that was a contributing factor in
Ponselle's premature retirement in 1937; that along with the fact that the
new Met management would not give her a production of _Adriana Lecouvreur_
even though she offered to forego her fee for some of the performances. A
sad end to a great career...
lbf6208
: Interestingly, Ponselle herself hunted for a copy of one of her Norma's (I
: believe that two were broadcast) without success. Apparently, she was less
: critical of 'pirate' recordings than many other artists then and now.
I wonder if there's a copy at the NYPL's Rodgers and Hammerstein
Archive. Surely someone has checked there already?
--
Linda B. Fairtile
New York University
lbf...@is.nyu.edu
dtri...@bway.net
The voice was fully mature from the November 1918 debut as the "Forza"
Leonora at the Met. Florence Easton, from the evidence of records, was
not a bad singer. To mention her in the same breath as Ponselle is yje
far side of ridiculous.
dft
dtri...@bway.net
Lisa R. Hirsch
>I read that Maria Callas would have gone down on her knees before
>Ponselle. She worshipped her and considered her the greatest. A most
>appropriate insight. I have heard many, many singers live and many, many
>more on record. Ponselle is IMHO the greatest soprano. She is the finest
>Norma I have ever heard (sadly only exerpts - I would *kill* for a
>complete recording of her Norma). She is the most moving Traviata I have
>heard. If I were to teach singing, the first required singer to listen to
>would be Ponselle. Her singing moves me to tears - and that's the highest
>personal compliment I can pay any singer.
>Elizabeth
Sigh. Everybody would kill for the complete Ponselle "Norma."
Doesn't look as though it will show up, though - isn't it known that
any existing acetates were destroyed in the 1930s?
(Another Callas favorite was Claudia Muzio; perhaps I should start a
thread on her at some point. I find her a more moving singer than
Ponselle, though far less perfect.)
-- Lisa
Will Ryan
I seem to remember reading an article about Madam Ponselle, written
quite a few years ago, before her death. If I'm not mistaken, she
attened Curtis in Philadelphia, and had originally planned a career as a
mezzo. Her audition at the Met, however, was so good along the entire
mezzo and soprano range, that she was brought on board as a soprano.
This great range may explain some of the glory and strangeness of her
voice.
If I'm all wet about this, be kind. I'm trying to recall something I
read on a plane high above the grandure of Cleveland.
Will
mikri...@interramp.com
I will certainly try to be kind to one who refers to us as his friends - but
I'm afraid you are mistaken.
The Ponzillo Sisters were a vaudeville act; they had been born in Chicago, I
believe. Caruso was taken to see Rosa (probably without Carmela, who was a
competent mezzo but hardly remarkable) when she was 18. He said something of
the order of 'you will sing with me' - and left her in the hands of a good
teacher for a year. At which time, she made her debut, having seen only one
opera until that time. (Hard to believe that she studied for a year and never
got to the theatre, but that's the tale.) That debut was in the Met's first
Forza ever - opposite Caruso and Scotti.
And she had stage fright from then on. For that performance, terror would have
been appropriate. But having survived it, no other night could give her a
moment's trepidation unless there were a basic psychologic problem.
Mike
Juan Carlos Radzinschi
>
>
> The Ponzillo Sisters were a vaudeville act; they had been born in Chicago, I
> believe.
NO, they had been born in Meriden, Connecticut
Caruso was taken to see Rosa (probably without Carmela, who was a
> competent mezzo but hardly remarkable) when she was 18. He said something of
> the order of 'you will sing with me' - and left her in the hands of a good
> teacher for a year.
Nino Romani,was the teacher. At her first formal audition at the MET were
present: Caruso, Giovanni Martinelli, Frieda Hempel, Margarete
Matzenauer, Adamo Didur, and Pasquale Amato. She sang with her sister
Carmela. Gatti-Casazza-the Met General Manager wasn't sure she would do
all right as Leonora but Caruso told him"I know what you are thinking,
but I know she will do all right.I'm willing to take full responsability
for her".
Juan Carlos Radzinschi
Lisa R. Hirsch
>I seem to remember reading an article about Madam Ponselle, written
>quite a few years ago, before her death. If I'm not mistaken, she
>attened Curtis in Philadelphia, and had originally planned a career as a
>mezzo. Her audition at the Met, however, was so good along the entire
>mezzo and soprano range, that she was brought on board as a soprano.
>This great range may explain some of the glory and strangeness of her
>voice.
>Will
I've got Nigel Davis's "Legendary Voices" around, and I looked up
Ponselle's NY Times obit the other day, apropos of this discussion.
No mention in either place of her attending Curtis; a previous
contributor to r-m-o said she had a year of lessons after Caruso heard
her, which sounds more likely to me. (Nothing about her going to
Curtis in Rupert whatshisname's "Prima Donna," either.
The obit mentioned that Ponselle only sang 22 roles in her career, a
remarkably small number for a singer of her talents. She never sang
Tosca or Butterfly on stage, though she recorded the big arias; she
only sang Aida a couple of times on stage because of her stage fright
and more specific fear of the exposed high passages in "O Patria Mia."
(These last couple of facts from other reading, not the obit.) The
limited repertoire sounded odd until I remember the _other_ sopranos
who were singing at the Met in Ponselle's years: Muzio and Farrar
were still active when she started in 1918, at the age of 21; Jeritza
joined a bit later; Rethberg was there throughout the 20s and 30s;
Lehmann, Leider and Flagstad were all there for at least part of the
1930s; Galli-Curci and Lily Pons were active in the coloratura
repertoire; Florence Easton sang everything....well, even the world's
greatest soprano had some competition at the Met in those days.
-- Lisa
Michael Yampol
Didn't know that Rodgers and Hammerstein penned "Norma,", nor that they
were around in the 1830s. Hmmmm.
Michael Yampol
NYC
Robert Fazio
one hour was B'cast and from the time given, it would seem to be a
portion of Act II and Act III.
This has long been the "Holy Grail" among collectors, but it hasn't
surfaced as of yet. Neither Library of Congress or R&H Archives in New
York have it.
Rumor had it that David Marek had signed out the NBC Discs and never
returned them, but that has never been substantiated-at any rate, the
search continues.
In an issue of the magazine High Fidelity, many years ago, someone
wrote that they had heard portions of the Ponselle Norma-Ponselle
immediately called him to inquire, and he was forced to back down and say
that a friend of his had heard it, etc, but it was never substantiated.
Eduardo Gabarra
> > quite a few years ago, before her death. If I'm not mistaken, she
> > attened Curtis in Philadelphia, and had originally planned a career as a
> > mezzo. Her audition at the Met, however, was so good along the entire
> > mezzo and soprano range, that she was brought on board as a soprano.
> > This great range may explain some of the glory and strangeness of her
> > voice.
> I will certainly try to be kind to one who refers to us as his friends - but
> I'm afraid you are mistaken.
> mikri...@interramp.com writes:
> The Ponzillo Sisters were a vaudeville act; they had been born in Chicago, I
> believe. Caruso was taken to see Rosa (probably without Carmela, who was a
> competent mezzo but hardly remarkable) when she was 18. He said something of
> the order of 'you will sing with me' - and left her in the hands of a good
> teacher for a year. At which time, she made her debut, having seen only one
> opera until that time. (Hard to believe that she studied for a year and never
> got to the theatre, but that's the tale.) That debut was in the Met's first
> Forza ever - opposite Caruso and Scotti.
Hi, Mike
May I add a few details to your reply?
1. Both Ponzillo sisters (that was their real family name) were born in Meriden, Conecticut.
2. Rosa started her career at 14, singing and playing at a local motion picture house. Next
stop was Malone's Café in New Haven. Incidentally, the proprietor of Malone's took her to the
only opera performances she attended before she herself sang in opera: Butterfly and L'Amore
Dei Tre Re.The next time she entered the Met was for her onw audition.
3. Her only teacher, for about one year, was one William Thorner, who had been valet to
Jean de Rezske and later opened a successful vocal studio. In her case, he apparently acted
more as coach than as vocal teacher, inasmuch as her voice was naturally placed.
BTW, the guy who wrote a book saying she was a second-rate singer must be mad.
Eduardo Gabarra
lbf6208
: Didn't know that Rodgers and Hammerstein penned "Norma,", nor that they
: were around in the 1830s. Hmmmm.
I assume that you're joking. If you don't know about the Rodgers and
Hammerstein Archive of Recorded Sound, you're missing out on a great
resource.
Edward Givelberg
I admit to being ignorant and would be glad if you could say a few words
about the archive and how to access it.
Thank you,
Ed
lbf6208
: I admit to being ignorant and would be glad if you could say a few words
: about the archive and how to access it.
OK. The Rodgers and Hammerstein Archive of Recorded Sound is on the third
floor of the New York Public Library for the Performing Arts at Lincoln
Center. It houses a very nice collection of (among other things) 78 rpm
recordings from the Golden Age, Metropolitan Opera broadcasts from waaay
back, and tapes of Arturo Toscanini's NBC Symphony rehearsals and
performances. The collection does not circulate, but they have on-site
listening facilities. I used this archive when I was researching a paper
on historical performance styles in Verdi's operas, and I found plenty of
material.
mikri...@interramp.com
In Article<4knqtk$s...@raptor.centroin.com.br>, <eun...@centroin.com.br>
writes:
> Hi, Mike
Hi
>
> May I add a few details to your reply?
You may and I thank you for them.
>
> 1. Both Ponzillo sisters (that was their real family name) were born in
Meriden, Conecticut.
>
> 2. Rosa started her career at 14, singing and playing at a local motion
picture house. Next
> stop was Malone's Café in New Haven. Incidentally, the proprietor of
Malone's took her to the
> only opera performances she attended before she herself sang in opera:
Butterfly and L'Amore
> Dei Tre Re.The next time she entered the Met was for her onw audition.
>
> 3. Her only teacher, for about one year, was one William Thorner, who had
been valet to
> Jean de Rezske and later opened a successful vocal studio. In her case, he
apparently acted
> more as coach than as vocal teacher, inasmuch as her voice was naturally
placed.
>
> BTW, the guy who wrote a book saying she was a second-rate singer must
be mad.
Not necessarily. Deafness would explain it just as well. :-)
>
> Eduardo Gabarra
Mike
Lisa R. Hirsch
> Hi, Mike
> May I add a few details to your reply?
>1. Both Ponzillo sisters (that was their real family name) were born in Meriden, Conecticut.
>2. Rosa started her career at 14, singing and playing at a local motion picture house. Next
>stop was Malone's Café in New Haven. Incidentally, the proprietor of Malone's took her to the
>only opera performances she attended before she herself sang in opera: Butterfly and L'Amore
>Dei Tre Re.The next time she entered the Met was for her onw audition.
>3. Her only teacher, for about one year, was one William Thorner, who had been valet to
>Jean de Rezske and later opened a successful vocal studio. In her case, he apparently acted
>more as coach than as vocal teacher, inasmuch as her voice was naturally placed.
> BTW, the guy who wrote a book saying she was a second-rate singer must be mad.
> Eduardo Gabarra
Heh. Check out Michael Scott's "The Record of Singing." He has, um,
somewhat eccentric views of a number of singers. The two volumes
cover the 1890s through 1925 only, though with some singers whose
careers extend into the '30s but not beyond, he discusses their later
recorded work. The section on Ponselle will have you rolling your
eyes, the one on Muzio....well, he considers her overrated and
mannered and technically weak. Me, I can't hear anything he's talking
about and find Muzio the most expressive of singers.
I erred in an early posting, in naming the author of "Legendary
Voices:" Nigel _Douglas_, not Davis. Apologies.
-- Lisa
dtri...@bway.net
renowned record collector for years. The series went bust, largely on
the quality of singers he used [nil], and he has since writte
extensive and opinionated essays on singers. His taste runs from
questionable to non-existent. What he says on Ponselle deserved the
trash heap before reaching print. He may have a better handle on Muzio
who was a wonderful, though admittedly technically unsound, singer, but
he practices a lese majeste almost as a form of showing off, thereby
revealing his own crackpot notions more than anything else.
dft