title: Peripheral Component Interconnect

text: If an address is not claimed by any device, the transaction initiator's address phase will time out causing the initiator to abort the operation. In case of reads, it is customary to supply all-ones for the read data value (0xFFFFFFFF) in this case. PCI devices therefore generally attempt to avoid using the all-ones value in important status registers, so that such an error can be easily detected by software.


title: Peripheral Component Interconnect

text: There are 16 possible 4-bit command codes, and 12 of them are assigned. With the exception of the unique dual address cycle, the least significant bit of the command code indicates whether the following data phases are a read (data sent from target to initiator) or a write (data sent from an initiator to target). PCI targets must examine the command code as well as the address and not respond to address phases which specify an unsupported command code.


title: Peripheral Component Interconnect

text: The commands that refer to cache lines depend on the PCI configuration space cache line size register being set up properly; they may not be used until that has been done.


title: Peripheral Component Interconnect

text: Soon after promulgation of the PCI specification, it was discovered that lengthy transactions by some devices, due to slow acknowledgments, long data bursts, or some combination, could cause buffer underrun or overrun in other devices. Recommendations on the timing of individual phases in Revision 2.0 were made mandatory in revision 2.1:


title: Peripheral Component Interconnect

text: Additionally, as of revision 2.1, all initiators capable of bursting more than two data phases must implement a programmable latency timer. The timer starts counting clock cycles when a transaction starts (initiator asserts FRAME#). If the timer has expired "and" the arbiter has removed GNT#, then the initiator must terminate the transaction at the next legal opportunity. This is usually the next data phase, but Memory Write and Invalidate transactions must continue to the end of the cache line.


title: Peripheral Component Interconnect

text: Devices unable to meet those timing restrictions must use a combination of posted writes (for memory writes) and delayed transactions (for other writes and all reads). In a delayed transaction, the target records the transaction (including the write data) internally and aborts (asserts STOP# rather than TRDY#) the first data phase. The initiator "must" retry exactly the same transaction later. In the interim, the target internally performs the transaction, and waits for the retried transaction. When the retried transaction is seen, the buffered result is delivered.


title: Peripheral Component Interconnect

text: A device may be the target of other transactions while completing one delayed transaction; it must remember the transaction type, address, byte selects and (if a write) data value, and only complete the correct transaction.


title: Peripheral Component Interconnect

text: If the target has a limit on the number of delayed transactions that it can record internally (simple targets may impose a limit of 1), it will force those transactions to retry without recording them. They will be dealt with when the current delayed transaction is completed. If two initiators attempt the same transaction, a delayed transaction begun by one may have its result delivered to the other; this is harmless.


title: Peripheral Component Interconnect

text: A target abandons a delayed transaction when a retry succeeds in delivering the buffered result, the bus is reset, or when 2=32768 clock cycles (approximately 1 ms) elapse without seeing a retry. The latter should never happen in normal operation, but it prevents a deadlock of the whole bus if one initiator is reset or malfunctions.


title: Peripheral Component Interconnect

text: The PCI standard permits multiple independent PCI buses to be connected by bus bridges that will forward operations on one bus to another when required. Although PCI tends not to use many bus bridges, PCI Express systems use many PCI-to-PCI bridge usually called "PCI Express Root Port"; each PCI Express slot appears to be a separate bus, connected by a bridge to the others. The PCI host bridge (usually northbridge in x86 platforms) interconnect between CPU, main memory and PCI bus.


title: Peripheral Component Interconnect

text: Generally, when a bus bridge sees a transaction on one bus that must be forwarded to the other, the original transaction must wait until the forwarded transaction completes before a result is ready. One notable exception occurs in the case of memory writes. Here, the bridge may record the write data internally (if it has room) and signal completion of the write before the forwarded write has completed. Or, indeed, before it has begun. Such "sent but not yet arrived" writes are referred to as "posted writes", by analogy with a postal mail message. Although they offer great opportunity for performance gains, the rules governing what is permissible are somewhat intricate.


title: Peripheral Component Interconnect

text: The PCI standard permits bus bridges to convert multiple bus transactions into one larger transaction under certain situations. This can improve the efficiency of the PCI bus.


title: Peripheral Component Interconnect

text: PCI bus transactions are controlled by five main control signals, two driven by the initiator of a transaction (FRAME# and IRDY#), and three driven by the target (DEVSEL#, TRDY#, and STOP#). There are two additional arbitration signals (REQ# and GNT#) which are used to obtain permission to initiate a transaction. All are active-low, meaning that the active or "asserted" state is a low voltage. Pull-up resistors on the motherboard ensure they will remain high (inactive or "deasserted") if not driven by any device, but the PCI bus does not depend on the resistors to "change" the signal level; all devices drive the signals high for one cycle before ceasing to drive the signals.


title: Peripheral Component Interconnect

text: All PCI bus signals are sampled on the rising edge of the clock. Signals nominally change on the falling edge of the clock, giving each PCI device approximately one half a clock cycle to decide how to respond to the signals it observed on the rising edge, and one half a clock cycle to transmit its response to the other device.


title: Peripheral Component Interconnect

text: The PCI bus requires that every time the device driving a PCI bus signal changes, one "turnaround cycle" must elapse between the time the one device stops driving the signal and the other device starts. Without this, there might be a period when both devices were driving the signal, which would interfere with bus operation.


title: Peripheral Component Interconnect

text: The combination of this turnaround cycle and the requirement to drive a control line high for one cycle before ceasing to drive it means that each of the main control lines must be high for a minimum of two cycles when changing owners. The PCI bus protocol is designed so this is rarely a limitation; only in a few special cases (notably fast back-to-back transactions) is it necessary to insert additional delay to meet this requirement.


title: Peripheral Component Interconnect

text: Any device on a PCI bus that is capable of acting as a bus master may initiate a transaction with any other device. To ensure that only one transaction is initiated at a time, each master must first wait for a bus grant signal, GNT#, from an arbiter located on the motherboard. Each device has a separate request line REQ# that requests the bus, but the arbiter may "park" the bus grant signal at any device if there are no current requests.


title: Peripheral Component Interconnect

text: The arbiter may remove GNT# at any time. A device which loses GNT# may complete its current transaction, but may not start one (by asserting FRAME#) unless it observes GNT# asserted the cycle before it begins.


title: Peripheral Component Interconnect

text: The arbiter may also provide GNT# at any time, including during another master's transaction. During a transaction, either FRAME# or IRDY# or both are asserted; when both are deasserted, the bus is idle. A device may initiate a transaction at any time that GNT# is asserted and the bus is idle.


title: Peripheral Component Interconnect

text: A PCI bus transaction begins with an "address phase". The initiator, seeing that it has GNT# and the bus is idle, drives the target address onto the AD[31:0] lines, the associated command (e.g. memory read, or I/O write) on the C/BE[3:0]# lines, and pulls FRAME# low.


title: Peripheral Component Interconnect

text: Each other device examines the address and command and decides whether to respond as the target by asserting DEVSEL#. A device must respond by asserting DEVSEL# within 3 cycles. Devices which promise to respond within 1 or 2 cycles are said to have "fast DEVSEL" or "medium DEVSEL", respectively. (Actually, the time to respond is 2.5 cycles, since PCI devices must transmit all signals half a cycle early so that they can be received three cycles later.)


title: Peripheral Component Interconnect

text: Note that a device must latch the address on the first cycle; the initiator is required to remove the address and command from the bus on the following cycle, even before receiving a DEVSEL# response. The additional time is available only for interpreting the address and command after it is captured.


title: Peripheral Component Interconnect

text: On the fifth cycle of the address phase (or earlier if all other devices have medium DEVSEL or faster), a catch-all "subtractive decoding" is allowed for some address ranges. This is commonly used by an ISA bus bridge for addresses within its range (24 bits for memory and 16 bits for I/O).


title: Peripheral Component Interconnect

text: On the sixth cycle, if there has been no response, the initiator may abort the transaction by deasserting FRAME#. This is known as "master abort termination" and it is customary for PCI bus bridges to return all-ones data (0xFFFFFFFF) in this case. PCI devices therefore are generally designed to avoid using the all-ones value in important status registers, so that such an error can be easily detected by software.


title: Peripheral Component Interconnect

text: On the rising edge of clock 0, the initiator observes FRAME# and IRDY# both high, and GNT# low, so it drives the address, command, and asserts FRAME# in time for the rising edge of clock 1. Targets latch the address and begin decoding it. They may respond with DEVSEL# in time for clock 2 (fast DEVSEL), 3 (medium) or 4 (slow). Subtractive decode devices, seeing no other response by clock 4, may respond on clock 5. If the master does not see a response by clock 5, it will terminate the transaction and remove FRAME# on clock 6.


title: Peripheral Component Interconnect

text: TRDY# and STOP# are deasserted (high) during the address phase. The initiator may assert IRDY# as soon as it is ready to transfer data, which could theoretically be as soon as clock 2.


title: Peripheral Component Interconnect

text: To allow 64-bit addressing, a master will present the address over two consecutive cycles. First, it sends the low-order address bits with a special "dual-cycle address" command on the C/BE[3:0]#. On the following cycle, it sends the high-order address bits and the actual command. Dual-address cycles are forbidden if the high-order address bits are zero, so devices which do not support 64-bit addressing can simply not respond to dual cycle commands.


title: Peripheral Component Interconnect

text: Addresses for PCI configuration space access are decoded specially. For these, the low-order address lines specify the offset of the desired PCI configuration register, and the high-order address lines are ignored. Instead, an additional address signal, the IDSEL input, must be high before a device may assert DEVSEL#. Each slot connects a different high-order address line to the IDSEL pin, and is selected using one-hot encoding on the upper address lines.


title: Peripheral Component Interconnect

text: After the address phase (specifically, beginning with the cycle that DEVSEL# goes low) comes a burst of one or more "data phases". In all cases, the initiator drives active-low byte select signals on the C/BE[3:0]# lines, but the data on the AD[31:0] may be driven by the initiator (in case of writes) or target (in case of reads).


title: Peripheral Component Interconnect

text: During data phases, the C/BE[3:0]# lines are interpreted as active-low "byte enables". In case of a write, the asserted signals indicate which of the four bytes on the AD bus are to be written to the addressed location. In the case of a read, they indicate which bytes the initiator is interested in. For reads, it is always legal to ignore the byte enable signals and simply return all 32 bits; cacheable memory resources are required to always return 32 valid bits. The byte enables are mainly useful for I/O space accesses where reads have side effects.


title: Peripheral Component Interconnect

text: A data phase with all four C/BE# lines deasserted is explicitly permitted by the PCI standard, and must have no effect on the target other than to advance the address in the burst access in progress.


title: Peripheral Component Interconnect

text: The data phase continues until both parties are ready to complete the transfer and continue to the next data phase. The initiator asserts IRDY# ("initiator ready") when it no longer needs to wait, while the target asserts TRDY# ("target ready"). Whichever side is providing the data must drive it on the AD bus before asserting its ready signal.


title: Peripheral Component Interconnect

text: Once one of the participants asserts its ready signal, it may not become un-ready or otherwise alter its control signals until the end of the data phase. The data recipient must latch the AD bus each cycle until it sees both IRDY# and TRDY# asserted, which marks the end of the current data phase and indicates that the just-latched data is the word to be transferred.


title: Peripheral Component Interconnect

text: To maintain full burst speed, the data sender then has half a clock cycle after seeing both IRDY# and TRDY# asserted to drive the next word onto the AD bus.


title: Peripheral Component Interconnect

text: This continues the address cycle illustrated above, assuming a single address cycle with medium DEVSEL, so the target responds in time for clock 3.


title: Peripheral Component Interconnect

text: However, at that time, neither side is ready to transfer data. For clock 4, the initiator is ready, but the target is not. On clock 5, both are ready, and a data transfer takes place (as indicated by the vertical lines). For clock 6, the target is ready to transfer, but the initiator is not. On clock 7, the initiator becomes ready, and data is transferred. For clocks 8 and 9, both sides remain ready to transfer data, and data is transferred at the maximum possible rate (32 bits per clock cycle).


title: Peripheral Component Interconnect

text: In case of a read, clock 2 is reserved for turning around the AD bus, so the target is not permitted to drive data on the bus even if it is capable of fast DEVSEL.


title: Peripheral Component Interconnect

text: A target that supports fast DEVSEL could in theory begin responding to a read the cycle after the address is presented. This cycle is, however, reserved for AD bus turnaround. Thus, a target may not drive the AD bus (and thus may not assert TRDY#) on the second cycle of a transaction. Note that most targets will not be this fast and will not need any special logic to enforce this condition.


title: Peripheral Component Interconnect

text: Either side may request that a burst end after the current data phase. Simple PCI devices that do not support multi-word bursts will always request this immediately. Even devices that do support bursts will have some limit on the maximum length they can support, such as the end of their addressable memory.


title: Peripheral Component Interconnect

text: The initiator can mark any data phase as the final one in a transaction by deasserting FRAME# at the same time as it asserts IRDY#. The cycle after the target asserts TRDY#, the final data transfer is complete, both sides deassert their respective RDY# signals, and the bus is idle again. The master may not deassert FRAME# before asserting IRDY#, nor may it deassert FRAME# while waiting, with IRDY# asserted, for the target to assert TRDY#.


title: Peripheral Component Interconnect

text: The only minor exception is a "master abort termination", when no target responds with DEVSEL#. Obviously, it is pointless to wait for TRDY# in such a case. However, even in this case, the master must assert IRDY# for at least one cycle after deasserting FRAME#. (Commonly, a master will assert IRDY# before receiving DEVSEL#, so it must simply hold IRDY# asserted for one cycle longer.) This is to ensure that bus turnaround timing rules are obeyed on the FRAME# line.


title: Peripheral Component Interconnect

text: The target requests the initiator end a burst by asserting STOP#. The initiator will then end the transaction by deasserting FRAME# at the next legal opportunity; if it wishes to transfer more data, it will continue in a separate transaction. There are several ways for the target to do this:


title: Peripheral Component Interconnect

text: There will always be at least one more cycle after a target-initiated disconnection, to allow the master to deassert FRAME#. There are two sub-cases, which take the same amount of time, but one requires an additional data phase:


title: Peripheral Component Interconnect

text: If the initiator ends the burst at the same time as the target requests disconnection, there is no additional bus cycle.


title: Peripheral Component Interconnect

text: For memory space accesses, the words in a burst may be accessed in several orders. The unnecessary low-order address bits AD[1:0] are used to convey the initiator's requested order. A target which does not support a particular order must terminate the burst after the first word. Some of these orders depend on the cache line size, which is configurable on all PCI devices.


title: Peripheral Component Interconnect

text: Cache line toggle and cache line wrap modes are two forms of critical-word-first cache line fetching. Toggle mode XORs the supplied address with an incrementing counter. This is the native order for Intel 486 and Pentium processors. It has the advantage that it is not necessary to know the cache line size to implement it.


title: Peripheral Component Interconnect

text: PCI version 2.1 obsoleted toggle mode and added the cache line wrap mode, where fetching proceeds linearly, wrapping around at the end of each cache line. When one cache line is completely fetched, fetching jumps to the starting offset in the next cache line.


title: Peripheral Component Interconnect

text: Note that most PCI devices only support a limited range of typical cache line sizes; if the cache line size is programmed to an unexpected value, they force single-word access.


title: Peripheral Component Interconnect

text: PCI also supports burst access to I/O and configuration space, but only linear mode is supported. (This is rarely used, and may be buggy in some devices; they may not support it, but not properly force single-word access either.)


title: Peripheral Component Interconnect

text: On clock edge 1, the initiator starts a transaction by driving an address, command, and asserting FRAME# The other signals are idle (indicated by ^^^), pulled high by the motherboard's pull-up resistors. That might be their turnaround cycle. On cycle 2, the target asserts both DEVSEL# and TRDY#. As the initiator is also ready, a data transfer occurs. This repeats for three more cycles, but before the last one (clock edge 5), the master deasserts FRAME#, indicating that this is the end. On clock edge 6, the AD bus and FRAME# are undriven (turnaround cycle) and the other control lines are driven high for 1 cycle. On clock edge 7, another initiator can start a different transaction. This is also the turnaround cycle for the other control lines.


title: Peripheral Component Interconnect

text: The equivalent read burst takes one more cycle, because the target must wait 1 cycle for the AD bus to turn around before it may assert TRDY#:


title: Peripheral Component Interconnect

text: On clock edge 6, the target indicates that it wants to stop (with data), but the initiator is already holding IRDY# low, so there is a fifth data phase (clock edge 7), during which no data is transferred.


title: Peripheral Component Interconnect

text: The PCI bus detects parity errors, but does not attempt to correct them by retrying operations; it is purely a failure indication. Due to this, there is no need to detect the parity error before it has happened, and the PCI bus actually detects it a few cycles later. During a data phase, whichever device is driving the AD[31:0] lines computes even parity over them and the C/BE[3:0]# lines, and sends that out the PAR line one cycle later. All access rules and turnaround cycles for the AD bus apply to the PAR line, just one cycle later. The device listening on the AD bus checks the received parity and asserts the PERR# (parity error) line one cycle after that. This generally generates a processor interrupt, and the processor can search the PCI bus for the device which detected the error.


title: Peripheral Component Interconnect

text: The PERR# line is only used during data phases, once a target has been selected. If a parity error is detected during an address phase (or the data phase of a Special Cycle), the devices which observe it assert the SERR# (System error) line.


title: Peripheral Component Interconnect

text: Even when some bytes are masked by the C/BE# lines and not in use, they must still have "some" defined value, and this value must be used to compute the parity.


title: Peripheral Component Interconnect

text: Due to the need for a turnaround cycle between different devices driving PCI bus signals, in general it is necessary to have an idle cycle between PCI bus transactions. However, in some circumstances it is permitted to skip this idle cycle, going directly from the final cycle of one transfer (IRDY# asserted, FRAME# deasserted) to the first cycle of the next (FRAME# asserted, IRDY# deasserted).


title: Peripheral Component Interconnect

text: Additional timing constraints may come from the need to turn around are the target control lines, particularly DEVSEL#. The target deasserts DEVSEL#, driving it high, in the cycle following the final data phase, which in the case of back-to-back transactions is the first cycle of the address phase. The second cycle of the address phase is then reserved for DEVSEL# turnaround, so if the target is different from the prior one, it must not assert DEVSEL# until the third cycle (medium DEVSEL speed).


title: Peripheral Component Interconnect

text: One case where this problem cannot arise is if the initiator knows somehow (presumably because the addresses share sufficient high-order bits) that the second transfer is addressed to the same target as the prior one. In that case, it may perform back-to-back transactions. All PCI targets must support this.


title: Peripheral Component Interconnect

text: It is also possible for the target keeps track of the requirements. If it never does fast DEVSEL, they are met trivially. If it does, it must wait until medium DEVSEL time unless:


title: Peripheral Component Interconnect

text: Targets which have this ability indicate it by a special bit in a PCI configuration register, and if all targets on a bus have it, all initiators may use back-to-back transfers freely.


title: Peripheral Component Interconnect

text: A subtractive decoding bus bridge must know to expect this extra delay in the event of back-to-back cycles, to advertise back-to-back support.


title: Peripheral Component Interconnect

text: Starting from revision 2.1, the PCI specification includes optional 64-bit support. This is provided via an extended connector which provides the 64-bit bus extensions AD[63:32], C/BE[7:4]#, and PAR64, and a number of additional power and ground pins. The 64-bit PCI connector can be distinguished from a 32-bit connector by the additional 64-bit segment.


title: Peripheral Component Interconnect

text: Memory transactions between 64-bit devices may use all 64 bits to double the data transfer rate. Non-memory transactions (including configuration and I/O space accesses) may not use the 64-bit extension. During a 64-bit burst, burst addressing works just as in a 32-bit transfer, but the address is incremented twice per data phase. The starting address must be 64-bit aligned; i.e. AD2 must be 0. The data corresponding to the intervening addresses (with AD2 = 1) is carried on the upper half of the AD bus.


title: Peripheral Component Interconnect

text: To initiate a 64-bit transaction, the initiator drives the starting address on the AD bus and asserts REQ64# at the same time as FRAME#. If the selected target can support a 64-bit transfer for this transaction, it replies by asserting ACK64# at the same time as DEVSEL#. Note that a target may decide on a per-transaction basis whether to allow a 64-bit transfer.


title: Peripheral Component Interconnect

text: If REQ64# is asserted during the address phase, the initiator also drives the high 32 bits of the address and a copy of the bus command on the high half of the bus. If the address requires 64 bits, a dual address cycle is still required, but the high half of the bus carries the upper half of the address and the final command code during both address phase cycles; this allows a 64-bit target to see the entire address and begin responding earlier.


title: Peripheral Component Interconnect

text: If the initiator sees DEVSEL# asserted without ACK64#, it performs 32-bit data phases. The data which would have been transferred on the upper half of the bus during the first data phase is instead transferred during the second data phase. Typically, the initiator drives all 64 bits of data before seeing DEVSEL#. If ACK64# is missing, it may cease driving the upper half of the data bus.


title: Peripheral Component Interconnect

text: The REQ64# and ACK64# lines are held asserted for the entire transaction save the last data phase, and deasserted at the same time as FRAME# and DEVSEL#, respectively.


title: Peripheral Component Interconnect

text: The PAR64 line operates just like the PAR line, but provides even parity over AD[63:32] and C/BE[7:4]#. It is only valid for address phases if REQ64# is asserted. PAR64 is only valid for data phases if both REQ64# and ACK64# are asserted.


title: Peripheral Component Interconnect

text: PCI originally included optional support for write-back cache coherence. This required support by cacheable memory targets, which would listen to two pins from the cache on the bus, SDONE (snoop done) and SBO# (snoop backoff).


title: Peripheral Component Interconnect

text: Because this was rarely implemented in practice, it was deleted from revision 2.2 of the PCI specification, and the pins re-used for SMBus access in revision 2.3.


title: Peripheral Component Interconnect

text: The cache would watch all memory accesses, without asserting DEVSEL#. If it noticed an access that might be cached, it would drive SDONE low (snoop not done). A coherence-supporting target would avoid completing a data phase (asserting TRDY#) until it observed SDONE high.


title: Peripheral Component Interconnect

text: In the case of a write to data that was clean in the cache, the cache would only have to invalidate its copy, and would assert SDONE as soon as this was established. However, if the cache contained dirty data, the cache would have to write it back before the access could proceed. so it would assert SBO# when raising SDONE. This would signal the active target to assert STOP# rather than TRDY#, causing the initiator to disconnect and retry the operation later. In the meantime, the cache would arbitrate for the bus and write its data back to memory.


title: Peripheral Component Interconnect

text: Targets supporting cache coherency are also required to terminate bursts before they cross cache lines.


title: Peripheral Component Interconnect

text: When developing and/or troubleshooting the PCI bus, examination of hardware signals can be very important. Logic analyzers and bus analyzers are tools which collect, analyze, and decode signals for users to view in useful ways.


title: Jackie Evancho

text: Jacqueline Marie Evancho ( ; born April 9, 2000) is an American classical crossover singer who gained wide recognition at an early age. Since 2009, she has issued a platinum-selling EP and nine albums, including three "Billboard" 200 top 10 debuts. She has also presented three solo PBS concert specials.


title: Jackie Evancho

text: Between 2008 and 2010, Evancho entered talent competitions, sang the US national anthem at a Pittsburgh Pirates baseball game, issued her first album, "Prelude to a Dream", and attracted interest on YouTube. In 2010, at the age of ten, she gained wide notice with her 2nd-place finish in the fifth season of "America's Got Talent". With the 2010 holiday release of her "O Holy Night" EP, Evancho became the best-selling debut artist of 2010, the youngest top-10 debut artist in US history and the youngest solo artist ever to go platinum in the US. In 2011, her first full-length album, "Dream with Me", debuted at No. 2 on the "Billboard" 200 chart, and she became the youngest top-5 debut artist in UK history. "Billboard" ranked Evancho the top Classical Albums Artist of 2011. Later that year, Evancho released a full-length holiday album, "Heavenly Christmas", and became the youngest person ever to give a solo concert at Lincoln Center in New York City as part of her first concert tour.


title: Jackie Evancho

text: In 2012, Evancho released "Songs from the Silver Screen", her third top-10 album debut. In 2013 she headlined benefit concerts at Carnegie Hall and elsewhere. She also appeared in the 2013 Robert Redford film "The Company You Keep" and modeled for Guess Kids clothing. Later album releases include "Awakening" (2014), "Someday at Christmas" (2016), "Two Hearts" (2017), "The Debut" (2019, her eighth consecutive release to reach No. 1 on the US classical albums chart) and "Carousel of Time" (2022). In 2017, Evancho performed the US national anthem at the presidential inauguration of Donald Trump and became the youngest person ever to perform a concert series at Café Carlyle. She has given concert tours in support of each of her studio albums. Evancho appeared in 2020 as a contestant on "The Masked Singer".


title: Jackie Evancho

text: Evancho was born on April 9, 2000, in Pittsburgh, Pennsylvania, to Lisa and Michael Evancho. Her father operated a video security business until 2010. She has an older sister Juliet, a younger brother Zachary, and a younger sister Rachel. She was raised in a suburb of Pittsburgh in a Catholic family. Evancho began her education in the Pine-Richland School District, but at various times, after her career began, she received online schooling. She attended Pine-Richland High School, graduating in 2018.


title: Jackie Evancho

text: After Evancho saw the film version of the musical "The Phantom of the Opera" as a young girl, she began singing the songs at home. Her parents did not recognize that her voice was unusual until her first talent competition, which she entered just before her eighth birthday, In the competition, Kean Idol, placing second. She began taking voice lessons and singing at events, churches and nursing homes, mostly in Pennsylvania. She also started a YouTube channel, sang in the Children's Festival Chorus of Pittsburgh (now Pittsburgh Youth Chorus) during its 2008–09 season, and performed the title role in a 2009 school musical version of "Little Red Riding Hood".


title: Jackie Evancho

text: In 2009, Evancho competed in Las Vegas in the 15th annual USA World Showcase Talent Competition, where she finished in second place. At the 2009 Kean Idol contest, she was again runner-up. In other 2009 talent contests, she won the "Golden Ribby Award – WonderworldTV" and the "Talent Quest" TV Show (both in Massachusetts). Also in 2009, she sang "Ave Maria" in composer and conductor Tim Janis's PBS television special "Celebrate America" and performed in other concerts and TV shows with Janis, who sought her out after seeing her on YouTube. She made various singing appearances around Pennsylvania in 2009 and 2010, including singing The Star-Spangled Banner at the Pittsburgh Pirates baseball team's 2010 home opener.


title: Jackie Evancho

text: Evancho first caught record producer David Foster's attention in 2009. She was selected for the regional semifinals of his "Hitman Talent Search Contest", finishing as runner-up, and in October 2009 she sang in the "David Foster & Friends" concert at the Prudential Center in Newark, New Jersey.


title: Jackie Evancho

text: In November 2009, Evancho released her independent debut album, "Prelude to a Dream". The album featured mainly covers of classical crossover songs such as "Con te partirò", "The Prayer", "To Where You Are", "Concrete Angel" and "Amazing Grace". It debuted on the "Billboard" 200 at No. 121, and at No. 2 on the "Billboard" Classical Albums chart, in August 2010, after Evancho's first performance on "America's Got Talent". Evancho's parents withdrew the album later that month, citing Evancho's vocal progress since its release.


title: Jackie Evancho

text: After two earlier unsuccessful auditions for the show, Evancho was accepted as a contestant on the fifth season of NBC's "America's Got Talent" ("AGT") by placing first in its 2010 YouTube competition. On August 10, 2010, she performed the aria "O mio babbino caro" in the show's quarter-final round, provoking effusive reactions. Afterwards, commentators queried whether her performance had been lip-synched. Evancho sang an impromptu voice exercise to demonstrate her live vocals.


title: Jackie Evancho

text: Her semifinal performance was "Time to Say Goodbye". She advanced to the Top 10 round, where she performed "Pie Jesu" from Andrew Lloyd Webber's "Requiem" and was voted into the Final 4. Her final competition performance, on September 14, 2010, was of Gounod's "Ave Maria". At the "AGT" season finale, Evancho sang "Time to Say Goodbye" together with guest artist Sarah Brightman; then Evancho was announced as the runner-up, finishing second to singer Michael Grimm. Many viewers and commentators felt that Evancho should have won, and Grimm expressed surprise at the outcome. Up to 16 million viewers watched these performances, and the finale was "AGTs" highest-rated episode in three years. Evancho was a guest on "The Tonight Show" a week after the finale, where she sang and gave her first late-night interview, with Jay Leno. Evancho was featured and interviewed in the 2013 book "Inside AGT: The Untold Stories of America's Got Talent".


title: Jackie Evancho

text: Later in 2010, Evancho with the "America's Got Talent": Live Tour, signed a record deal with SYCO music and Columbia Records, and performed in Las Vegas with David Foster. From June 2010 until mid-2011, Evancho coached with Yvie Burnett, who has worked with other singers appearing on "AGT".


title: Jackie Evancho

text: Evancho's first release on a major record label was a Columbia Records EP titled "O Holy Night". It was released on November 16, 2010, and entered the "Billboard" 200 at No. 2, making Evancho the top-selling debut artist for 2010 and the youngest solo artist ever to debut in the top 10. It also launched at No. 1 on "Billboard's" Classical Albums chart and No. 2 on "Billboard's" Holiday Albums Chart. The album sold 239,000 copies in its first week. The EP was certified platinum by the RIAA, making Evancho the youngest solo artist ever to go platinum in the US.


title: Jackie Evancho

text: Evancho promoted the album with TV interviews and performances beginning with "The Oprah Winfrey Show" in October 2010. Her other appearances included performances and interviews on "The Today Show", "The View", "Martha Stewart Living" and "Fox & Friends". Evancho performed in the 2010 "My Macy's Holiday Parade" in Pittsburgh, on NBC's Rockefeller Center Christmas Tree lighting special, at the 2010 National Christmas Tree lighting in Washington, D.C., on "The Tonight Show" and at the 27th annual Disney Parks Christmas Day Parade, on ABC television.


title: Jackie Evancho

text: "Billboard" ranked "O Holy Night" at No. 1 on its 2011 year-end Classical Albums chart. It also ranked the album as the No. 15 best-selling album of 2011 in the US and the No. 31 Canadian Album of 2011.


title: Jackie Evancho

text: Evancho's second full-length album, "Dream with Me", produced by David Foster for Sony and Syco Music, was released on June 14, 2011. The album debuted at No. 2 on the "Billboard" 200 chart, reached No. 1 on "Billboards" Classical Albums Chart, and was certified gold by the RIAA. With this album, Evancho became the youngest artist ever to debut in the UK in the top 5. The album includes popular songs ("Angel"), classical arias ("Ombra mai fu") and original songs, including the title track, for which Evancho contributed to the lyrics. It also includes duets with Barbra Streisand ("Somewhere") and Susan Boyle ("The Prayer"). Target released a deluxe edition with four bonus tracks. Allmusic gave the album 3-1/2 stars out of five, and "USA Today" commented that Evancho's "sweet, unblemished vocal tone and slow, careful vibrato hardly betray her young age. ... But "Dream's" predictable and often bombastic odes to love and faith can undermine the tween's most appealing quality: innocence."


title: Jackie Evancho

text: Evancho promoted the album on television and at concerts. Her first solo concert television special for the 2011 PBS "Great Performances" series consisted of performances of largely the same songs as the album. The special, titled "Dream With Me In Concert", was the most broadcast program of the year on the PBS network. It "became one of the most viewed specials in the 38-year-history of the "Great Performances" series [and] raised record amounts of money for PBS stations." Evancho was the youngest person ever to have a special on the series. The concert was hosted by David Foster, with guest Conrad Tao. The CD/DVD release reached No. 1 on "Billboard"'s Top Music Video chart. Evancho performed "Nessun dorma" as a guest artist at the June 2011 season finale of "Britain's Got Talent", and at the September 2011 season finale of "America's Got Talent".


title: Jackie Evancho

text: In July 2011, the singer began her first solo tour across the United States to promote the album. It consisted of 18 performances with orchestras, including Evancho's New York City concert at Avery Fisher Hall in November 2011, when she was the youngest person ever to sing a solo concert at Lincoln Center. In December she headlined a concert with David Foster and Kenny G in Las Vegas. After a concert in Tokyo in January 2012 with the Tokyo Philharmonic Orchestra, the tour continued in the US and concluded in June 2012.


title: Jackie Evancho

text: On its 2011 year-end charts, "Billboard" ranked "Dream With Me" as the No. 2 best-selling classical album for the year and as the No. 45 US album of 2011. "Dream With Me" was listed on the "Billboard" 200 for 28 weeks and the Classical Albums chart for 74 weeks. "Billboard" ranked "Dream With Me In Concert" the No. 21 music video album of 2011 and the No. 16 music video album of 2012. "Dream With Me In Concert" was ranked on the Billboard.biz Top Music Video chart for 64 weeks.


title: Jackie Evancho

text: Evancho's 2011 Christmas album, "Heavenly Christmas", was produced by Rob Mounsey. The selections include traditional Christmas carols like "The First Noël" and "O Little Town of Bethlehem", standards like "I'll Be Home for Christmas" and "White Christmas", and newer songs, such as "Walking in the Air" (from the 1982 animated short film "The Snowman") and "Believe" (from the 2004 movie "The Polar Express"). The album was released on November 1, 2011, exclusively by Walmart in the US and elsewhere in the US in October 2012.


title: Jackie Evancho

text: The album entered the "Billboard" Classical Albums chart at No. 1, the Holiday Albums chart at No. 3, and peaked on the "Billboard" 200 at No. 11. It peaked at No. 9 on the Canadian Albums chart. Allmusic's review gives the album three stars, commenting: "Evancho's vocals are impressive as always, and the arrangements are mostly tasteful, with only occasional moments of bombast". "The Salt Lake City Tribune" rated the album "A−". Christopher John Farley of "The Wall Street Journal" wrote that Evancho "sounds like she's channeling a past life, a future self, or possibly an actual angel."


title: Jackie Evancho

text: Evancho's television appearances to promote the album included "The View", "The Talk", and "The Tonight Show". She gave concerts to promote the album in December 2011 in Buffalo, New York; Atlantic City, New Jersey; and Pittsburgh. On its 2011 year-end charts, "Billboard" ranked "Heavenly Christmas" as the No. 4 best-selling Classical Album of the year. It ranked the album No. 41 on the 2012 year-end Canadian Albums chart.


title: Jackie Evancho

text: Evancho's fourth full-length album, "Songs from the Silver Screen", was released on October 2, 2012. The album is composed of songs used in popular films, arranged by Bill Ross, including the whimsical ("Pure Imagination" from "Willy Wonka & the Chocolate Factory"), Disney songs ("Can You Feel the Love Tonight" from "The Lion King" and "I See the Light" from "Tangled"), anthems ("My Heart Will Go On" from "Titanic", featuring Joshua Bell, violin) and romantic standards ("Some Enchanted Evening" from "South Pacific"). Other collaborations on the album are "The Summer Knows" from "Summer of 42", featuring Chris Botti, trumpet, and "Come What May" from "Moulin Rouge!", featuring The Canadian Tenors. An Allmusic review awarded the album 3-1/2 stars out of five.


title: Jackie Evancho

text: A 2012 PBS "Great Performances" special called "Jackie Evancho: Music of the Movies" features nearly the same selections as the album. Evancho began a 42-stop tour to promote the album in August 2012 in Japan with the Tokyo Philharmonic Orchestra. The first leg of the tour included concerts in two dozen North American cities through June 2013. Evancho also performed and was interviewed on television shows on NBC, ABC, CBS, Fox and CNN in late 2012. A second leg stretched from late 2013 to August 2014.


title: Jackie Evancho

text: The album debuted at No. 7 on the "Billboard" 200, No. 1 on the Classical Albums chart and No. 22 on the Canadian Albums chart. The ranking made the 12-year-old the second artist who ever "amassed three top 10 albums [on the "Billboard" 200] at such a young age." The album remained on the "Billboard" 200 for 13 weeks and appeared on the "Billboard" Classical Albums chart in 72 weeks. "Songs from the Silver Screen" was the No. 4 Classical Album of 2013 and the No. 36 Classical Album of 2014.


title: Jackie Evancho

text: Evancho released her fifth full-length album, "Awakening", on September 23, 2014, on Sony Masterworks' Portrait Records label. Evancho promoted the album with a concert tour that began in November 2014 and continued into 2016, and a third PBS special. The album consists of classical pieces like Rachmaninoff's "Vocalise" and the art song "Dormi Jesu"; classical crossover covers of more contemporary pieces like U2's "With or Without You", Lara Fabian's "Je t'aime" and Within Temptation's "Memories"; and several original songs. Walmart's deluxe edition included six bonus holiday songs. Evancho released songs from the album including covers of "The Rains of Castamere" from "Game of Thrones", "Think of Me" from "The Phantom of the Opera", Ennio Morricone's "Your Love" and the Vavilov version of "Ave Maria".


title: Jackie Evancho

text: Evancho promoted the album in a return to "America's Got Talent" as a guest artist at Radio City Music Hall during the show's ninth season. She also appeared on NBC's "Today Show", "The Queen Latifah Show", the Oprah Winfrey Network and the "Dr. Phil" show. Evancho's "Awakening" tour began in November 2014 with stops across the US and one concert in each of Costa Rica and Canada. Evancho's third PBS special, "Awakening: Live in Concert" (2014), filmed at Longwood Gardens in Pennsylvania with Cheyenne Jackson co-hosting, includes all of the songs from "Awakening", as well as "My Immortal", "Say Something", as a duet with Jackson, and "O Mio Babbino Caro". She continued to tour in 2016–2017.


title: Jackie Evancho

text: "Awakening" debuted at No. 17 on the "Billboard" 200 chart and No. 1 on the "Billboard" Classical Albums chart. This was Evancho's fifth consecutive release at No. 1 on the "Billboard" Classical Albums chart. Markos Papadatos of "Digital Journal" gave Evancho's album an A rating, calling it "stunning from start to finish thanks to her warm classical vocals." He called her renditions of the songs "ethereal", "crystalline" and "haunting". On its year-end charts, "Billboard" ranked "Awakening" as the No. 11 best-selling Classical Album of 2014 the No. 3 best-selling Classical Album of 2015 and the No. 31 best-selling classical album of 2016. The album remained on the "Billboard" Classical Albums chart for a consecutive 72 weeks.


title: Jackie Evancho

text: Evancho released her sixth full-length album and third holiday collection, "Someday at Christmas", on October 28, 2016, on the Sony Masterworks' Portrait label. The album consists of nine previously released tracks, including collaborations with Plácido Domingo, Peter Hollens and Vittorio Grigolo, and three new tracks: Stevie Wonder's anti-war song "Someday at Christmas" and two versions of "The Little Drummer Boy", one with Il Volo. The new tracks were produced by Dina Fanai and Heather Holley. with arrangements by Robert Kinkel, formerly of the Trans-Siberian Orchestra. The album peaked at No. 93, on the "Billboard" 200, No. 1 on the "Billboard" Classical Albums chart (Evancho's sixth consecutive release to do so) and No. 3 on the "Billboard" Holiday Albums chart. It was the No. 27 best-selling classical album of 2016. A review in Cedar Rapids, Iowa's "The Gazette" called the album "a shimmering showcase for [Evancho's] incredible vocal range and interests. ... [The] duets in this project display her talents for harmonies, as well as tender melodies."


title: Jackie Evancho

text: Evancho promoted the album by appearing on the Fall 2016 cover of, and in an interview, for "Inspiring Lives Magazine". She included songs from the album in her 2016 holiday concerts and performed on NBC's "Today Show", Fox's "Good Day Chicago", at the "America's Got Talent Holiday Spectacular" and the "Harry" show.


title: Jackie Evancho

text: She released her seventh full-length album, "Two Hearts", on March 31, 2017, on Sony's Portrait label. It consists of an "album of classical crossover songs – with an EP attached of [five] pop tunes", four of which she co-wrote. The release was Evancho's first to include her own songwriting (other than contributions that she made in 2010 to the lyrics of the title song of "Dream With Me"). Fanai and Holley returned as producers and co-writers of the four songs on the EP with Evancho.


title: Jackie Evancho

text: Evancho began to promote the album near the end of her 2016–2017 Live in Concert Tour. Television promotions included the "Today Show", NBC's "New York Live" and ABC's "The View". In April 2017, Evancho gave ten performances at Café Carlyle in New York City, where she was the youngest artist ever to ever perform at the venue. The same month, she released a music video of a song from the album, "Pedestal". In May 2017, Evancho began a tour to promote "Two Hearts". The album debuted at No. 100 on the "Billboard" 200, and No. 1 on the "Billboard" Classical Albums chart, Evancho's seventh consecutive release to reach the top of that chart. The Two Hearts tour continued throughout 2018 and into early 2019. In February 2019, Evancho competed on "" but did not advance to the final. She also performed on the season's finale show.


title: Jackie Evancho

text: On April 12, 2019, Evancho released her eighth studio album, "The Debut", focusing on songs from 21st century Broadway musicals and musical films. The album was produced by Michael Mangini. The album was Evancho's eighth consecutive release on the "Billboard" Classical Albums chart to reach No. 1.


title: Jackie Evancho

text: Evancho began a U.S. tour in April 2019 to promote "The Debut", beginning with two nights at Feinstein's/54 Below in New York. The tour was interrupted in early 2020 due to the COVID-19 pandemic and resumed in early 2022. She also promoted the album on various media, including Yahoo! Finance and "Good Morning America". Evancho performed three further concerts with Michael Feinstein at his eponymous club in New York in August 2019. Evancho stated in 2019 that she was working with vocal coach Joan Lader.


title: Jackie Evancho

text: In 2020 Evancho began recording an album of covers of Joni Mitchell songs, produced by Fred Mollin, at Sound Stage Studio in Nashville. She released the disc, titled "Carousel of Time", on September 9, 2022. Before its release, Evancho introduced four singles from the album: "River" in October 2020, "Both Sides Now" in May 2022, "A Case of You" in July 2022, and "Blue" in August 2022, which she performed on "Good Day New York" in September and WGN-TV in October. Jill O'Rourke, reviewing the album for TalentRecap.com, wrote: "Evancho brings a signature ethereal quality to Mitchell’s music, as well as a clear emotional connection with the lyrics."


title: Jackie Evancho

text: Evancho gave a series of concerts featuring the songs on "Carousel of Time", together with some of Evancho's other favorites, starting at 54 Below in New York City in September 2022 and continuing in October at City Winery venues in Nashville, Boston, Washington, D.C, Philadelphia, Chicago and Atlanta. Marilyn Lester wrote of her concert at 54 Below in "Theater Pizzazz": "Her tone is as clear as a bell, as smooth as glass, and her range spectacular. ... [However,] while Evancho identifies [with Joni Mitchell's artistry], her mic, with much too much reverb, did the music no favors. She often wasn’t able to be clear in her enunciation. ... Evancho in her enthusiasm is unfocused, and one wonders if, at times, she really understands the lyric she’s singing. The purity and perfection of her voice deserves to be carefully managed, as does the person behind that miraculous artistry." In December, she gave a Christmas-themed concert at the Carnegie of Homestead Music Hall in Munhall, Pennsylvania.


title: Jackie Evancho

text: Evancho performed the American national anthem at the 2009 memorial ceremony for the victims of United Flight 93 and the 2011 NHL Winter Classic. In 2011, she performed "Nella Fantasia" at the Beverly Hills Chefs for Seals event to support ending the annual Canadian seal hunt and became an ambassador for a Humane Society of the United States program that encourages children to help protect animals. In February 2011, she performed her first full-length concert as a headliner, in Houston, Texas, with the Houston Chamber Choir. She next sang at the 2011 Festival of the Arts Boca, along with young stars of the Metropolitan Opera. Evancho also sang at Muhammad Ali's 2011 "Celebrity Fight Night" charity event to battle Parkinson's disease, in Phoenix, Arizona. She performed the introduction to "Somewhere Over the Rainbow" on Oprah's farewell special broadcast in May 2011.


title: Jackie Evancho

text: By 2011, Evancho had recorded with Tony Bennett and on David Foster albums, also appearing with the latter in Japan. She returned to Japan in January 2012 to participate in the Bunkamura Orchard Concert Hall reopening program "Musical meets Symphony", and to give her own concert there with the Tokyo Philharmonic Orchestra. While there, she sang for the Imperial family. In February 2012, Evancho sang at the US National Prayer Breakfast. In April, Evancho appeared on "Dancing with the Stars", singing "Ave Maria" and "Dark Waltz" to accompany two dance teams. She performed as a guest star on the 2012 season finale of "Canada's Got Talent". In June, that year, she sang in Russia at the opening ceremonies of the St. Petersburg International Economic Forum, together with Dmitry Hvorostovsky and Sumi Jo.


title: Jackie Evancho

text: Evancho sang in the 2012 "So The World May Hear Gala" to benefit the Starkey Hearing Foundation, which supplies hearing aids to people in need. That August, she sang in Hiroshima, Japan, in the "Peace for World" concert and performed together with Tony Bennett at the Ironstone Amphitheatre in Murphys, California. In October, she performed with the Dallas Symphony Orchestra at the opening of Klyde Warren Park in Dallas, Texas. Evancho partnered with WhyHunger and Sephora to offer a bath product, named for her song "To Believe", to benefit WhyHunger's efforts to end world hunger.


title: Jackie Evancho

text: Evancho joined over 200 Cirque du Soleil performers at Bellagio in Las Vegas in the 2013 event "One Night for One Drop on World Water Day", to benefit the One Drop Foundation's worldwide clean water access and education programs. Robin Leach wrote: "12-year-old superstar singer Jackie [Evancho] stole the night with her "Bridge Over Troubled Water" sung barefoot in the water of the giant stage. ... She also dominated the fantastic finale flying in as an angel [lowered] on a harness from the theater rooftop." In April 2013, she sang in concert in Taiwan with José Carreras. She performed another concert with Tony Bennett in May, in Alpharetta, Georgia, with the Atlanta Symphony Orchestra. In the 2013 broadcast of "A Capitol Fourth", Evancho sang the national anthem and '"Can You Feel the Love Tonight".


title: Jackie Evancho

text: Evancho headlined a benefit concert, called "Jackie Evancho & Friends: We are Hope", at the LDS Conference Center in Salt Lake City in late 2013, for the Muzart World Foundation's programs to encourage the teaching of music and art in US public schools. She sang the US national anthem on Thanksgiving Day, at the Green Bay Packers vs. Detroit Lions football game, broadcast on Fox. She then headlined a Christmas-themed benefit concert at Carnegie Hall produced by her old mentor, Tim Janis, in December.


title: Jackie Evancho

text: In early 2014, Evancho was the performer for Susan G. Komen's Perfect Pink Party in Palm Beach, Florida, to benefit breast cancer research. She then headlined a concert with the San Bernardino Symphony Orchestra at Citizens Business Bank Arena in Ontario, California, to benefit the Loma Linda University Children's Hospital. She appeared in the 2014 gala to benefit Chicago's WTTW television and WFMT radio stations and in the 2014 National Memorial Day Concert, broadcast by PBS. Evancho performed at the Songwriters Hall of Fame 2014 awards dinner singing "Over the Rainbow". In September 2014, she performed at a David Foster Foundation concert to benefit families with children who need a major organ transplant. In November, she sang John Lennon's song "Imagine" at the United Nations to introduce the UNICEF #Imagine program.


title: Jackie Evancho

text: In 2015, Evancho made a video to support the Humane Society's fight against seal hunting. She also joined Andrea Bocelli as a guest in his concert in Thailand. A review in "The Nation" commented: "If there's anything on Earth close to the sound of an angel, it must be the heavenly voice of Jackie Evancho". In August, she participated in a "David Foster and Friends" concert in Malaysia. In September, Evancho participated in another benefit, with Foster and Bocelli in Forte dei Marmi, Italy, for the Celebrity Fight Night Foundation. The same month, she performed at the World Meeting of Families in Philadelphia as part of the celebration of Pope Francis's visit to that city. In October 2015, Evancho performed at a benefit for the Global Lyme Alliance in New York City. In December, she sang the US national anthem at the Pittsburgh Steelers game against the Indianapolis Colts and released the first single on her own JE Touring label, a cover of Taylor Swift's "Safe & Sound", together with a video.


title: Jackie Evancho

text: In January 2016, Evancho appeared at the Mending Broken Hearts With Hope luncheon to benefit The Shelter for Abused Women & Children in Naples, Florida. In April, Evancho sang the national anthem at the Pittsburgh Pirates' 2016 opening home game. She also released an original pop song by Peter Zizzo, "Apocalypse". "Billboard" wrote that she "has found a brand-new sound. The 16-year-old singer ... is taking a step outside the classical world that made her famous"; but Evancho told "Billboard": "I'm not going to get rid of my classical ... roots". A reviewer for "The New Yorker" found the track "cloying", writing that Evancho "sounds unremarkable outside her genre". She also released a video of the song and performed it on the "Today" show and "Live! with Kelly and Michael".


title: Jackie Evancho

text: Evancho entertained at the 2016 Project Sunshine benefit gala and returned to Washington, DC, to participate in the 2016 broadcast and live performance of "A Capitol Fourth". In September, Evancho sang at the David Foster Foundation's 2016 fundraiser at the MTS Centre in Winnipeg, Manitoba, Canada, to help pay for pediatric organ transplants and support patients' families. She performed at the Memphis Music Hall of Fame induction ceremony in November and ended the year with a performance in "AGT"s first Christmas special.


title: Jackie Evancho

text: Evancho sang the US national anthem at the presidential inauguration of Donald Trump in January 2017. She stated that her decision to perform was apolitical, but her selection drew comment on social media and in the press, "from both sides of the political spectrum". On the same day, she released a recording titled "Together We Stand", containing three songs: "The Star-Spangled Banner", "America the Beautiful" and "God Bless America". Evancho stated that profits from the release would go to LGBT "charities in support of my sister Juliet". The three songs charted at No. 2, 4 and 5, respectively, on "Billboard's" Classical Digital Song sales chart. Juliet, who is transgender, has advocated for a US federal law to allow transgender students to use bathrooms and other public school facilities designated for the gender with which they identify. Evancho led a TV special in August 2017, on the TLC television network, called "Growing Up Evancho", focusing on the Evanchos' family life and efforts to secure transgender rights. In 2019, asked if she learned any lessons from the Inauguration experience, Evancho said: "Yes ... if you have a bad gut feeling, and your team still pushes you to do something, don't give in, don't do it!"


title: Jackie Evancho

text: In 2018, Evancho performed at the annual "Romance of the Mission" benefit gala to preserve and support the Mission San Juan Capistrano in California. In 2019, she presented a concert at the August Wilson Center in Pittsburgh to benefit The Brave Heart Foundation, which supports homeless LGBTQ young adults. In July she headlined a benefit, accompanied by Pacific Symphony, as part of the dedication festivities of Christ Cathedral in Garden Grove, California. In October she sang in a concert of songs from the new rock musical "Get Jack", with music by Kip Winger, lyrics and book by Damien Gray and direction by Kelly Devine.


title: Jackie Evancho

text: Evancho has stated that her career was interrupted in 2019 by a mental breakdown related to the eating disorder and body dysmorphia that has she struggled with since 2015; she also stated that during the COVID-19 pandemic she was in a car accident in which she fractured her back, and her parents divorced. In 2020, she competed on season 3 of "The Masked Singer" as "Kitty", finishing in fifth place. Evancho performed a concert titled "Home for the Holidays" in December 2021 at Millersville University in Millersville, Pennsylvania.


title: Jackie Evancho

text: Evancho performed as a young child in several musicals, including "Little Red Riding Hood", in which she played the title role. She also appeared as an extra in the 2010 film "She's Out of My League". Her first featured television appearance was in the 2011 episode "Back to Max", in the Disney Channel series "Wizards of Waverly Place", where her character sang "America the Beautiful" to work off school detention.


title: Jackie Evancho

text: Evancho appeared in the feature film "The Company You Keep", a 2013 political thriller. She played Isabel, the eleven-year-old daughter of a widowed attorney turned fugitive, played by Robert Redford, who also directed the film. Jon Weisman wrote that Evancho "showed she's more than a singing prodigy with her earnest sweetness".


title: Jackie Evancho

text: Evancho modeled for GUESS Kids in 2012 and for Justice Girls Clothing in 2014, and she occasionally has appeared in other product advertisements and public service announcements.


title: Jackie Evancho

text: Christopher Hahn, General Director of the Pittsburgh Opera, observed: "It's very unusual for a young child to have a voice that sounded so rich and developed." "I thought she was just lovely, sweetly compelling". Hahn particularly praised Evancho's phrasing. Composer Tim Janis commented that Evancho "takes a classical piece and makes it friendly and accessible. ... Her voice is so pure and natural, there's no flaw in it. People say 'I can hear her potential coming,' but no, it's here, it's now." Claudia Benack, Assistant Professor of musical theatre at Carnegie Mellon University, said that Evancho "has an unusually adult feel for the repertoire. ... She sings to the important part of the phrase, and then backs off. That's instinctual. ... She takes breaths sometimes where an adult would not, but that's just because she's young and little. ... She sings from the healthy part of her voice." Jia Tolentino of "The New Yorker" later called Evancho's YouTube audition for "AGT" "supernaturally blissful", and commented that she delivered "O mio babbino caro" with "graceful phrasing, a controlled, slow vibrato, and a tone that resonates impersonally, like a bell". Critic Tim Page, however, wrote that Evancho "has many years of work ahead of her before she becomes any sort of musician".


title: Jackie Evancho

text: Andrew Druckenbrod, of the "Pittsburgh Post-Gazette", reviewing Evancho's 2011 Pittsburgh Opera concert, stated that "what was most impressive ... was how musical she was ... her focus on phrasing and an understanding of the emotion in the ... musical numbers." The review also praised "her reverberant chest voice [and] her head voice, hitting the highest register with intonation and purity" and echoed Janis: "That she continues to be greeted with skepticism is unfair. ... Yes, the concert showed that Jackie is a young girl, yet one with artistry to be appreciated now without debating about what her future might hold." Antony Walker, Pittsburgh Opera's music director, said: "she has a very sincere way of singing. ... Her voice has a lovely quality to it. It's very simple singing but it comes from the heart. You rarely hear someone so young with such a beautiful voice". Nekesa Mumbi Moody, writing for Associated Press, commented that, although "there is a youthful quality in Jackie's voice, it's hardly childlike: It's a soprano that deftly traverses the musical scales". Mark Kanny, in the "Pittsburgh Tribune-Review", called her voice "beautifully in tune and well supported. ... Evancho's sincerity of delivery was affecting".


title: Jackie Evancho

text: Bob Boilen of NPR wrote, "I simply couldn't believe my eyes and ears. Seeing Jackie Evancho sing for the first time is nearly beyond belief." He called her voice "beyond-beautiful" when she performed "for a stunned audience at the NPR Music offices". A review of her 2011 Sun Valley concert stated that "Evancho transported [her audience] with pure, joyous, unaffected notes". Marcia Adair of the "Los Angeles Times" commented, in reviewing "Dream With Me": [W]hat makes us feel like she will survive the journey from child star to adult performer is her magnificent sense of pitch, her natural ability to shape phrases and the ease with which she performs." Jon Caramanica, in "The New York Times", reviewed her Avery Fisher Hall concert: "In the first half of the show Ms. Evancho often receded, but toward the end of the night she found purpose, delivering 'A Time for Us' with punch, and closing out Sarah McLachlan's 'Angel' with what felt like real yearning". "The Wall Street Journal" called Evancho's 2011 performance of the song "Angel" on the "Tonight Show" "moving".


title: Jackie Evancho

text: A "San Francisco Chronicle" review of a 2012 concert judged her singing "an impressive thing to witness, and Evancho's technical precision and enormous range only serve to make it seem less fluky", but felt that "every selection sounded alike". A reviewer for "The Denver Post" wrote that Evancho "displayed her famous combo of poise and articulation". A "Naples Daily News" review stated: "Her poise. Her control. Her range. ... Her voice and her performance exhausted all of the superlatives in the dictionary." In 2013, an Atlanta reviewer commented: "Her pure and well-formed vowel sounds touched the hearts of everyone at the concert." A review in "The Atlanta Journal-Constitution" called Evancho "awesomely talented" and "technically flawless". "The Buffalo News" reviewer wrote: "there is a poignancy to the sound of this mature voice coming out of this child. Her high notes are a joy."


title: Jackie Evancho

text: In 2014, Chris Payne commented for "Billboard" magazine: "Evancho's stratospheric vocals are of course impressive for someone her age, though pipes like this are incredible for just about anyone." in 2015, the reviewer for "Digital Journal" wrote: "The control she displays over her voice is tremendous, and she tackles the high notes ... effortlessly, showcasing her angelic vocals and piercing pipes." Robin Leach wrote of Evancho's 2015 concert in Las Vegas: "She's still got the voice of an angel. It's remarkable, and her power is growing as she grows up. [She] had the audience on its feet with wild applause at the end of every song". Some reviewers, beginning in 2015, noticed a lack of connection with the text; a review in "The Washington Post" called her voice a "bell-like instrument, devoid of any messy human emotions [with] an ethereally floating tone. ... But imagine what Evancho can achieve once she stops obsessing over just sounding pretty, and actually listens to the words she's singing." Reviewing one of Evancho's 2016 concerts, Steve Barnes similarly wrote for the "Times Union" that her voice is "an instrument of pristine beauty. It peals with the purity of bells and lofts tones that shimmer with celestial iridescence" but that her performance lacks "an apparent interpretive style or emotional connection to the material".


title: Jackie Evancho

text: A chapter in the 2016 book, "Voicing Girlhood in Popular Music: Performance, Authority, Authenticity", by Dana Gorzelany-Mostak, Assistant Professor of Music at Georgia College, is devoted to analyzing Evancho's career and influence. Gorzelany-Mostak writes:


title: Jackie Evancho

text: Will Friedwald wrote of Evancho's 2017 concert series at Café Carlyle, that "this superhuman voice is housed in the person of someone relatively inexperienced in terms of relating to an audience and especially in a New York nightclub. (It will be years, if ever, before she can connect with a crowd like, for instance, Marilyn Maye.) ... She covers a lot of bases musically. ... Her rendition of "Music of the Night" is especially moving. ... Hearing Jackie Evancho in such an intimate space is a rare chance to experience perfection at close proximity." Linda Amiel Burns praised Evancho's voice but thought that some of the song choices were odd, and that sometimes "it was difficult to understand the lyrics". She felt that Evancho sounded more comfortable in her classical selections, but that pop songs require "a different vocal technique with more emphasis on the lyrics ... she has to watch her phrasing ... breathe in the right places, and find the deeper meaning and longing that the song expresses." A reviewer for "New Jersey Stage" wrote that, at her December 13, 2019 concert, "Evancho sings with feeling. [Her] voice floats out over the audience … with precision and grace, her runs and tone spot on". A review of her 2020 cover of "River" in "American Songwriter" praised "her lilting soprano vocals and the purity and perfection she finds within her upper register".


title: Jackie Evancho

text: Evancho appeared on the National League of Junior Cotillions' list of "Ten Best-Mannered People of 2011" for "demonstrating humility and politeness as a young performer". She was honored in 2012 by the Senator John Heinz History Center at its 20th Annual History Makers Award Dinner as one of five "distinguished Pittsburghers ... recognized for their exceptional contributions to the history of Western Pennsylvania, the nation, and the world". Evancho was the youngest person ever to be so honored. The Kean Quest Talent Search, since 2011, has given an annual "Jackie Evancho Award" to a contestant who "exemplifies courage and motivation and pushes through to follow their dreams". In both 2011 and 2012, "Billboard" magazine named Evancho to its list of "21 Under 21: Music's Hottest Minors". In 2017, Evancho was named to the "2018" "Forbes" 30 Under 30 list of musicians.


title: Jackie Evancho

text: "Billboard" ranked Evancho the No. 1 Classical Albums Artist of 2011, as she released three of the top four albums on the "Billboard" 2011 year-end Classical Albums chart. She was the No. 10 "Billboard" 200 Artist of 2011, and the No. 3 Internet Albums Artist. "Billboard" ranked Evancho the No. 2 Classical Albums Artist of 2012, as three of her albums ranked in the top seven albums on the "Billboard" 2012 year-end Classical Albums chart. She was the No. 37 "Billboard" 200 Artist of 2012.


title: Jackie Evancho

text: "Billboard" ranked Evancho the No. 5 Classical Albums Artist of 2013, the No. 7 Classical Albums Artist of 2014 and the No. 4 Classical Albums artist of 2015, as "Awakening" was the No. 3 classical album of 2015. Evancho was ranked the No. 12 Classical Albums Artist of 2016, as her 2016 holiday album, "Someday at Christmas", was the No. 27 best-selling classical album of 2016, and "Awakening" was the No. 31 best-selling classical album of 2016. Evancho's 2017 and 2019 albums, "Two Hearts" and "The Debut", were her seventh and eighth consecutive releases to reach No. 1 on the "Billboard" Classical Albums chart.


title: Queen Elizabeth-class battleship

text: The "Queen Elizabeth"-class battleships were a group of five super-dreadnoughts built for the Royal Navy during the 1910s. These battleships were superior in firepower, protection and speed to their Royal Navy predecessors of the as well as preceding German classes such as the . The corresponding ships were generally considered competitive, although the "Queen Elizabeth" class were faster and outnumbered the German class 5:2. The "Queen Elizabeth"s are generally considered the first fast battleships of their day.


title: Queen Elizabeth-class battleship

text: The "Queen Elizabeth"s were the first battleships to be armed with guns, and were described in the 1919 edition of "Jane's Fighting Ships" as "the most successful type of capital ship yet designed." They saw much service in both world wars. "Barham" was lost to U-boat attack in 1941, but the others survived the wars and were scrapped in the late 1940s.


title: Queen Elizabeth-class battleship

text: The early design history of the "Queen Elizabeth" class is not well known because not many records have survived in the files of the Admiralty. When Winston Churchill became First Lord of the Admiralty in October 1911, the ships of the 1911–1912 Naval Programme, the four s and the battlecruiser were being ordered and preliminary design work had begun on the new class of battleships scheduled for the 1912–1913 Naval Programme. Each class received its own alphabetical designation with the "Iron Duke"s being MIV, the fourth major iteration of Design M. Presumably the improved 1912–1913 ships were Design N, but no details of it have been found in Admiralty records. The letter O was not used during this time. Naval historian Norman Friedman believes that Design P was a slow ship armed with ten guns based on a passing reference in the official history of naval construction during the First World War that such a ship was a precursor to the "Queen Elizabeth"s.


title: Queen Elizabeth-class battleship

text: Churchill and the retired First Sea Lord, Admiral of the Fleet Lord Fisher corresponded at length during this time with Fisher advocating for a fast (probably ) ship armed with eight guns and nearly as well armoured as a battleship, something that he sometimes called a "super-Lion", referring to the battlecruiser . Friedman believes that the Director of Naval Construction (DNC), Sir Philip Watts, designated Fisher's concept as Design Q with a slower version being the "Queen Elizabeth" class as Design R. "The destruction of papers may thus have concealed the reality that instead of being a spectacular advance on previous battleships, the "Queen Elizabeth"s were a slow version of a ship which Fisher and probably Churchill badly wanted. Much of the fragmentary evidence for the fast ship is to be found in Fisher's letters to Churchill."


title: Queen Elizabeth-class battleship

text: The tactical mission of these ships is portrayed as being fast enough to manoeuvre to catch the head of the enemy's battleline and concentrate fire against it, but they were actually intended to prevent the German battlecruisers, which were more heavily armoured than their British equivalents, from doing the same to the British fleet. A memo from Churchill to Rear-Admiral Gordon Moore, Third Sea Lord, on 27 October 1912, stated "the speed and power of the "Queen Elizabeth"s...is sufficient to protect the battle fleet against any turning movement by German battlecruisers.


title: Queen Elizabeth-class battleship

text: Influenced by Fisher, Churchill ordered development of the 42-calibre BL 15-inch Mk I gun using the codename "14inch Experimental" in January 1912. This was a risky decision as development of new heavy guns and their turrets was normally a multi-year project, and a failure would seriously delay the completion of the ships. The first gun turret was successfully tested on 6 May 1914, likely much to the relief of the Admiralty.


title: Queen Elizabeth-class battleship

text: The Admiralty decided on the design of the "Queen Elizabeth"s on 15 June 1912, with the decision on whether they would solely use fuel oil deferred to a subsequent meeting. That meeting must have happened very shortly afterwards because the design that received the Board's stamp the following day was oil-fueled. The design had not been optimised to burn oil instead of coal and the fuel tanks had different requirements than the coal bunkers previously planned. Eustace Tennyson d'Eyncourt, the DNC who followed Watts, estimated that the change so late in the design process cost some that could have been put to better use. To guarantee a supply of oil in wartime, Churchill negotiated the Anglo-Persian Oil Convention.


title: Queen Elizabeth-class battleship

text: Fisher also believed that the 1912–1913 ships should all be battlecruisers instead of the usual mix of three battleships and a battlecruiser. Churchill initially agreed with him, but was persuaded to go back to the original plan, much to Fisher's fury. Given the speed of the new ships, envisaged as , it was decided that the battlecruiser would not be needed and a fourth battleship would be built instead. When the Federation of Malay States offered to fund a further capital ship, the Admiralty decided to add a fifth unit to the class, .


title: Queen Elizabeth-class battleship

text: In some respects, the ships did not quite fulfil their extremely demanding requirement. They were seriously overweight, as a result of which the draught was excessive and they were unable to reach the planned top speed of 25 knots. In the event, the combination of oil fuel and more boilers provided for a service speed of about , still a useful improvement on the traditional battle line speed of and just fast enough to be thought of as the first fast battleships. After Jutland Admiral John Jellicoe was persuaded that the slowest ship of this class was good only for about , he concluded that, since this should be considered as the speed of the squadron, it would not be safe to risk them in operations away from the main battlefleet.


title: Queen Elizabeth-class battleship

text: The ships of the "Queen Elizabeth" class were long between perpendiculars, long at the waterline, and had a length overall of , excluding the sternwalk fitted on several ships. They had a beam of and a draught of at deep load. They had a normal displacement of approximately and at deep load. The ships had a metacentric height of at deep load. Their crew numbered between 923 and 951 officers and ratings as completed; by 1920, the number of crew had grown to 1,016 then to 1,025. Service as a flagship increased these numbers from 1,249 to 1,262 that same year.


title: Queen Elizabeth-class battleship

text: They were powered by two sets of direct-drive steam turbines, Parsons units were fitted in , and "Malaya" while and had Brown-Curtis turbines. The latter pair were not equipped with the cruising turbines to improve fuel economy at slow speeds used in the first three ships. Each turbine set drove two shafts with , three-bladed propellers, using steam provided by 24 Babcock & Wilcox boilers at a working pressure of in all but "Warspite" and "Barham", which received boilers manufactured by Yarrow. The boilers were ducted into a pair of funnels. The turbines were divided into three watertight compartments arranged side by side; the low-pressure turbines driving the inner pair of shafts were in the centre engine room together, while the high-pressure outboard turbines were in the rooms on either side.


title: Queen Elizabeth-class battleship

text: The turbines were rated at at overload and were intended to give the ships a maximum speed of , although they fell short of that. Due to the war only "Barham" ran her sea trials on a measured course; in August 1916 she reached a top speed of from at deep load. Fuel storage amounted to of fuel oil which enabled the ships to steam for at a cruising speed of , which fell to at full speed.


title: Queen Elizabeth-class battleship

text: The "Queen Elizabeth" class was equipped with eight breech-loading (BL) 15-inch Mk I guns in four twin-gun turrets, in two superfiring pairs fore and aft of the superstructure, designated 'A', 'B', 'X', and 'Y' from front to rear. The guns were initially supplied with 80 shells per gun, but the magazines were later modified to allow for up to one hundred shells per gun. The ships carried the guns in Mk I mounts that allowed for elevation to 20 degrees and depression to -5 degrees. The mounts had a weight of 782 t and a train of- 150 to + 150 degrees. The guns themselves had a weight of 101 t. They could be loaded at any angle, but the crews typically returned to +5 degrees, since the guns could be cleared faster that way. They fired projectiles at a muzzle velocity of to a range of . Their designed rate of fire was one shot every 36 seconds.


title: Queen Elizabeth-class battleship

text: The gun even remained competitive in the Second World War after receiving further shell upgrades and mountings with greater elevation, and HMS "Warspite" would eventually record a hit during the Battle of Calabria which to this day is one of the longest-range naval gunnery hits in history - 24,000 metres (26,000 yd).


title: Queen Elizabeth-class battleship

text: The guns could elevate to 20° and depress to −5°, but the turret sights could only elevate 15°, effectively limiting the range that could be achieved unless firing under director control. The sights were equipped to permit the guns to fire at full charge or with charge.


title: Queen Elizabeth-class battleship

text: The ships' secondary battery consisted of sixteen 45-calibre BL Mk XII guns. The guns had a muzzle velocity of from their projectiles. At their maximum elevation of 15 degrees, they had a range of . As designed twelve of these were mounted in casemates on the upper deck, six of each on the broadside of the vessel amidships; the remaining four guns were on the main deck aft abreast 'Y' turret. In an effort to ameliorate the problems that the flooding problems that the casemated guns in the "Iron Duke"-class ships had in heavy seas, the guns in the "Queen Elizabeth"s were moved back from abreast 'A' turret to 'B' turret, but this made little difference in service. The aft guns were more prone to flood and were virtually useless even in moderate seas. Only "Queen Elizabeth" was completed with them; one pair was removed and the other was repositioned on the forecastle and protected by gun shields in May 1915. The casemates were plated over to improve their seaworthiness. The other ships were similarly modified while fitting-out.


title: Queen Elizabeth-class battleship

text: Each gun was provided with 130 rounds. Stowage was provided for 30 rounds at each gun as the only ammunition hoists for them were located at the forward end of the battery. Captain Morgan Singer, commander of the RN's gunnery school HMS "Excellent", criticized this arrangement, saying that it had been proven inefficient in the pre-dreadnought battleships and he recommended using dredger hoists as they were much faster. His comments were rejected as the Admiralty believed that the guns would only intermittently be in use as destroyers attempted to close to torpedo range and they desired to maintain a break in the cordite supply between the magazines and the battery. In service this led to the gun crews keeping additional rounds immediately available at the guns in case they were needed. This resulted in an ammunition fire aboard "Malaya" during the Battle of Jutland that nearly resulted in the loss of the ship.


title: Queen Elizabeth-class battleship

text: The ships also mounted four 3-pounder () . Their anti-aircraft (AA) armament consisted of two quick-firing (QF) 20 cwt Mk I guns. They were fitted with four submerged torpedo tubes, two on each broadside. Each ship was supplied with a total of 20 Mk II or Mk IV torpedoes.


title: Queen Elizabeth-class battleship

text: The "Queen Elizabeth"-class ships were completed with two fire-control directors. The one that was mounted above the conning tower was protected by an armoured hood and was fitted with a rangefinder. The other director was on top of the tripod mast and was equipped with a . The main armament could be controlled by 'X' turret as well and each turret was fitted with a 15-foot rangefinder. A torpedo-control director with a 9-foot rangefinder was mounted at the aft end of the superstructure. The secondary armament was primarily controlled by directors mounted on each side of the compass platform on the foremast once they began to be fitted in March 1917. The rangefinders in 'B' and 'X' turrets were replaced by models between 1919 and 1922.


title: Queen Elizabeth-class battleship

text: Flying-off platforms were fitted on all the ships on the roofs of 'B' and 'X' turrets in 1918. Between them the ships carried three fighters and seven reconnaissance aircraft.


title: Queen Elizabeth-class battleship

text: Armour protection was modified from the previous , with a thicker belt and improved underwater protection. The scale of deck armour was less generous, though typical of contemporary practice.


title: Queen Elizabeth-class battleship

text: A further ship was authorised in 1914 and would have been named "Agincourt" (a name later applied to a dreadnought expropriated from Ottoman Turkey). Although most sources and several official papers in the class's Ships Cover describe her as a further repeat of the "Queen Elizabeth" design, one historian has suggested that "Agincourt" would have been built on battlecruiser lines. This design would have kept the "Queen Elizabeth" armament, but substituted thinner armour down to instead of , for example] in order to gain a top speed. Whatever the case, "Agincourt" was cancelled at the outbreak of war in 1914.


title: Queen Elizabeth-class battleship

text: In the First World War, "Queen Elizabeth" was detached from the squadron and took part in the Dardanelles Campaign, but missed Jutland as she was undergoing dock maintenance.


title: Queen Elizabeth-class battleship

text: At the Battle of Jutland, four of the ships formed Admiral Hugh Evan-Thomas's 5th Battle Squadron, and in the clash with the German 1st Scouting Group under Admiral Franz von Hipper they "fired with extraordinary rapidity and accuracy" (according to Admiral Scheer, commander of the High Seas Fleet), damaging and and a number of other German warships. These battleships were able to engage German battlecruisers at a range of 19,000 yards (17,400 m), which was beyond the maximum range of the Germans' guns. Three of the "Queen Elizabeth"s received hits from German warships during the engagement, yet they all returned home. "Warspite" was the most heavily damaged, with her rudder jammed and taking fifteen hits, coming close to foundering.


title: Queen Elizabeth-class battleship

text: Between the wars, the ships received considerable upgrades, including new machinery, small-tube boilers, deck armour upgrades, torpedo belt armour, trunked funnels, new secondary armament and anti-aircraft armament, and many improvements in gunlaying and electronics. "Queen Elizabeth", "Valiant", and "Warspite" were the most modernised, with all three receiving the new "Queen Anne's Mansions" block superstructure for the bridge, whilst twenty 4.5" dual-purpose guns in 10 turret mountings replaced the 6" casemate secondary weapons on "Queen Elizabeth" and "Valiant". "Warspite" kept her 6" secondary guns, now reduced to just four per battery.


title: Queen Elizabeth-class battleship

text: By the Second World War, the class were showing their age. "Barham" and "Malaya", the least-modernized of the class, were at a disadvantage compared to modern battleships. In spite of this, "Malaya" prevented an attack on a transatlantic convoy by the modern German battlecruisers and by her presence. "Queen Elizabeth", "Warspite", and "Valiant", the more modernised of the class, fared better. With her modern fire control equipment, "Warspite" scored a hit on an Italian battleship during the Battle of Calabria at a range of more than 26,000 yards, one of the longest range naval artillery hits in history.


title: Queen Elizabeth-class battleship

text: Modern torpedoes outclassed their torpedo belt protection: in November 1941, "Barham" was torpedoed by a U-boat and sank in five minutes, with the loss of over 800 of her crew, when her magazines detonated. "Warspite" survived a direct hit and two near-misses by German glider bombs, while "Queen Elizabeth" and "Valiant" were repaired and returned to service after being badly damaged by limpet mines placed by Italian frogmen during a raid at Alexandria Harbour in 1941.


title: Queen Elizabeth-class battleship

text: took part in the Dardanelles Campaign of 1915 bombarding forts, but missed Jutland in 1916. She became Admiral Beatty's flagship in 1917 after he assumed command of the Grand Fleet. In the Second World War she was mined by Italian frogmen and badly damaged, but did not ground in the shallow water of Alexandria Harbour in 1941. She was subsequently repaired, and served in the Far East until 1945.


title: Queen Elizabeth-class battleship

text: suffered severe damage at Jutland, being hit by at least 15 heavy shells. She lost 14 men, with 32 wounded, firing a total of 259 shells. In the Second World War, she took part in many battles, including Narvik, Cape Matapan, Crete, and Salerno, where she was hit by a glider bomb. She was never fully repaired, and became a coastal bombardment ship, covering the Normandy landings, further operations in other parts of France, and the Walcheren landings. She holds the most battle honours for an individual ship in the Royal Navy's history, with 15.


title: Queen Elizabeth-class battleship

text: received no hits at Jutland but suffered one wounded and fired 288 shells. In the Second World War, she took part in the attack on the French Fleet at Mers-el-Kebir, and was mined and damaged at Alexandria in 1941. She was repaired, and served in the Far East until 1944. On 8 August 1944 whilst in the floating dock at Trincomalee, Ceylon, she was severely damaged when the dock collapsed with the result that repairs were stopped.


title: Queen Elizabeth-class battleship

text: was named after Lord Barham, First Lord of the Admiralty. The "Barham" received five hits at Jutland, suffering 26 dead and 46 wounded and fired 337 shells. In the Second World War, she fought at Cape Matapan. On 25 November 1941 she was struck by three torpedoes from , commanded by "Oberleutnant zur See" Hans-Diedrich von Tiesenhausen, and went down with 850 of her crew.


title: Queen Elizabeth-class battleship

text: was hit eight times at Jutland, suffering 63 dead and 68 wounded, and fired 215 shells. In the Second World War, she escorted convoys and was damaged by a torpedo from in 1941. Subsequently, she escorted several convoys and supported various operations following the Normandy invasion until she was decommissioned in 1945.


title: Queen Elizabeth-class battleship

text: HMS "Agincourt" was to be the sixth member of the "Queen Elizabeth" class. She was authorized in 1913, and intended for completion in late 1916, but was cancelled after the outbreak of the First World War. She is not to be confused with that was ordered by Brazil, sold to the Ottoman Empire while under construction, and seized for use by the Royal Navy before the beginning of the first World War.


title: Queen Elizabeth-class battleship

text: The Canadian Naval Aid Bill of 1913 intended to provide the funds for three modern battleships, which most likely would have been three more members of the "Queen Elizabeth" class, potentially named as "Acadia", "Quebec" and "Ontario", in much the same way as "Malaya" had been funded. The bill met with stiff opposition in Parliament, and was not passed. It is unclear if these ships would have served in the Royal Navy (as with outright gifts like "Malaya" or the battlecruiser ), or if they would have served in the Royal Canadian Navy (, an , served with the Royal Australian Navy).


title: Mercury Prize

text: The Mercury Prize, formerly called the Mercury Music Prize, is an annual music prize awarded for the best album released in the United Kingdom by a British or Irish act. It was created by Jon Webster and Robert Chandler in association with the British Phonographic Industry and British Association of Record Dealers in 1992 as an alternative to the Brit Awards. The prize was originally sponsored by Mercury Communications, a brand owned by Cable & Wireless, from which the prize gets its name. It was later sponsored by Technics (1998 to 2001), Panasonic (2002 and 2003), Nationwide Building Society (2004 to 2008) and Barclaycard (2009–14). The 2015 prize was sponsored by the BBC, while in 2016 it was announced that a three-year deal had been struck with Hyundai to sponsor the event.


title: Mercury Prize

text: Any album released by a British or Irish artist, or by a band where over 50% of the members are British or Irish, may be submitted for consideration by their record label. Twelve submitted albums are shortlisted for the prize, chosen based solely on their musical merit and irrespective of how popular or successful an album or act that has been submitted may have been in the previous calendar year. The shortlist is chosen by an independent panel of musicians, music presenters, music producers, music journalists, festival organisers, and other figures in the music industry in the UK and Ireland. The prize is open to all types of music, including pop, rock, folk, urban, grime, dance, jazz, blues, electronica and classical. Presentation of the awards usually takes place at an Awards Show in October, after the shortlist is announced at the Album of the Year Launch in September. It is often observed that bands whose albums are shortlisted, or win the prize, experience a large increase in album sales, particularly for lesser known acts. Each shortlisted artist receives a specially commissioned 'Albums of the Year' trophy at the Awards Show. Unlike some other music awards, the overall winner of the Mercury Prize also receives a cheque; in 2017, the prize money was £25,000. The winner also receives an additional winner's trophy.


title: Mercury Prize

text: To date, PJ Harvey is the only artist to have won the award on more than one occasion (in 2001 and 2011). She was also the first female solo artist to receive the award. Alex Turner has received five nominations as a member of Arctic Monkeys and The Last Shadow Puppets, winning once. Thom Yorke has 6 nominations, 5 with Radiohead and one for "The Eraser", but has never won.


title: Mercury Prize

text: The awards ceremony was postponed for the first, and so far only, time in 2022 following the death of Queen Elizabeth II.


title: Mercury Prize

text: The Mercury Prize can have a considerable effect on sales for those artists who are shortlisted. Elbow saw a 700% sales increase of their album "The Seldom Seen Kid" after winning the Prize in 2008. In their winner's speech, Elbow's frontman Guy Garvey said that winning the Mercury Prize was 'Quite literally the best thing that has ever happened to us'. Similarly, sales of The xx's winning album rose by 450% the day after they won the 2010 Mercury Prize and 2013 winner James Blake saw a 2,500% sales increase on Amazon after he was announced as the winner of the 2013 Mercury Prize. 2011 winner PJ Harvey's album "Let England Shake" jumped from number 181 to 24 in the UK official charts the week after the 2011 Awards Show.


title: Mercury Prize

text: Despite being regarded by many as highly prestigious, it has been suggested that having an album nominated for or winning the Mercury Prize could be a curse on a career in music.


title: Mercury Prize

text: In 2001, the band Gorillaz requested that their eponymous debut album be withdrawn from the shortlist, with cartoon bassist Murdoc Niccals saying that winning the award would be "like carrying a dead albatross round your neck for eternity".


title: Mercury Prize

text: All genres of music are eligible for entry, and it is stated that all are treated equally, with only the music on the album being taken into account. Simon Frith, chair of the Mercury Prize judging panel, has said that albums are chosen because they are the "strongest" each year, rather than according to genre. However, the presence of classical, folk and jazz recordings has been cited by some as anomalous, arguing that comparisons with the other nominees can be invidious. Classical acts to have an album nominated have included Sir John Tavener, Sir Peter Maxwell Davies, Gavin Bryars and Nicholas Maw. None has ever won, and there has not been a shortlisted classical album since 2002.


title: Mercury Prize

text: The Mercury Prize also has a reputation for being awarded to outside chances rather than the favourites. The 1994 award winner was "Elegant Slumming" by the pop act M People, which some felt was a controversial decision considering the shortlist included popular albums from Britpop figureheads Paul Weller, Blur and Pulp, and electronica band The Prodigy.


title: Mercury Prize

text: Other music journalists critical of the awards stated that the 2005 award should not have been given to Antony and the Johnsons for their album "I Am a Bird Now" as, although they are British-born and therefore eligible for the Prize, the band were based in the United States. In 2006, Isobel Campbell's collaboration with Mark Lanegan, "Ballad of the Broken Seas", was included in the shortlist, despite Lanegan being American, as the album was eligible due to Campbell's British citizenship, while Guillemots, whose album was also shortlisted in 2006, contained band members from Brazil and Canada, although the majority were from the UK.


title: Mercury Prize

text: Current eligibility criteria state that all albums must be available to buy as a digital release in the UK. In September 2013, My Bloody Valentine vocalist and guitarist Kevin Shields expressed concerns about the award in an interview with "The Guardian", accusing the Mercury Prize's organisers of "banning" the band's self-released album, "m b v", from the shortlist nominations and addressing the nomination criteria, which he claimed branded the album "virtually illegal".


title: Mercury Prize

text: It has also been noted that heavy metal has been overlooked by the prize. A 2013 article by "Vice" on the Mercury Prize said "Metal certainly never gets a look-in, not even on the official entry information form: 'The Prize is open to all types of music, including pop, rock, folk, hip-hop, R'n'B, dance, soul, jazz, blues, electronica, classical…'" The only metal record that has ever been nominated for the Mercury Prize is "Troublegum" by Therapy? in 1994. In 2011, Mercury chair of judges Simon Frith said "[Metal] is a niche that a lot of people don't listen to." In 2011, "The Guardian" music critic Alexis Petridis agreed that the Mercury Prize underrepresented heavy metal, but argued that this actually benefitted the genre because "At least part of metal's appeal is its outsider status."


title: Mercury Prize

text: Totals listed are for bands or artists nominated more than once under the same name. It does not include appearances on compilations (e.g. Artists for War Child) or individuals nominated separately as a soloist and group member (e.g. Robbie Williams for his "Life thru a Lens" and Take That's "Everything Changes").