Can We Give It Up for Bubbles, Please?

Bev ain't no mo. Gee, we loved her. Dig this, it's so true:
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Along with Maria Callas and Joan Sutherland, Ms. Sills was an acknowledged exponent of the bel canto (honey, read Can Belto) Italian repertory during the period of its post-World War II revival. Though she essentially had a light soprano voice, her sound was robust and enveloping. In her prime her technique was exemplary. She could dispatch coloratura roulades and embellishments, capped by radiant high D’s and E-flat’s, with seemingly effortless agility. She sang with scrupulous musicianship, rhythmic incisiveness and a vivid sense of text.
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Moreover, she brought unerring acting instincts to her portrayals of tragic leading roles in Donizetti’s “Lucia di Lammermoor” and “Anna Bolena,” Bellini’s “Puritani,” Massenet’s “Manon” and many other operas in her large repertory. And few singers matched her deadpan comic timing and physical nimbleness in lighter roles like Rosina in Rossini’s “Barbiere di Siviglia,” whom Ms. Sills portrayed as a ditsy yet determined young woman, and Marie, the tomboylike heroine raised by a military regiment in Donizetti’s “Fille du Régiment.”
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May choirs of angels greet you, Bubbles. We love you.