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The Voice is an international reality television singing competition franchise. It is based on the reality singing competition The Voice of Holland, which was originally created by Dutch producer John de Mol and Dutch singer Roel van Velzen.
The Voice | |
---|---|
Created by |
|
Original work | The Voice of Holland |
Owner |
|
Years | 2010–present |
Films and television | |
Television series |
|
Audio | |
Original music | This is The Voice (theme song) composed by Martijn Schimmer |
Miscellaneous | |
Genre |
|
First aired | 17 September 2010; 12 years ago |
Official website | |
Production website |
It has become a rival to the Idols franchise, The Four, Rising Star and The X Factor. Up until 2020, the franchise was owned by Talpa Network. The current owner is ITV Studios.[1]
Originated in the Netherlands, many other countries adapted the format and began airing their own versions starting in 2010. Up till now, seven different versions of The Voice have been produced by countries/regions all around the world. Some programs still stick to the original format of the show while most of them are produced with twists of the format added.
The franchise maintains official YouTube channels called The Voice Global and La Voz Global (as the Spanish version). The channels upload compilation videos of performances from The Voice all around the world. The Voice Global channel currently has over 10 million subscribers.[2] Other channels on YouTube such as Best of The Voice[3] and Best of The Voice Kids[4] also feature compilations of the performances.
HistoryEdit
Talpa’s John de Mol Jr., creator of Big Brother, first created The Voice concept with Dutch singer Roel van Velzen. Erland Galjaard, a Dutch program director, asked John de Mol about whether he could come up with a format that went a step further than The X Factor. De Mol then came up with the idea of Blind Audition. He wanted the show’s image to be about the focus on singing quality alone, so the coaches must be top artists in the music industry. The rotating chairs concept was invented by Roel van Velzen. It would also be the first talent show in which social media was actively involved.[5]
On 17 September 2010, The Voice of Holland began to air on RTL 4 with Angela Groothuizen, Roel van Velzen, Nick & Simon, and Jeroen van der Boom as the mentor-judges (dubbed as «coaches») of the show.[6] The show proved to be an instant success in the Netherlands.[7][8]
The format was later sold to different countries, in many cases replacing a previous Endemol music contest format, Operation Triumph / Star Academy.
Original formatEdit
The show’s format features five stages of competition: producers’ auditions, blind auditions, battle rounds, knockouts (since 2012), and live performance shows.
Blind auditionsEdit
Contestants are aspiring singers drawn from public auditions (which are not broadcast) and active recruitment. Unlike Idols and The X Factor, the producers pick fewer contestants (usually from 100, up to 200 contestants), which are deemed «the best artists», to perform in the broadcast auditions.[5] The first televised stage is the blind auditions, in which the four coaches, all noteworthy recording artists, listen to the contestants in chairs facing away from the stage so as to avoid seeing them. If a coach likes what they hear from that contestant, they press a button to rotate their chairs to signify that they are interested in working with that contestant. If more than one coach presses their button, the contestant chooses the coach he or she wants to work with. The blind auditions end when each coach has a set number of contestants to work with. Coaches will dedicate themselves to developing their singers mentally, musically and in some cases physically, giving them advice, and sharing the secrets of their success.
BattlesEdit
The contestants who successfully pass the blind auditions proceed to the battle rounds, where the coaches put two or sometimes three of their own team members against each other to sing the same song together in front of a studio audience. After the vocal face-off, the coach must choose only one to advance. If no specific winner can be identified, either the competition turns to a game of fate via a coin toss, or the coach may combine them into a duo throughout the rest of the competition. In rare cases the coach can also choose to advance neither one (As seen in season eight of The Voice of Holland). In some versions, there are steals where opposing coaches can steal a contestant who was voted off by their own coach by pressing their button. As in the blind auditions, if more than one coach presses their button, the contestant chooses which coach they want. Each coach has a set number of steals, usually one or two (raised to three in the seventh season of The Voice Brasil).
KnockoutsEdit
The knockout round was introduced in 2012, and is implemented in some versions. The winners of the battle rounds proceed to this round (dubbed Super-battle round/Sing-off in some versions).
As in the battle rounds, coaches pit members of their own team (usually 2/3/4, rarely 6 or 10) against each other. This time, the contestants choose their own song to perform individually while the other watches and waits. After that, the coach chooses one to advance while the other is sent home. At the end of the knockout rounds, the strongest members of each coach’s roster proceed to the live stage shows. Some versions include steals. Like in the battle round, the opposing coaches can steal a contestant who was voted off by their own coach by pressing their button. Similar to the blind auditions, if more than one coach presses their button, the contestant chooses which coach they want.
Live showsEdit
In the final performance phase of the competition, the top contestants from each team compete against each other during a live broadcast. The television audience vote to save one contestant on each team, leaving the coach to decide on live television who they want to save and who will not move on. In the next round, the public chooses between the two artists left on each team, and the coach also has a vote that weighs equally with the public vote.
Finally, each coach will have his/her best contestant left standing to compete in the finals, singing an original song. From these four or five, one will be named «The Voice»—and will receive the grand prize of a recording contract and a cash prize. Universal Music Group is the general record company associated and affiliated with The Voice format in most countries.
Edit
One of the cornerstones of The Voice format is the social media participation via Twitter, Facebook and the specially designed platform «connect». Users are able to log in via their Facebook account and retrieve background information about the show. The platform also offers the possibility to stream the show online as well as to vote, interact with friends and to discuss various topics and questions asked by the producers throughout the show.[9]
Format variationsEdit
Blind audition twistsEdit
No conversations if no turnEdit
Starting from the fifth season of The Voice of Holland,[10] if all the coaches rejected one specific contestant, they would leave the stage straight away, without any conversations with the coaches, and the chairs would remain unturned. The format is currently also used in some other versions such as The Voice of Poland, Glasat na Bulgaria, The Voice Nigeria The Voice of Mongolia, The Voice Sri Lanka and The Voice UK. Other versions that used this format consist in the fifth and eighth season of Vocea României,[11] the fourth to sixth seasons of The Voice Belgique, the sixth season of The Voice of Albania, in the second season of The Voice Afrique, from second to third season of The Voice South Africa from sixth to eighth season of The Voice: la plus belle voix, the fourth season of The Voice of Armenia, the eighth season of Holos Krainy, the third season of The Voice Cesko Slovensko, and from fourth to eighth season of Lietuvos Balsas. In the case of La Voz Mexico, it was first apllied from sixth to seventh season when it was still in Las Estrellas, and then in eleventh season when it was still in TV Azteca.
Block ButtonEdit
The American version introduced a new mechanism in the blind auditions on the fourteenth season: the Block button. When a coach wants to get the specific contestant but does not want another coach to do so, they may press the block button to block them from getting the contestant, and then turn around at the same time. The coach who is blocked will not know until pressing their red button and, after that, they will get the word «blocked», instead of their name in the LED floor. A coach can use the block button once in a season (the number of allowed blocks varies in other versions, which are described below), and only one block is allowed per audition. The Block twist was then applied in:
- The Voice of Italy season 5, with a slight change: the block buttons only block the coach, and the person who presses the block button only turns around by pressing the main button. It is rather risky because if only the blocked coach turns around, it is considered that no coaches turned for the contestant. This slight change was removed in season 6, where, also, the number of blocks was raised to two for each coach.
- Giọng hát Việt season 5.[12] Starting on season 6, a coach can turn their chair first, and then press the block button to block another coach.
- The Voice Brasil season 7, where the blocks are also possible in the battles round.[13] When the coach presses the block button, the non-turned coaches’ chair lights turn blue until the blocked coach turns. Starting from season 8, the number of blocks was raised to two for each coach, only in the blinds. In season 10, block button available only during the blinds.
- La Voz Mexico season 7. In season 8 after it acquired by TV Azteca, although the button is present, coaches were not given any blocks to use. However, it returned in season 9, with each given two blocks to use. In season 11, the blocks were increase to four per coach.
- Vocea României season 8.[14]
- The Voice Kids of Vietnam season 6, which was the first of The Voice Kids. In season 7, the number of blocks was raised to two per coach, and when the blocked coach presses their button to turn, the chair does not turn around. However, the contestants are able to unblock the blocked coach and choose that team. In season 8, block available is reduced from two to one block per coach (as like in season 6).
- The Voice Portugal season 6.[15] In season 8, they applied the rule of blocking a coach even when they are already turned; also, blocks are increased to two. From season 9, two coaches can be blocked in a single audition. In season 10, when the blocked coach tries to turn for the contestant, the chair won’t turn but this only applies if the blocking coach pressed the block button before the blocked coach turns.
- The Voice of Greece season 5, with the number of available blocks being four for each coach.[16]
- The Voice Belgique season 8.[17] From season 9, block available is increased to two for every coach.
- The Voice Thailand season 7, with the number of blocks being two per coach. In season 8, the number of blocks was raised to three.[18]
- Spanish La Voz season 6, with the number of blocks being three for each coach. When the blocked coach presses their button to turn, the chair does not turn around.[19] In season 9, two coaches can be blocked in a single audition.
- The Voice: la plus belle voix season 8.[20] Starting season 11, blocks given to coaches is raised to two. From season 12, a coach can block another one even after the performance, and blocked coach’s chair will rotate backward to the audience.[21]
- United States’ Spanish La Voz season 1. In season 2, the number of blocks was increased to two.[22]
- Spanish La Voz Kids season 5, with each coach given two blocks to use. When the blocked coach presses their button to turn, the chair does not turn around.[23] In season 7, blocks given to coach raised to three with two coaches can be blocked in single audition.
- Holos Krainy season 9. Although the block button is present, the «coach name on the LED floor» isn’t. Instead, when the blocked coach presses their button to turn, they will see the LED lines towards them staying red (as if they had not turned around). In season 10, the coach’s name on the floor was present. In season 11, the block button was removed.[24]
- La Voix season 7.[25]
- The Voice van Vlaanderen season 6. In season 7, the block button was removed.
- The Voice India season 3.[26]
- Glasat na Bulgaria season 6. In season 7, when the blocked coach tries to turn around, the chair will not turn. It was removed in season 8 in which also blocks are increased to two for every coach.
- The Voice ישראל season 5.[27]
- French The Voice Kids season 6.[28]
- Lietuvos balsas season 7. Starting season 9, each coach has given two blocks in the entire season.
- The Voice Indonesia season 4.[29]
- The Voice – أحلى صوت season 5.[30]
- O Ses Türkiye season 9.[31] The coaches can use block button indefinitely with 2 coaches can be blocked in a single audition and can be used even after the performance of the contestant.
- The Voice Hrvatska season 3.[32]
- Filipino’s The Voice Teens season 2, which was the first of The Voice Teens. The number of available blocks is two for each coach.[33]
- Belgium-Flanders’ The Voice Kids season 5, with two blocks for each coach.[34]
- The Voice Australia season 9.[35] The number of available blocks is two for each coach with two blocks permitted to use in a single audition, and it also has a slight difference. The coach who wants to use the block and the coach who is being blocked have to turn before any block can be used.[36] From season 11, block button can be used even after the contestant’s performance.
- The Voice of Korea season 3.
- The Voice Kids Thailand season 7.
- The Voice of Poland season 11, with two blocks for each coach, and two coaches can be blocked in one audition. In season 12, block button can be used even after a contestant’s performance, but it was removed on the following season.
- The Voice UK season 10.[37] In season 12, the block button was removed.
- Italian The Voice Senior season 1, which was the first of The Voice Senior.
- Spanish La Voz Senior season 2 and when the blocked coach presses their button to turn, the chair does not turn around.
- Portuguese The Voice Kids season 2, with two blocks per coach, and coaches can block another one after they have turned around.
- O Ses Türkiye RAP season 1.
- The Voice Kids Indonesia season 4, with two blocks for each coach.
- The Voice საქართველო season 4.
- La Voz Peru season 4, with the number of available blocks being three for each coach.[38] Starting season 6, two blocks are permitted in a single audition.
- Peruvian La Voz Senior season 1, with the number of blocks being three for each coach, with two blocks permitted during the audition. In season 2, coaches may block another coach even after they already turned.
- The Voice of Holland season 12. Coaches can block another coach after they have turned around.
- The Voice of Finland season 11. Coaches press the block button first and then the main button for the block to be valid.
- Peruvian La Voz Kids season 4.
- Lietuvos Balsas. Kartos season 1, which is the first of The Voice Generations.
- The Voice of Mongolia season 3. With each coach given two blocks to use. Coaches turn their chair first, and press the block button.
- La Voz Argentina season 4. With three blocks given per coach. Coaches press the block button and turn their chair.
- The Voice All Stars Thailand season 1, which is the first of The Voice All Stars.
- La Voz Kids Colombia season 6. With coaches can use block button indefinitely, and when the blocked coach presses their button to turn, the chair does not turn around.
- La Voz Senior Colombia season 2. With coaches can use block button indefinitely, and when the blocked coach presses their button to turn, the chair does not turn around.
- Peruvian La Voz Generaciones season 1
- The Voice Nigeria season 4
- Filipino’s The Voice Kids season 5
- Russian The Voice season 11, with three blocks given every coach.
- The Voice Kids Italy season 1
- The Voice Chile season 4
Mute ButtonEdit
The sixth season of The Voice Kids of Vietnam had a new feature called «Mute button». As its name implies, the muted coach will not be allowed to speak, but they can still do all the kind of body language to convince the contestant to join their team. The Mute only adds excitement to the program, as contestants can still pick the muted coach. Each coach has only one Mute per audition.[39] It was shortly removed in seventh season then returned in the next season.
Wildcard Round / The Comeback StageEdit
The Wildcard round was introduced in the first two seasons of The Voice of Holland, wherein the selected failed contestants of the blind auditions were screened and would perform via radio program Radio 538. Some coaches will select if they want that contestant on their team to compete in the battles, but it was abandoned in the later seasons. It was reintroduced in the 15th season of the U.S. version where it is now called as «The Comeback Stage». On it, a fifth coach will mentor six contestants that failed to make a team in the blind auditions, and they will compete against each other in a digital companion series, with the winner securing a spot in the Top 13.[40] Later, it was removed on the seventeenth season. This was acquired in the ninth season of The Voice of Germany, in the fourth season of The Voice Indonesia, in the second season of La Voz USA, in the seventh season of La Voz,[41] in the tenth season of The Voice of Finland, in the seventh season of The Voice van Vlaanderen, in the third season of La Voz Argentina, in the tenth season of The Voice Brasil, in the twelfth season of The Voice of Holland, in the eleventh season of The Voice: la plus belle voix the twelfth season of Holos Krainy in the third season of The Voice Chile the ninth season of La Voix and the second season of The Voice Sri Lanka
SwitchEdit
The sixth season of Giọng hát Việt introduced The Switch. Coaches with a full team could press the Switch button to swap one contestant with another contestant that expressed interest in the coach. Each coach only has one Switch during the course of the Blind auditions. The Special coach was also introduced this season, a role that shares similarities with the U.S. version’s Comeback Stage coach. Instead of turning away from the stage as usual, the special coach’s chair stay towards the stage during all performances, allowing him/her to know how the contestants look like, he/she has the ability to choose unlimited contestants, unlike other coaches, and his/her selection button is still valid even when the contestant has finished his/her performance. However, the special coach can only select contestants that were not chosen by three other coaches.
No limitEdit
In season ten of The Voice of Australia (which is later removed in Season 11 which coaches can only have 12 artists), the judges had an no limit on the number of contestants they could turn for during the blind auditions.[42] This follows coach, Guy Sebastian, «breaking the rules» in season nine by turning for Wolf Winters after his team was already full.[43] However in order to balance out numbers, a following round (held straight after the blind auditions) called The Cut was introduced, where the judges hold a private callback session with their team to battle for five spots in the Knockout Rounds.[44] Each judge groups their team by specific themes and tasks each artist to perform their rendition of a chosen song before finalising their team.[44] This rule was also applied in the eighth season of Glasat na Bulgaria, where coaches can have unlimited contestants on their team. However, at the end of Blind Auditions, the coaches have to cut down to 14 contestants to the next round (12 in the ninth season). This also applied in the second season of The Voice Dominicana, in the tenth season of Vocea României, in the twelfth season of The Voice of Finland and in the ninth season of Lietuvos Balsas
Battle PassEdit
The eleventh season of The Voice of Australia introduced the «Battle pass». In this twist, coaches will have a new additional silver button, in addition to the four ones which coaches can press to send automatically the contestant to the battle rounds. Each coach could only press the button once in the entire blind auditions. This edition was also acquired in the fourth season of The Voice Nigeria
Battles twistsEdit
The seventh season of The Voice of Holland features non stop steal, which means that steals during the battle rounds follow a hot-seat procedure: a coach may replace his or her stolen contestant as many times as he or she likes until the end of the battles. This feature also applies in the seventh season of The Voice of Poland, the seventh season of Vocea României, fifth season of The Voice van Vlaanderen,[45] the fifth season of The Voice Portugal, the seventh season of Holos Krainy, the sixth season of The Voice: la plus belle voix, the fourth season of The Voice of Armenia, and The Voice Ahla Sawt, the fifth season of The Voice – Norges beste stemme and The Voice ישראל, the sixth season of Giọng hát Việt, the ninth season of The Voice of Germany (dubbed «Steal Room»), in the second season of The Voice Dominicana and in the ninth season of Glasat na Bulgaria.
Another format was introduced in the fourth season of La Voz Kids España.[46] The remaining contestants that was saved by the coaches will proceed to the fast-paced Battle Rounds wherein the supercoach will decide who will proceed to the live semi-finals.
The fifth season of Giọng hát Việt features no-elimination, which is used only once throughout the battles when a coach does not want to eliminate one of two their contestants and wants to keep them in the next round. A coach has to ask and gets consent from both contestants. After getting consent, two contestants were retained and would become a duo (they were not a solo-contestant), combined together throughout the rest of the competition; if a coach does not get consent, they must choose only one to advance to the knockouts as the original format.[47]
The twenty-third season of the American season introduced the Playoff Pass. A replacement to the «save» from seasons 14-22, the «pass» allows each coach to advance further both artists of a battle; while one will still advance to the knockouts, the recipient of the «pass» will bypass the knockouts and go directly to the playoffs. [48]
Knockouts twistsEdit
The third season of The Voice South Africa introduced a new way to conduct the Knockout round: After each contestant’s solo performance, the respective coach will have to decide whether they are in the Safe Zone (which means qualified for the Battles) or the Danger Zone (at risk of elimination). Each coach can only send three contestants to the Safe Zone but also have two steals across the round. After all members from one team have concluded their performances, the coach will save a number of artists from the Danger Zone to move on to the Battles. Contestants who are sent to the Danger Zone but not chosen by their coach or get stolen by another coach will be eliminated. However, audience can also vote for the artist in the Danger Zone by televoting.[49] This rule was then applied in the eighth season of The Voice: la plus belle voix, where six artists will be chosen for the Safe Zone, but public’s vote is not included. Also, in the third season of The Voice Nigeria.
Live shows twistsEdit
The cross-battle was introduced in the semi-final round of the fourth season of The Voice of Holland.[50] In this round, two contestants from two different teams compete against each other and the public vote determines who will advance. This also applies from the fifth until the seventh season of The Voice Brasil, from the third until the seventh season of The Voice of Greece, as well as the sixteenth season of The Voice, the second season of La Voz in the United States or also on the tenth season of The Voice, la plus belle voix in France, and also in the eighth season of Glasat na Bulgaria.
An All-Star formatEdit
In the eighth and ninth seasons of The Voice Australia, introduced a new twist in the show which a group of former contestants from the past seasons compete also with the new talents. Diana Rouvas and Chris Sebastian from first season of the show was hailed as a grand champion in two consecutive seasons. It was applied in the tenth season of The Voice of Germany as part of their 10th anniversary season special and in the eighth season of The Voice Portugal.
On the other hand, an All-Star edition which is only for the previous candidates, was announced as mentioned by the ITV Studios’ for global entertainment President Maarten Meijs last September 2020. TF1 will be the first broadcaster to air the series under of The Voice: la plus belle voix.[51][52] The format was also then applied in The Voice of Finland,[53] The Voice Thailand and The Voice Indonesia.
Non-televised showsEdit
There were non-televised shows as not seen in the various format of the franchise such as The Voice of the Ocean (US) with Princess Cruises,[54] The Voice of the Sea (Italian) with Costa Cruises,[55] The Voice Univa and The Voice Teens Univa (Spanish) with Grupo Telecentro in México.[56]
The Voice around the worldEdit
A combined 592 singers have won The Voice, The Voice Kids, The Voice Teens, The Voice Senior, The Voice All Stars, The Voice Rap, The Voice Generations, and The Voice Native Songs in 65 countries/regions. Each winner is given a recording contract, a monetary prize, and a title as that nation’s «Voice». The first winner was Ben Saunders of The Voice of Holland. The most recent was Sophie Grenier from La Voix.
Location of The Voice versions:
With own version of The Voice
With own versions of The Voice and The Voice Teens
With own versions of The Voice and The Voice Kids
With own versions of The Voice, The Voice Kids and The Voice Teens
With own versions of The Voice, The Voice Kids and The Voice Senior
Part of a regional or multinational version of The Voice
Part of a regional or multinational versions of The Voice and The Voice Kids
Part of a regional or multinational versions of The Voice, The Voice Kids and The Voice Senior
Part of a regional or multinational versions of The Voice, The Voice Kids, The Voice Teens and The Voice Senior
- Franchise with a currently airing season
- Franchise with an upcoming season
- Franchise awaiting confirmation
- Franchise with an unknown status
- Franchise that has ceased to air
- Franchise that was cancelled during production
- Original version of The Voice
- Original version of The Voice Kids
- Original version of The Voice Senior
- Original version of The Voice Teens
- Original version of The Voice RAP
- Original version of The Voice All Stars
- Original version of The Voice Generations
- Original version of The Voice Native Songs
Country/Region | Local title | Network | Winners | Coaches | Hosts |
---|---|---|---|---|---|
Afghanistan[57] | آواز افغانستان The Voice of Afghanistan |
Tolo TV (1–2) |
|
|
|
Africa | The Voice Africa | Airtel TV |
|
|
|
Africa Françafrique | The Voice Afrique Francophone | VoxAfrica |
|
|
|
The Voice Kids[58] |
|
|
|
||
Albania Kosovo |
The Voice of Albania1 | Top Channel Website |
|
|
|
The Voice Kids |
|
|
|
||
Angola Mozambique[59] |
The Voice Angola5 | Dstv |
|
|
|
Arab World | The Voice – أحلى صوت The Voice – Best Voice |
MBC1 LBCI Website |
|
|
|
The Voice Kids – أحلى صوت[60][61] The Voice Kids – Best Voice |
|
|
|
||
The Voice Senior – أحلى صوت[62] The Voice Senior – Best Voice |
|
|
|
||
Argentina | La Voz Argentina[63][64] The Voice Argentina18 |
Telefe Website |
|
|
|
Armenia[65] | Հայաստանի ձայնը The Voice of Armenia |
Armenia TV (1–4) |
|
|
|
Australia | The Voice[66][67] | Current Seven Network (10–) Former Nine Network (1–9) |
|
|
|
The Voice Kids[68] | Nine Network (1) |
|
|
|
|
The Voice: Generations30[69] Original |
Seven Network |
|
|
|
|
Azerbaijan[70] | Səs Azərbaycan The Voice of Azerbaijan |
Current itv (2–)24 Former AzTV (1) |
|
|
|
Səs Uşaqlar The Voice Kids Azerbaijan |
itv24 |
|
|
|
|
Səs Azərbaycan. Doğma Nəğmələr The Voice of Azerbaijan. Native Songs Original |
|
|
|
||
Belgium Flanders Wallonia |
The Voice van Vlaanderen (Dutch) The Voice of Flanders |
vtm Website |
|
|
|
The Voice Kids (Dutch) |
|
|
|
||
The Voice Senior[71][72](Dutch) |
|
|
|
||
The Voice Belgique[73][74](French) The Voice Belgium |
La Une VivaCité Website |
|
|
|
|
The Voice Kids[76][77](French) The Voice Kids Belgium |
|
|
|
||
Brazil | The Voice Brasil[78] | Rede Globo Website |
|
|
|
The Voice Kids[79] |
|
|
|
||
The Voice + |
|
|
|
||
Bulgaria | Гласът на България[80] The Voice of Bulgaria |
bTV Website |
|
|
|
Cambodia | The Voice Cambodia | Hang Meas HDTV |
|
|
|
The Voice Kids Cambodia |
|
|
|
||
Canada Quebec |
La Voix3[81][82][83][84][85][86](French) The Voice |
TVA |
|
|
|
La Voix Junior (French) The Voice Junior |
|
|
|
||
Chile | The Voice Chile | Current Chilevisión (3–) Former Canal 13 (1–2) |
|
|
|
China (Mandarin) | The Voice of China – 中国好声音 The Voice of China – Best Voice of China |
Zhejiang TV |
|
|
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Colombia | La Voz Colombia The Voice Colombia |
Caracol Televisión |
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La Voz Kids[87][88][89] The Voice Kids |
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La Voz Teens[90] The Voice Teens Original |
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La Voz Senior[91][92] The Voice Senior |
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Croatia | Current The Voice Hrvatska[93](3–) The Voice of Croatia Former The Voice – Najljepši glas Hrvatske (1–2) The Voice – The Most Beautiful Voice of Croatia |
HRT 1 Website |
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The Voice Kids[95] |
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Czech Republic & Slovakia | Hlas Česko Slovenska (1–2) The Voice of Czecho Slovakia The Voice Česko Slovensko[96][97][98](3) |
TV Nova Website Markíza Website |
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Denmark Faroe Islands Greenland |
Voice – Danmarks største stemme Voice – The Biggest Voice of Denmark16 |
TV 2 (1–2) |
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Voice Junior[99] | TV 2 (1–5) Kanal 5 (6) Website |
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Dominican Republic | The Voice Dominicana[100] | Telesistema 11 |
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Ecuador | La Voz Ecuador The Voice Ecuador |
Teleamazonas (1–2) Website |
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Finland | The Voice of Finland[101] | Nelonen |
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The Voice Kids |
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The Voice of Finland: All-Stars[102][103]29 |
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The Voice Senior[104] |
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France | The Voice – la plus belle voix12[105] The Voice – The Most Beautiful Voice |
TF1 Website |
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The Voice Kids[106] |
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The Voice : All-Stars[108]29 Original |
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Georgia | Current The Voice საქართველო[109](3–) The Voice Georgia Former ახალი ქართული ხმა (1–2) The Voice of Georgia |
Current 1tv (4–) Former Imedi TV (1–3) |
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ახალი საბავშო ხმა The Voice Kids |
Imedi TV (1) |
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Germany | The Voice of Germany[110][111] | ProSieben Sat.1 Website |
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The Voice Kids[112] | Sat.1 Website |
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The Voice Senior[113][114] |
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Greece Cyprus |
The Voice of Greece4 | Current Skai TV (3–) Sigma TV (3–) Former ANT1 (1–2) |
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The Voice Kids | ANT1 |
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— | — | |
Hungary | The Voice – Magyarország hangja The Voice – Voice of Hungary |
Current RTL (2–) Former TV2 (1) |
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Iceland | The Voice Ísland The Voice Iceland |
Sjónvarp Símans (1–2) |
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India | The Voice India[116][117]21 | &TV (1–2) StarPlus (3) |
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The Voice India Kids | &TV (1–2) Website |
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Indonesia | The Voice Indonesia[118][119]23 | Indosiar (1) RCTI (2) GTV (3–4)[120] Website |
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The Voice Kids Indonesia | GTV Website |
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The Voice All Stars |
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Iran | The Voice Persia[121] | MBC Persia |
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Ireland | The Voice of Ireland | RTÉ One (1–5) |
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Israel | The Voice ישראל[122][123] The Voice Israel |
Channel 13 Reshet Website |
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Italy[124] | The Voice of Italy11[125][126] | Rai 2 Rai HD Website |
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The Voice Senior[127] | Rai 1 |
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The Voice Kids |
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Japan | The Voice Japan[128] | TV Tokyo Website |
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Kazakhstan | Current Qazaqstan дауысы (5–) The Voice of Kazakhstan Former Қазақстан Дауысы (1–3) Голос Казахстана14 (4) The Voice Kazakhstan |
Current Qazaqstan TV (1–3, 5–) Former Perviy Kanal Evraziya (4) |
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Current Qazaqstan дауысы. Балалар (2–) The Voice of Kazakhstan. Kids Former Голос Дети Казахстана14 (1) The Voice Kids Kazakhstan |
Current Qazaqstan TV (2–) Former Perviy Kanal Evraziya (1) |
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Lithuania | Lietuvos Balsas[129] The Voice of Lithuania |
LNK |
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Lietuvos balsas. Vaikai[130] The Voice of Lithuania. Kids |
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Lietuvos balsas. Senjorai[131][132] The Voice of Lithuania. Senior |
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Lietuvos Balsas. Kartos [133] The Voice of Lithuania. Generations |
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Malaysia Singapore |
The Voice – 决战好声[134][135] The Voice – Battle for the Best Voice |
StarHub TV E City (1) Astro AEC (1) |
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Malta | The Voice Kids25 | TVM |
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Mexico | La Voz… México (1–7)[136] The Voice… Mexico La Voz (8–11)[137] The Voice |
Las Estrellas (1–7) Website Azteca Uno (8–11) Website |
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La Voz Kids[138][139] The Voice Kids |
Las Estrellas (1–2) Website Azteca Uno (3–4) Website |
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La Voz Senior[140] The Voice Senior |
Azteca Uno[141] Website |
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Mongolia | The Voice of Mongolia[142] | Mongol TV Website |
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Myanmar | The Voice Myanmar | MRTV-4 |
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Nepal | The Voice of Nepal | Current Himalaya Television (2–) Former Kantipur (1) Kantipur HD (1) Website |
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The Voice Kids | Himalaya Television |
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Netherlands (Original) | The Voice of Holland[143] Original |
RTL 4 Website |
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The Voice Kids7[145] Original |
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The Voice Senior[146] Original |
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Nigeria | The Voice Nigeria[147] | Africa Magic |
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The Voice Kids |
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Norway | The Voice – Norges beste stemme The Voice – Norway’s Best Voice |
TV2 Website |
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Peru | La Voz Peru[148][149][150][151] The Voice Peru |
Latina Television Website |
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La Voz Kids The Voice Kids |
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La Voz Senior The Voice Senior |
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La Voz Generaciones[152] The Voice Generations |
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Philippines | The Voice of the Philippines[153][154] | ABS-CBN (1–2) |
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The Voice Kids[155] | Current Kapamilya Channel (5–) A2Z (5–) TV5 (5–) Former ABS-CBN (1–4) |
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The Voice Teens | ABS-CBN (1–2) Kapamilya Channel (2) |
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The Voice Generations[158] | GMA Network |
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Poland | The Voice of Poland[159] | TVP2 Website |
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The Voice Kids |
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The Voice Senior[160] |
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Portugal | Current The Voice Portugal (2–) Former A Voz de Portugal (1) The Voice of Portugal |
RTP1 |
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The Voice Kids |
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The Voice Gerações The Voice Generations |
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Romania Moldova |
Vocea României[161]10 The Voice of Romania |
Pro TV Pro TV Chișinău Website |
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Vocea României Junior The Voice of Romania Junior |
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Russia | Голос14 The Voice |
Channel One Website |
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Голос. Дети14 The Voice Kids |
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Голос. 60+[162][163] The Voice 60+ |
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South Africa[147] | The Voice South Africa[164][165][166] | M-Net9 Website |
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South Korea | The Voice of Korea[167] | Mnet9 Website |
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The Voice Kids |
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Spain Andorra |
La Voz13[168][169][170][171] The Voice |
Current Antena 3[172][173] (6–) Former Telecinco (1–5) Website |
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La Voz Kids The Voice Kids |
Current Antena 3[172] (5–) Former Telecinco (1–4) Website |
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La Voz Senior[174][175] The Voice Senior |
Antena 3[172] |
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Sri Lanka | The Voice Teens[176]25 | Sirasa TV |
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The Voice Sri Lanka31 |
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Sweden | The Voice Sverige The Voice Sweden |
TV4 (1) |
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Switzerland Liechtenstein |
The Voice of Switzerland[178] | SRF 1 (1–2) 3+ (3) Website |
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Thailand | The Voice เสียงจริงตัวจริง[179] The Voice Thailand |
Channel 3 (1–6) 3 HD (1–6) True4U (1–6) PPTV36 (7–8) Website |
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The Voice Kids[180] | Channel 3 (1–5) 3 HD (1–5) True4U (1–5) PPTV36 (6–7) Website |
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The Voice Senior[181][182] | PPTV36 (1–2) Website |
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The Voice All Stars | One31 |
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Turkey | O Ses Türkiye[183][184][185] The Voice Turkey |
Current TV8 (4–) Website Former Show TV (1) Star TV (2–3) |
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O Ses Çocuklar7[186][187] The Voice Kids |
Star TV (1) TV8 (2–3) |
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O Ses Türkiye RAP[189] The Voice Turkey RAP |
Exxen |
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Ukraine | Голос країни14 The Voice of Ukraine |
Current TET (12е6 –) Former 1+1 (1 – 12е5) Website |
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Голос. Діти14[190] The Voice Kids |
1+1 |
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United Kingdom | The Voice UK[citation needed] | Current ITV (6–)24 Website Former BBC One (1–5) Website |
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The Voice Kids[191][192] | ITV24 Website |
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United States and Caribbean countries |
The Voice8[193][194](English) | NBC Website |
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La Voz Kids (Spanish)25 The Voice Kids |
Telemundo Website |
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La Voz[195][196](Spanish) The Voice |
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Uruguay | La Voz Uruguay[197] The Voice Uruguay |
Canal 10 |
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La Voz Kids[198] The Voice Kids |
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Vietnam | Giọng hát Việt[199][200] The Voice of Vietnam |
VTV3 VTV3 HD Website |
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Giọng hát Việt nhí[201] The Voice Kids of Vietnam |
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NotesEdit
- ^ The Voice of Albania is also broadcast in Kosovo. People from Kosovo are also allowed to join the show.
- ^ The Chinese version allows people who can speak Mandarin to join starting from season 3. In 2016, there was a controversial issue between the producers of Chinese version of the series and Talpa on the copyright of The Voice of China. Therefore, the show was rebranded as Sing! China, and is no longer part of The Voice franchise.[202]
- ^ While La Voix is broadcast all across Canada, people from provinces outside Quebec (excluding those from the Ottawa/Gatineau area and English-speaking communities at New Brunswick) are not allowed to join the show.
- ^ The Voice of Greece is also broadcast in Cyprus. Cypriots are also allowed to join the show.
- ^ The Voice Angola is also broadcast in Mozambique; people from Mozambique are also allowed to join the show.[59]
- ^ In the Australian version of The Voice, Joel Madden served as a solo coach from season 1 to 3. From the season 4 on, he was joined by his brother Benji Madden, and became as a duo coach called «The Madden Brothers». They also have served as the coach of the Australian version of The Voice Kids. Similar in the Turkish version of The Voice, Gökhan Özoğuz also served as a solo coach from season 3 to 4, before he was joined by Hakan Özoğuz for the following 2 seasons. But then, Gökhan goes as solo coach in the later seasons.
- ^ The Season 2 of the Turkish version of The Voice Kids was the only season which had four coaches’ teams among all versions of The Voice Kids. However, the French, Indian-Hindustani, Dutch, Flemish, Spanish, German, British, Mexican, Thai, Portuguese, Peruvian, Nepalese, Kazakh, French-African, Wallonian, & Uruguayan versions of The Voice Kids have confirmed to add a fourth coach.
- ^ The American version of The Voice is also broadcast in Canada and some Caribbean countries and territories; people from all Canadian provinces (excluding Quebec) are also allowed to join the show, as well as people from select Caribbean countries.
- ^ South African network M-Net is not to be confused with South Korean music channel Mnet.
- ^ Vocea României is also broadcast in Moldova; Moldovans are also allowed to join the show, provided they have a biometric passport or a visa (which is free for Moldovans).
- ^ The Voice of Italy is also broadcast in San Marino and Vatican, but people from Vatican City are not allowed to join the show.
- ^ The Voice – la plus belle voix is also broadcast in Luxembourg and Monaco. People from these countries can participates at the show.
- ^ La Voz is also broadcast in Andorra. People from Andorra are also allowed to join the show.
- ^ Although the Kazakh, Russian, and Ukrainian versions are never broadcast outside of their countries in the CIS area, people from other CIS countries (including Russia, Kazakhstan, and Ukraine) are allowed to join of those shows.
- ^ A Supercoach was introduced in the fourth season of La Voz Kids España, wherein the remaining contestants by each coach that was saved from the battle rounds will fight in the fast-paced battle rounds wherein he/she will decide who will proceed in the next round. David Bisbal became a supercoach for season 4, but returned to his original position as a regular coach in season 5.
- ^ Voice – Danmarks største stemme is also broadcast in Faroe Islands and Greenland. People from Faroe Islands and Greenland are also allowed to join the show.
- ^ The Belgian-Flemish version of The Voice Kids introduced a trio coach which was the first in the whole franchise history. A trio was also featured in the first season of Lietuvos balsas. Kartos.
- ^ La Voz Argentina is also broadcast in Uruguay. People from Uruguay are also allowed to join the show.
- ^ In the fifteenth season of the U.S (English), the ninth season of the German, the fourth season of the Indonesian, the second season of the U.S (Spanish), the seventh season of the Spanish, the seventh season of the Belgian-Dutch, the tenth season of the Finnish, the third season of the Argentine, the tenth season of the Brazilian version, the twelfth season of Dutch and Ukrainian and the eleventh season of French version of «The Voice», a new round was created, called The Comeback Stage. It features a fifth coach, that’s being Ballerini (on season 15) and Rexha (on season 16) for U.S. (English) version, Santos (on season 9), Schulte (on season 10) and Demirezer (on season 11) for German version, Tapiheru (on season 4) for Indonesian version, Mau y Ricky (on season 2) for U.S. (Spanish) version, Rodríguez (on season 7) for Spanish version, Tesoro (on season 7) for Belgian-Dutch version, Kuoppala (on season 10) for Finnish version, Mernes (on season 3) and MYA (on season 4) for Argentine version, Telo (on season 10) for Brazilian version, Typhoon and Steenwinkel (on season 12) for Dutch version, Zaritska and Matsola (on season 12) for Ukrainian version, Leroy (on season 11) for French version, Gepe (on season 3) for Chilean version, Perera (on season 2) for Sri Lankan version and Castillo (on season 4) for Chilean version.
- ^ In season 2 of The Voice Afrique Francophone, A’salfo and Charlotte Dipanda originally signed up to serve as coaches full-time. However, due to a postponement which made the season finished later than planned, A’salfo and Dipanda were not able to resume their duties for the last four live shows because of pre-arranged commitments. Youssoupha and Josey replaced them, respectively, and served as coaches from the Quarterfinals until the end of the season.[203] In the third season, Youssoupha again returned as coach replacing Nayanka Bell for the live shows, because Bell was unable to return due to the COVID-19 pandemic.
- ^ The Voice India is also broadcast in Sri Lanka. People from Sri Lanka are also allowed to join the show.
- ^ Following the fraud scandal for season 6 of The Voice Kids Russia, the Russian channel closed the investigation by stating that there had been fraud for the winner, and announced that it canceled the results. The producer announced that the 9 finalists are all winners of this season.[204]
- ^ The Voice Indonesia is also broadcast in East Timor. People from East Timor are also allowed to join the show.
- ^ United Kingdom’s ITV is not to be confused with Azerbaijan’s itv network.
- ^ US Spanish, Malta, and Sri Lanka were the countries not to feature the regular edition as the first and main franchise which had Spanish Kid, Maltese Kid, and Teen versions respectively.
- ^ First time in the history of The Voice that a candidate winning the child version wins the adult version few years later in the same country with the same coach.
- ^ In the 3rd season of the Turkish version featured a whole and only team that went into the finale which is first worldwide.
- ^ Due to the Coronavirus pandemic, The Voice Teens Philippines declared team champions per coach for the first time in the history of the franchise which was Heart Salvador, Cydel Gabutero, Kendra Aguirre and Isang Manlapaz.
- ^ For the first-decade anniversary special of The Voice France, this is the first time in the history of The Voice that there will be 5 coaches for 5 seats under the first All-Stars version. The format was then applied in Finland where it only features 3 coaches.
- ^ For the first time in the history of The Voice, Australia is the first country to dedicate a The Voice only for members of a family who will come to sing together.
- ^ Longest produced series in the history of the entire franchise.
ReferencesEdit
- ^ «ITV to buy The Voice producer for £355m». BBC News. 12 March 2015. Retrieved 18 December 2022.
- ^ «The Voice Global — YouTube». www.youtube.com. Retrieved 18 December 2022.
- ^ «Best of The Voice — YouTube». www.youtube.com. Retrieved 18 December 2022.
- ^ «Best of The Voice Kids — YouTube». www.youtube.com. Retrieved 18 December 2022.
- ^ a b Roggeveen, Herman (15 September 2010). «Galjaard keek eerste aflevering The voice of Holland 8 keer» [Galjaard watched the first episode of The Voice of Holland 8 times] (in Dutch). Zappen. Archived from the original on 17 June 2022. Retrieved 24 March 2017.
- ^ «John de Mol bedacht The Voice uit jaloezie». Algemeen Dagblad (in Dutch). 17 September 2010. Retrieved 11 June 2014.
- ^ «The Voice of Holland succesvol van start» [The Voice of Holland successfully launched]. Het Parool (in Dutch). Algemeen Nederlands Persbureau (ANP). 18 September 2010. Retrieved 11 June 2014.
{{cite web}}
: CS1 maint: others (link) - ^ «The Voice of Holland succesvol van start» (in Dutch). Metro International. 18 September 2010. Archived from the original on 14 July 2014. Retrieved 11 June 2014.
- ^ Heiko A. S. Johannsen (April 2012). «Exploring the Relationship Between Engagement and Loyalty in the Context of Social TV: A German Television Show’s use of Social Media Interactions». Archived from the original on 15 November 2013 – via Google Docs.
- ^ «Vernieuwingen in The Voice of Holland op een rijtje» (in Dutch). Blog.nl. 29 August 2014.
- ^ «Vocea României, sezonul 5, schimba regulile. Ce se intampla daca niciun antrenor nu apasa butonul pentru un concurent» (in Romanian). Pro TV. 8 September 2015.
- ^ «HLV The Voice 2018 ‘tận dụng’ nút chặn: Lam Trường e ngại, Tóc Tiên cho là quyền ích kỷ bản thân» [Coach The Voice 2018 ‘takes advantage of’ the block button: Lam Truong is afraid, Toc Tien thinks it is a selfish right]. SaoStar.vn (in Vietnamese). 5 May 2018. Retrieved 6 May 2018.
- ^ «Lançamento da nova temporada do ‘The Voice Brasil’ é marcado por um show». portalaltadefinicao.com (in Brazilian Portuguese). 10 July 2018. Retrieved 11 July 2018.
- ^ «Galerie foto — VIDEO. Pavel Bartoș face turul noului platou de la Vocea României».
- ^ Firmino, Tiago (15 September 2018). «Botão de bloqueio sobe a polémica no «The Voice». «A coisa vai ser menos amistosa», avisa Catarina Furtado». n-tv.pt.
- ^ Η αλλαγή στο «The Voice» που θα συναρπάσει τους τηλεθεατές!. tvnea.com. 29 September 2018.
- ^ «The Voice Belgique — RTBF on Instagram: «🚫 Grosse nouveauté pour la saison 8 de #thevoicebe ‼️ l’Arrivée de nouveaux buzzers pour se bloquer entre coachs 😱 Ça risque de clasher…»«. Archived from the original on 26 December 2021.
- ^ Trailer : ตัวอย่างแรกของ The Voice 2018 ที่มาพร้อมความฮาแบบจัดเต็ม. YouTube.
- ^ «El Televisero on Instagram: «Estamos dentro del nuevo plató de #LaVozAntena3 🎤✌️ con sus coaches y presentadora @evagonzalezoficial ¿Qué os parece?»«. Archived from the original on 26 December 2021.
- ^ Dezeraud, Pierre (13 November 2018). ««The Voice» saison 8 : Les coachs vont pouvoir se «bloquer» entre eux» [«The Voice» season 8: The coaches will be able to «block» each other]. ozap.com.
- ^ «The Voice 12 — Saison 2023». .evous (in French). Retrieved 11 December 2022.
- ^ «Carlos Vives on Instagram: «El refuerzo del #teamvives está completo! Todos listos para @lavozus #carlotavillasmilarcay #ElenaVives #PedroVives y ustedes?»«. Archived from the original on 26 December 2021.
- ^ «Rosario Flores y Vanesa Martín desvelan en ‘El Hormiguero 3.0’ las novedades de ‘La Voz Kids’ en Antena 3». Antena 3. 27 November 2018.
- ^ «Instagram».[dead link]
- ^ Lepage-Boily, Élizabeth (7 January 2019). «Cette Nouveauté À La Voix 7 Risque De Changer La Donne» [This novelty at Voice 7 is likely to change the situation]. showbizz.net.
- ^ «StarPlus on Instagram: «#Repost @adnansamiworld ・・・ «Itchy fingers»!! The search begins on #TheVoice from 3rd February onwards @starplus. #india #music…»«. Instagram. Archived from the original on 26 December 2021.
- ^ «TheVoiceIsrael on Instagram: «תכנית המוסיקה שכולנו אוהבים חוזרת עם מנטורים חדשים שלא רואים בעיניים וחוקים חדשים שיהפכו את הכול. אתם מוכנים לזה? דה וויס — העונה החדשה,…»«. Instagram. Archived from the original on 26 December 2021.
- ^ «The Voice Kids, saison 6 : on vous dévoile les nouvelles règles !». Femme Actuelle.
- ^ «The Voice Indonesia on Instagram: «Yeees! Akhirnya rasa penasaran netizen terjawab sudah. Formasi coach di The Voice Indonesia musim ini sudah lengkap. @ti2dj…»«. Archived from the original on 26 December 2021.
- ^ «Instagram». Archived from the original on 26 December 2021.
- ^ «Instagram».[dead link]
- ^ «Instagram». Archived from the original on 26 December 2021.
- ^ Salonga, Lea (19 December 2019). «In my red chair». entertainment.inquirer.net. Retrieved 20 December 2019.
- ^ «Instagram». Archived from the original on 26 December 2021.
- ^ «The Voice Australia on Instagram: «Nothing unites us like the power of a Voice ❤️ #TheVoiceAU 2020 | Coming Soon»«. Archived from the original on 26 December 2021.
- ^ «New Block button raises Coach competition to fever pitch».
- ^ «Instagram».[dead link]
- ^ «New coaches of La Voz Peru to be revealed soon». Archived from the original on 26 December 2021.
- ^ «Nút khóa âm — một quyền năng mới chỉ có ở Giọng hát Việt nhí 2018». Saostar.vn (in Vietnamese). 19 August 2018. Retrieved 22 August 2018.
- ^ «The Voice Gets Companion Series With 5th Coach Kelsea Ballerini». E! Online. 10 September 2018. Retrieved 13 September 2018.
- ^ «Miriam Rodríguez será la quinta coach de ‘La Voz’ en una fase exclusiva para Atresplayer Premium». El Periódico de Catalunya (in European Spanish). 22 November 2019. Retrieved 23 November 2019.
- ^ «Seven’s «all killer, no filler» Voice. | TV Tonight».
- ^ «EXPOSED: The Voice’s biggest ever ‘cheating’ scandal».
- ^ a b Archived at Ghostarchive and the Wayback Machine: «The Blind Auditions: Just What is ‘The Cut’?». YouTube.
- ^ «Sezonul șapte Vocea României aduce noutăți în format!» (in Romanian). Pro TV. 22 August 2017.
- ^ «Supercoach introduced in the fourth season of La Voz Kids España» (in Spanish). Boomerang TV & Telecinco. 19 February 2018.
- ^ «A new rule of the battles of The Voice of Vietnam 2018» (in Vietnamese). Saostar. 24 June 2018.
- ^ Campione, Katie (22 February 2023). «Reba McEntire Joins ‘The Voice’ Season 23 As Mega Mentor; Competition Introduces Key Changes». Deadline. Retrieved 23 February 2023.
- ^ «How the KnockOuts work – The Voice SA». 11 April 2019.
- ^ «Nieuwe battles in halve finale The Voice of Holland» (in Dutch). Televisier. 10 December 2013.
- ^ «The Voice All-Stars to air first version in France». Charts In France. 16 January 2021. Retrieved 9 January 2021.
- ^ «ITV Studios launches «The Voice All Stars»;». Realscreen. 15 September 2020. Retrieved 27 November 2020.
- ^ «The Voice: All Stars reaches Finland». Mesta. 12 May 2021.
- ^ «The Voice lands at cruise with The Voice of the Ocean». 30 January 2020.
- ^ «The Voice of the Sea. Shows on board | Costa Cruises». www.costacruises.com. Retrieved 8 May 2020.
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- ^ «‘The Voice of Afghanistan’ on TOLO TV: TELEVISION’s TOP GLOBAL SHOW SET TO LAUNCH IN AFGHANISTAN». Moby Group. Archived from the original on 23 May 2013. Retrieved 12 June 2013.
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- ^ a b «Angola and Chile join list of Voice countries». Talpa. Archived from the original on 6 October 2014. Retrieved 3 May 2014.
- ^ «Tamer Hosny on Instagram: «لكل الجماهير اللي بتسأل عن تقديمي للموسم الثالث لڤويس كيدز انا إعتذرت عن تقديم الموسم الثالث من برنامج ڤويس كيدز لأسبابي الخاصه ….…»«. Instagram. Archived from the original on 26 December 2021.
- ^ حماقي سحب البساط من تامر حسني؟!. Retrieved 8 May 2020.
- ^ «MBC1 on Instagram: «حان الآن موعدكم مع The Voice Senior نسخة مخصصة للمواهب فوق 60 عاماً شارك موهبتك.. ربما تكون أحلى صوت سجّل الآن عبر :…»«. Instagram. Archived from the original on 26 December 2021.
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- ^ «The Voice» ՛՛Հայաստանի ձայնը՛՛ Մերի Մնջոյանն է. ArmStar News.
- ^ «The new hosts of The Voice Australia have been announced». 23 January 2020.
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- ^ «Marcio Garcia assume o comando do ‘The Voice Kids’«. 10 March 2021.
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- ^ Lepage-Boily, Élizabeth. «TVA annonce le retour de La voix». Showbizz.net (in French). Retrieved 28 March 2022.
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{{cite web}}
: CS1 maint: url-status (link) - ^ «Croatia’s HRT snaps up ITV formats Beat the Chasers, The Voice Kids». 17 January 2023. Retrieved 22 January 2023.
{{cite web}}
: CS1 maint: url-status (link) - ^ «Možnost stát se hvězdou: V The Voice Česko Slovensko může zazářit každý! PŘIHLASTE SE ZDE». TV Nova (in Czech). Retrieved 22 June 2018.
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- ^ «instagram». Archived from the original on 26 December 2021.
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- ^ «Yuval Dayan on Instagram: «THE VOICE עונה 5 מ ת ח י ל י ם♥️😍♥️ יום חזרה ראשון מאחורינו, אתם לא יודעים מה מחכה לכם! @shlomishabatoriginal נרעדת מהעוצמה של לשבת איתך…»«. Archived from the original on 26 December 2021.
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- ^ «Antonella Clerici conduce The Voice of Italy Senior». 7 July 2020.
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- ^ «The Voice of Lithuania on Instagram: «Atėjo laikas pristatyti naujojo projekto Lietuvos Balsas. Senjorai mokytojus❗️❗️❗️Projekto mokytojų kėdes užims Lietuvos muzikos pasaulio…»«. Instagram. Archived from the original on 26 December 2021.
- ^ «The Voice of Lithuania on Instagram: «Lietuvos balsas šiemet smogs triguba jėga! Jeigu tu, tavo artimas draugas, vaikas, senelis ar močiutė neįsivaizduoja gyvenimo be muzikos,…»«. Instagram. Archived from the original on 26 December 2021.
- ^ «LIETUVOS BALSAS. ŠEIMOS registration». LNK.
- ^ «The Voice 隆重登陆新马! The Voice, has finally hit the shores of Singapore and Malaysia!». thevoicesgmy.com. Archived from the original on 5 May 2017. Retrieved 6 May 2017.
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- ^ «Pati Chapoy filtra por error los nombres de los coaches de ‘La Voz’ 2022». 16 March 2022.
- ^ «Fanny Lu será jurado en ‘La Voz México’«. 6 December 2019.
- ^ «Ellos podrían ser los coaches de La Voz Kids». 2 November 2020.
- ^ «facebook». Facebook.
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- ^ «The Voice Mongolia to launch in 2015». Talpa. 19 February 2015. Retrieved 17 May 2015.
- ^ «RTL 4». www.facebook.com. Retrieved 15 June 2019.
- ^ a b «The Voice of Holland suspended as sexual and power abuse allegations surface». nltimes.nl. NL Times. 15 January 2022. Retrieved 15 January 2022.
- ^ «Ilse DeLange blijft aan als coach in The Voice Kids». RTL Boulevard (in Dutch). 5 June 2020. Retrieved 6 June 2020.
- ^ «Lil Kleine en Marco Borsato keren niet terug in The Voice». RTL Nieuws (in Dutch). 6 June 2020. Retrieved 7 June 2020.
- ^ a b «South Africa 60th country to launch local edition of The Voice». Talpa. 22 April 2015. Archived from the original on 1 August 2017. Retrieved 17 May 2015.
- ^ «Versión peruana de «The voice» se emitiría en julio del 2013″. El Comercio. Peru. 26 November 2012. Retrieved 17 June 2013.
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- ^ Redactor_Ap (18 November 2018). «José Luis Rodríguez vuelve a ‘La Voz Perú’«. Diario Expreso.
- ^ «Cristian Rivero announced the return of ‘La Voz Peru’ franchise with new version ‘La Voz Senior’«. 7 March 2021.
- ^ «Peru Got Talent and La Voz Peru returns in 2022» (in Spanish). Latina Television. 25 November 2021.
- ^ «After US tour, Sarah gears up for ‘The Voice’«. ABS-CBN News. 6 June 2013. Retrieved 6 June 2013.
- ^ «‘The Voice Philippines’ to premiere June 9″. Rappler. 6 June 2013. Retrieved 6 June 2013.
- ^ «ABS-CBN STAR HUNT». www.facebook.com.
- ^ a b ««The Voice of The Philippines» Returns this Summer with Kids Edition». ABS-CBN PR. 17 March 2014. Archived from the original on 17 March 2014.
{{cite web}}
: CS1 maint: unfit URL (link) - ^ Ces [@NotFranciiis] (30 June 2019). «BTS: Team Foyer ✌🏻 #TheVoiceKids4 Soon!» (Tweet). Retrieved 31 December 2020 – via Twitter.
- ^ «GMA Network brightens 2023 with the grandest shows». Manila Bulletin. 7 January 2023. Retrieved 8 January 2023.
- ^ «The Voice of Poland 12: Michał Szpak i Urszula Dudziak odchodzą. Kto ich zastąpi?». www.eska.pl. Retrieved 27 May 2021.
- ^ ««The Voice Senior». Padło nazwisko kolejnej jurorki. TVP jest pewna, że przyciągnie jeszcze więcej widzów». plotek.pl.
- ^ Chirilă, Raluca (24 June 2019). «InfoMusic — stiri din muzica, artisti, concerte, cronici, concursuri». InfoMusic.
- ^ «Leonid Agutin, Pelageya, Valery Meladze and unnamed artist became the coaches of The Voice. 60+«. Комсомольская правда. 13 August 2018. Retrieved 13 August 2018.
- ^ «Lev Leshchenko became the coach of The Voice. 60+«. Вокруг ТВ. 14 August 2018. Retrieved 14 August 2018.
- ^ «Riky Rick takes a seat in the red chair on The Voice SA». 6 November 2018.
- ^ «Riana Nel joins Riky Rick as coach on The Voice SA». 7 November 2018.
- ^ «Rocker Francois van Coke added as the fourth and final coach on The Voice SA season 3». 9 November 2018.
- ^ «‘The Voice of Korea’ returns in MNET this year». 26 February 2020. Retrieved 1 March 2020.
- ^ «Antonio Orozco ficha por ‘La voz’ y Vanesa Martín por ‘La voz kids’«. El Periódico de Catalunya (in Spanish). 11 July 2018.
- ^ «Paulina Rubio cierra un acuerdo para ser coach de ‘La voz’ en Antena 3». 25 July 2018.
- ^ «Pablo Alborán es el nuevo y flamante coach de ‘La Voz’«. HOLA (in Spanish). 19 April 2021. Retrieved 19 April 2021.
- ^ Pérez, Laura (7 July 2022). «‘La Voz’ pone cara a dos coaches de la novena edición en Antena 3, con un esperado regreso». Vertele (in Spanish). Retrieved 7 July 2022.
- ^ a b c «Atresmedia Televisión y Talpa Media alcanzan un acuerdo para la emisión de los formatos de ‘La Voz’ en España». Antena3.com. 7 June 2018. Retrieved 7 June 2018.
- ^ «Alejandro Sanz repite como coach en ‘La Voz’. Pastora Soler y Rosana, a ‘La Voz Senior’«. 15 October 2019.
- ^ «David Bisbal, primer coach de «La Voz Senior» en Antena 3″. 14 November 2018.
- ^ «Antena 3 confirma a los coaches de ‘La Voz Senior’: Bisbal, Pablo López, Orozco y Paulina Rubio». 16 November 2018.
- ^ «Sri Lanka joins The Voice Family as The Voice Teens for its first franchise». 31 January 2020. Archived from the original on 26 December 2021.
- ^ «Hashen wins ‘Sirasa Voice Teens’«. sundaytimes. Retrieved 11 January 2021.
- ^ «The Voice Returning in Switzerland». 25 September 2018.
- ^ ย้ายช่อง เปลี่ยนโค้ช ! เดอะวอยซ์ ไทยแลนด์ ดึงป๊อบ ปองกูล-เจนนิเฟอร์ คิ้ม เสียบ. 9 September 2018.
- ^ «เดอะ วอยซ์ ซีเนียร์» และ «เดอะ วอยซ์ คิดส์» เซอร์ไพร์สเปิดโผโค้ชใหม่ลงผัง «พีพีทีวี».
- ^ 36 สิ่งที่คุณอาจไม่รู้ «The Voice Thailand».
- ^ «The Voice Thailand on Instagram: «The Voice Senior ปรากฏการใหม่ ครั้งแรก ของเมืองไทย กับ การประชันเสียงร้องของผู้สูงวัย ที่ยังมีไฟในการร้องเพลง…»«. Instagram. Archived from the original on 26 December 2021.
- ^ «Instagram post by Gökhan Özoğuz • Aug 8, 2018 at 6:50am UTC». Archived from the original on 26 December 2021.
- ^ «Yıldız Tilbe O Ses Türkiye’den ayrıldı».
- ^ «O Ses Türkiye’de Seda Sayan bombası!».
- ^ «O Ses Türkiye Çoçuklar Ne Zaman Başlayacak?». Haber Gazete. 6 March 2014. Archived from the original on 14 July 2014. Retrieved 11 June 2014.
- ^ «O Ses Çocuklar Hangi Günler Yayınlanacak?».
- ^ Released in 2018
- ^ «instagram». Archived from the original on 26 December 2021.
- ^ «DZIDZIO on Instagram: «Я тренер нового сезону «Голос. Діти»! Привітайте мене! Дякую за довіру каналу «1+1″! #голосдіти #голосдіти5 #dzidzio #тренер»«. Instagram. Archived from the original on 26 December 2021.
- ^ «J e S S I e . J on Instagram: «»Guess who’s back, back again»✌🏻❤️ 😏👀 (As a coach on #TheVoiceKidsUK 2019) ☝🏻 @ITV @TheVoiceKidsUK @dannyjonesofficial @iamwill @PixieLott…»«.
- ^ «Jessie J leaves The Voice Kids as Paloma Faith is announced as her replacement». 28 November 2019.
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- ^ «Levine on Leaving ‘The Voice’: ‘It Was Time to Move On’«. NBC 5 Dallas-Fort Worth.
- ^ «LA VOZ REGRESA A TELEMUNDO CON LUIS FONSI, ALEJANDRA GUZMAN, CARLOS VIVES Y WISIN». 10 October 2019. Retrieved 19 November 2019.
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- ^ Tina Villareal (10 July 2014). «The Voice of China in Singapore!». Today. Retrieved 6 August 2014.
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- ^ «#Голос8 on Instagram: «По окончании финала 6-го сезона проекта «Голос.Дети» Первый канал обратился к компании Group-IB, специализирующейся на предотвращении…»«. Instagram. Archived from the original on 26 December 2021.
External linksEdit
- Talpa Media’s Official website
- The Voice Global on YouTube
OH
我呼ぶ声
О,
мой
зовущий
голос.
埋め尽くす情報息苦しいこの状況自分がいない
Информации,
чтобы
заполнить
эту
удушающую
ситуацию,
у
меня
нет.
この世界の暴走ただ無責任に逃亡何処へ行くの?
беглец
в
этом
мире,
просто
беги
безответственно,
куда
ты
идешь?
降り止まぬ雨にずぶ濡れ置いて行かれた心が崩れゆく直前の声を聞け
Прислушайся
к
голосу
прямо
перед
тем,
как
мое
сердце
рухнет,
когда
я
останусь
промокшим
под
дождем,
который
никогда
не
прекращается.
ささやかな絆で良いそっとあなたを抱きしめるから重ねた命がゆっくりと今呼吸しているそばにいるよ
Это
хорошо
с
небольшой
связью
я
нежно
обниму
тебя
я
рядом
с
тобой
жизни
которые
были
сложены
в
кучу
теперь
медленно
дышат
仮想世界の想像切り離された衝動何処へ行くの?
воображение
виртуального
мира,
отстраненный
импульс,
куда
мы
идем?
まるでambulanceに揺れてる感情の産声
Это
как
рождение
голоса
эмоций,
раскачивающегося
в
машине
скорой
помощи.
確かめてこの夜を駆け抜けろ
постарайся
продержаться
всю
ночь.
ありふれた孤独でいい
просто
одиночество.
ただ傷つけ合うくらいなら
если
вы
просто
причиняете
боль
друг
другу
閉ざした心の隙間零れ落ちそうな悲しみ消えないよ
Брешь
в
моем
закрытом
сердце,
печаль,
которая,
кажется,
падает,
не
исчезнет.
言葉よりもずっと先に声の温もりが伝わっていく
Теплота
голоса
передается
намного
раньше
слов.
向かい合う僕らのこの距離を大切に思うよ
я
дорожу
расстоянием
между
нами,
когда
мы
смотрим
друг
другу
в
глаза.
ささやかな絆が良い
Небольшая
связь-это
хорошо.
あなただけを感じられるから
потому
что
я
чувствую,
что
ты
одна.
芽生えた気持ちがゆっくりと今呼吸している
Чувство,
которое
проросло,
теперь
медленно
дышит.
そばにいるよ
я
буду
рядом
с
тобой.
OH
我呼ぶ声
О,
я
зову
на
помощь
Внимание! Не стесняйтесь оставлять отзывы.
После того, как Вы продемонстрировали свои неординарные способности, Вас вызывают Серобородые, которые живут на вершине High Hrothgar, и тут начинается квест The Way Of The Voice.
Задания
- Поговорите с Серобородыми
- Продемонстрируйте владение криком Unrelenting Force
- Поговорите с Arngeir
- Изучите Слово силы (Word of Power) от Einarth
- Продемонстрируйте владение криком Unrelenting Force (3/3)
- Изучите Слово силы от Borri
- Продемонстрируйте владение криком Whirlwind Sprint
- Поговорите с Arngeir, чтобы продолжить обучение
Прохождение
Серобородые обитают в монастыре в High Hrothgar. Расположенном на вершине очень высокой горы, High Hrothgar, куда можно добраться из Ivarstead. Пройдите через город к мосту, который ведёт к серпантиновой тропе, огибающей снежную гору. Это достаточно длинный путь, на котором, к счастью, не очень много опасностей, кроме разве что frost troll.
ПРИМЕЧАНИЕ: Пока Вы будете взбираться по горе, Вам может повстречаться дракон, почти у самой вершины. Убейте его, поглотите душу и продолжайте двигаться!
Внутри Arngeir с неуверенностью назовёт Вас Драконорождённым (Dragonborn). Чтобы развеять его сомнения, используйте крик Unrelenting Force и поговорите с ним ещё раз, чтобы узнать больше о Серобородых и Вашей судьбе. Вы узнаете, что каждый крик состоит из трёх слов; Вы знаете лишь одно слово — Сила (Force) — крика Unrelenting Force, и теперь Вас обучат второму слову: Ro.
После того, как Вы изучили Ro от Einarth, попадите по целям при помощи крика Unrelenting Force 3 раза, пока Серобородые не будут удовлетворены Вашим прогрессом. Borii проводит Вас во двор снаружи для следующего испытания.
Здесь Серобородые обучат Вас ещё одному крику, прежде чем отправят Вас в другое место. Вы изучите первое слово — Wuuld — крика Whirlwind Sprint, которые позволяет Вам пролетать вперёд с невероятной скоростью. Чтобы использовать крик, откройте меню магии и выберите Whirlwind Sprint из списка криков. Поговорите с Arngeir, чтобы тот открыл ворота, используйте крик Whirlwind Sprint, чтобы со взрывом пронестись через ворота и завершить квест Way of the Voice, начав тем самым The Horn of Jurgen Windcaller.
Известные баги
- Во время изучения слова «Ro» мишени иногда не появляются. Чтобы это исправить, поставьте игру на паузу и затем продолжите.
OH ware izuko e OH ware yobu koe
Umetsukusu jouhou ikigurushii kono joukyou jibun ga inai
Kono sekai no bousou tada musekinin ni toubou doko e iku no?
Furiyamanu ame ni zubunure oite kareta kokoro ga
Kuzureyuku chokuzen no koe o kike
Sasayaka na kizuna de ii
Sotto anata o dakishimeru kara
Kasaneta inochi ga yukkuri to ima kokyuu shiteiru
Soba ni iru yo
Kasou sekai no souzou kirihanasareta shoudou doko e iku no?
Maru de UNBALANCE ni yureteru kanjou no ubugoe
Tashikamete kono yoru wo kakenukero
Arifureta kodoku de ii
Tada kizutsukeau kurai nara
Tozashita kokoro no sukima koboreochisou na kanashimi
Kienai yo
Kotoba yori mo zutto saki ni koe no nukumori ga tsutawatteiku
Mukiau bokura no kono kyori o taisetsu ni omou yo
Sasayaka na kizuna ga ii
Anata dake wo kanjirareru kara
Mebaeta kimochi ga yukkuri to ima kokyuu shiteiru
Soba ni iru yo
OH ware izuko e OH ware yobu koe
How to Format Lyrics:
- Type out all lyrics, even repeating song parts like the chorus
- Lyrics should be broken down into individual lines
- Use section headers above different song parts like [Verse], [Chorus], etc.
- Use italics (<i>lyric</i>) and bold (<b>lyric</b>) to distinguish between different vocalists in the same song part
- If you don’t understand a lyric, use [?]
To learn more, check out our transcription guide or visit our transcribers forum
Preface
Step into the Story of Scripture
Any literary project reflects the age in which it is written. The Voice is created for and by a church in great transition. Throughout the body of Christ, extensive discussions are ongoing about a variety of issues including which style of worship is most appropriate, how we distinguish cultural expressions from genuine expressions of faith, what it means to live the gospel, and how we faithfully communicate the essential truths of historic Christianity. At the center of these discussions is the role of Scripture. Instead of widening the division between culture and theology, it is time to bring the body of Christ together again around the Bible. Thomas Nelson Publishers and Ecclesia Bible Society together are developing Scripture products that foster spiritual growth and theological exploration out of a heart for worship and mission. We have dedicated ourselves to hearing and proclaiming God’s voice through this project.
Previously most Bibles and biblical reference works were produced by professional scholars writing in academic settings. The Voice uniquely represents collaboration among scholars, pastors, writers, musicians, poets, and other artists. The goal is to create the finest Bible products to help believers experience the joy and wonder of God’s revelation.
Uniqueness of The Voice
About 40 different human authors are believed to have been inspired by God to write the Scriptures. Most English translations attempt to even out the literary styles of the different authors in sentence structure and vocabulary. Instead, The Voice distinguishes the unique perspective of each author. The heart of the project is retelling the story of the Bible in a form as fluid as modern literary works while remaining painstakingly true to the original Greek, Hebrew, and Aramaic texts. Accomplished writers and biblical scholars have been teamed up to create an English rendering that, while of great artistic value, is carefully aligned with the meaning inherent in the original language. Attention is paid to the use of idioms, artistic elements, confusion of pronouns, repetition of conjunctions, modern sentence structure, and the public reading of the passage.
To help the reader understand how the new rendering of a passage compares to the original texts, several indicators are embedded within the text.
- Standard type denotes the dynamic translation that is the foundation these elements are built on. It translates the many imprecise words that English translations have borrowed in their renderings, including Lord, Christ, baptism, angel, and apostle. The translation process for each book began as negotiation between a gifted writer and scholars working in the original language. After that first phase, a few selected scholars carefully read the manuscript, compared it to the original language, and evaluated the faithfulness to the text and the theological and historical nuances of the translation. At the same time a publishing team ran consistency checks, copyedited the manuscript, and compared the rendering with the major existing English translations. A final acceptance process included each of the three groups—biblical scholarship, English writing competence, and publishing expertise—impacting the translation.
- Italic type indicates words not directly tied to the dynamic translation of the original language. These words bring out the nuance of the original, assist in completing ideas, and often provide readers with information that would have been obvious to the original audience. These additions are meant to help the modern reader better understand the text without having to stop and read footnotes or a study guide.
- Delineated material expands on the themes found in the text. This portion is not taken directly from the original language and is set apart in a second color or by a colored line from the Bible text. It may include cultural, historical, theological, or devotional thoughts.
- Screenplay format is used to identify dialogue and to avoid the repetition of conjunctions, articles, and certain verbs. The speaker is indicated, the dialogue is indented, and quotation marks are avoided. This helps greatly in immediate comprehension of the situation for the user and in intensification of the dramatic presence during the public reading of Scripture. Sometimes the original text includes interruptions in the dialogue to indicate the attitude of the speaker or of who is being addressed. This is shown either as a stage direction immediately following the speaker’s name or as part of the narrative section that immediately precedes the speaker’s name.
We follow the standard conventions used in most translations regarding textual evidence. The Voice is based on the earliest and best manuscripts from the original languages (Greek, Hebrew, and Aramaic). When significant variations influence a reading, we follow the publishing standard by bracketing the passage and placing a note at the bottom of the page, while maintaining the traditional chapter and verse divisions. The footnotes also reference quoted material and help the reader understand the translation of a particular word. Words that are borrowed from another language and words that are not common outside of the theological community (such as baptism, repentance, and salvation) are given expanded translations derived from more common terminology. For clarity some pronouns are replaced with their antecedents. Because Greek and Hebrew word order and syntax differ significantly from English, we have followed standard translation practices and altered these elements when necessary to help the reader achieve clarity in understanding Scripture and its meaning.
Our purpose in using these literary devices is to reveal the beauty of the Scriptures and to assist the reader in clearly and quickly understanding the meaning of the text. We are constrained to be faithful to these ancient texts while giving the present reader a respectful and moving experience with the Word of God.
A Different Translation Process
The Voice Bible is a different sort of translation. It combines the relative strengths of scholars who are experts in the original languages and modern writers, musicians, and poets who are skilled in their use of English, our target language. Our idea was to set up a collaborative process whereby scholars and writers could work together to create a translation that was faithful and accurate to the original languages while at the same time beautiful and readable to an English-speaking audience. In some cases scholars and writers worked closely together; in others they worked at some distance or even anonymously. Members of the translation team from Ecclesia Bible Society and Thomas Nelson coordinated the overall process.
Whenever people render one language into another (whether ancient or modern), they are involved in translation. There are levels of formality in the translation process. Generally, these are described on a continuum between formal and functional equivalence. But these approaches are not followed strictly by any Bible translation team, and most translations must mix formal with functional elements in order to communicate clearly. Realistically, languages are too complex and fluid to be reduced to a single approach in translation. A strictly formal translation process will result in an unreadable text that obscures the meaning of Scripture rather than making it accessible. A strictly functional translation process will result in a text that might communicate to a reader well what the original text means but not what the original says.
With The Voice Bible we acknowledge the difficulties translation teams face and offer what might be described as a mediating position between the extremes. We describe our approach as «contextual equivalence.» Recognizing that context is the most important factor in determining the meaning of a word, sentence, paragraph, or narrative, we have sought to create a Bible translation that preserves both the linguistic and literary features of the original biblical text. A «contextual equivalent» translation technique seeks to convey the original language accurately while rendering the literary structures and character of a text in readable and meaningful contemporary language. This particular translation approach keeps in mind the smaller parts and the larger whole. In endeavoring to translate sacred Scripture, The Voice captures uniquely the poetic imagery and literary artistry of the original in a way that is beautiful and meaningful.
Two other related descriptors are used to situate a Bible translation in the field. Some claim their translations are «word-for-word» in contrast to those that are «thought-for-thought.» Word-for-word translations generally claim to be more literal and therefore superior to those that are thought-for-thought. The critique is sometimes made that thought-for-thought translations reflect the interpretive opinions of the translators and are influenced by the contemporary culture more than word-for-word translations.
There are four primary objections to these claims. First, every translation is an interpretation. Anyone who has studied translation theory recognizes that it is impossible for translators to get outside their skins and objectively render a text. The Italians say it bluntly: tradutorre, traditore—»The translator is a traitor.» Even if it were deemed useful to design a computer program to translate mechanically the Scriptures into English, human subjectivity and judgment would still come into play in various ways; for example, choosing which texts to translate and deciding which English word to use to translate a specific Greek, Hebrew, or Aramaic word. Subjectivity and interpretive opinions are impossible to avoid in the translation process and do not necessarily have a negative impact on a translation.
This leads to a second objection regarding the nature of words and thoughts. The strict distinction between «word» and «thought» must be questioned. After all, a word is merely an expressed thought, whether spoken or written. This becomes clear when dealing with people who are fluent in multiple languages. When they have a thought they wish to express, they must choose which language, then which word or words, then which word order. There may be a line of distinction between a thought and a word, but it is not a hard and fast line; it is at best a dotted line.
Third, words generally do not have a single meaning; they have a range of meanings—what linguists refer to as a «semantic field.» Even the translators of the King James Bible recognized that words do not carry the same sense every time they occur in a text (see preface to the 1611 edition). For example, how should one translate the Greek noun dikaiosunē? In one place the word might mean «justice,» in another «righteousness,» in another «equity» or «integrity,» and in another something that is «true» or «right.» One must understand the context in which a word is used in order to render carefully its meaning in another language. This context is not just semantic but also historical and social. For example, our use of «God’s Anointed» or the «Anointed One» as a translation of the title Christ—and in selected places expanded to «God’s Anointed, the Liberating King«—captures something of the historical and social reality behind Jesus’ identity. He is God’s Anointed King who comes to liberate His people from sin, addiction, disease, oppression, and death.
To press this point even further, words don’t just mean things, they do things. Words have both meaning and function; they function within clauses, sentences, paragraphs, and stories in ways that are different from the definition a person might find in a dictionary or lexicon. Beyond this, however, words also function in various ways to elicit emotions, actions, and responses from those who hear them. In order to translate a text well, one must consider not only what words mean but what they do.
Fourth, a word-for-word correspondence is difficult to maintain because translators may need multiple words in one language to express the meaning of a single word in another. Take for instance the Greek word sōthēsetai (Romans 10:13). Because of the way the English language works, it takes no fewer than four words to translate this single Greek verb: «he/she will be saved.» Again, the context reveals who will be saved, what salvation entails, and when it is realized.
When all of these factors are taken into consideration, The Voice represents a hybrid of the word-for-word and thought-for-thought approaches. In some places The Voice follows a word-for-word translation; in others it expresses the meaning more in a thought-for-thought approach. This is necessitated contextually both by the original language and by our target language (English). Responsibility to render the biblical languages carefully and to create a readable translation for an audience is not an either/or pursuit; a «contextual equivalent» translation seeks to be faithful and realistic to both tasks.
Another issue The Voice project team had to address involved inclusive language. Generally speaking, we have made no attempt to make The Voice gender neutral or gender inclusive. We have tried to follow the sense of the text and have made translation decisions based on the context. When, for example, Paul reminded the adelphoi («brothers») of Corinth of the content of the gospel (1 Corinthians 15:1-8), it is unlikely that he intended to include the «brothers» and exclude the «sisters.» Since the apostle adopted typical letter-writing practices of his day, his manner of addressing the community was likely determined by cultural mores. In such cases, we have decided to render the text «brothers and sisters.» However, in passages where it is clear that the admonition is addressed to one gender and not the other, we have taken seriously the historical situation and utilized the appropriate masculine or feminine nouns and pronouns. The warnings against loose women in Proverbs 5–7, for example, are clearly aimed at young men. Furthermore, Proverbs 31 does not describe a remarkable partner or spouse but a remarkable woman who happens to also be a wife. This perspective respects the particular situations that gave rise to the texts in their original historical settings and does not seek to exclude (or include for that matter) those not being directly addressed by the biblical writers. Commentaries and proper exegesis can make reasonable application of texts across gender lines in ways translations cannot.
Finally, although The Voice represents a new approach to Bible translation, we have intentionally avoided the tendency to use trendy language. Our goal was to capture the beauty and brutal honesty of the Scriptures in language that is timeless and enduring. In the process, we have come to recognize our profound indebtedness to the various strands of Christian tradition that have made these texts available. We stand in gratitude to a multitude of saints who gave their lives to preserve and transmit the Scriptures in their original languages from one generation to the next. We acknowledge the significant contributions made by the Reformers and their followers (not to mention their predecessors) to give us a common language and scriptural heritage in the English-speaking world. Although we have not always tried to imitate them, we have always learned from them. Our hope and prayer is that a new generation of people will encounter the Scriptures through The Voice and step into the story of Scripture.
Christ in This Translation
In its original Greek language, the New Testament refers to Jesus hundreds of times as Christos. Most English translations of Scripture render this «Christ,» which is not a translation but a transliteration. The unfortunate effect of this decision is that most readers mistake «Christ» as a kind of second name for Jesus. In fact, Christos is not a name at all; it is a title. It is a Greek translation of the Hebrew title Messiah. So when the New Testament writers call Jesus «(the) Christ,» they are making a bold claim—one of the central claims of the Christian faith—that Jesus is the Messiah. While there was no single expectation about the Messiah in Jesus’ day, many of His contemporaries would have recognized the Messiah as God’s agent who comes in the last days to redeem God’s people and repair our broken world.
Because we understand that no single English word or phrase captures the richness of the term Messiah or Christos, we made a strategic decision in The Voice to translate Christos and not simply to transliterate it. The root idea of Christos is derived from a Greek verb meaning «to anoint (with oil).» The act of anointing someone with oil is a way of setting that person apart for God’s use. When people are anointed—kings and priests, for example—oil is poured over their heads, signifying God’s Spirit coming upon them and empowering them for the tasks ahead. This is why we have decided to translate Christos as «God’s Anointed,» the «Anointed,» or the «Anointed One,» depending on context and narrative flow.
But there is another aspect of Christos we need to highlight. You see, according to tradition, the Messiah is to be a son of David, and as such He has a royal function to continue David’s dynasty and to reign over a newly constituted kingdom. In order to become king, a person must have God’s anointing. So from time to time, as we translate Christos as «God’s Anointed,» we have added the explanatory phrase «the Liberating King» to remind us of the primary mission and the reason God elects and empowers Jesus in the first place. Jesus comes as the King of a new kind of kingdom and exercises His royal power to rescue and liberate His creation. This liberation takes place on various levels, all of which are related.
Not long after Jesus begins His public ministry, He returns to the synagogue in Nazareth—where He had grown up—and reads the Scripture portion that day from Isaiah 61:
18 The Spirit of the Lord the Eternal One is on Me.
Why? Because the Eternal designated Me
to be His representative to the poor, to preach good news to them.
He sent Me to tell those who are held captive that they can now be set free,
and to tell the blind that they can now see.
He sent Me to liberate those held down by oppression.
19 In short, the Spirit is upon Me to proclaim that now is the time;
this is the jubilee season of the Eternal One’s grace.
(Luke 4:18-19)
From the way Jesus responds to the reading that day, it is clear that He understands His Spirit-enabled work to be about proclaiming the good news, releasing exiles and other political prisoners, healing the sick, and freeing the oppressed—in a word, «liberating» the poor, the captive, the sick, and the marginalized from whatever threatens them. But there is more. The Scriptures declare that Jesus comes to liberate those made in His image from the power and penalty of sin, which is the reason God’s good creation is so fouled up and disordered in the first place. In fact Paul tells the Romans that all creation has been damaged by sin and longs for the day when God’s children are revealed and set free from the power of sin and death. When that day comes, creation itself will be liberated from its own slavery to corruption (Romans 8:18-25). By translating Christos as «God’s Anointed, the Liberating King» on occasion, we are reminded of the title’s true meaning and an important truth: the extent of Jesus’ kingdom and the reach of His liberating work extend beyond our hearts, beyond our politics, beyond our world.
The Divine Name
To know a name is to know something special. When people tell you their names, they signal willingness to know and be known. It is often a prelude to their personal journeys, an invitation to relationships. This dynamic is certainly true in the story of Scripture when God chooses to reveal His name to His people.
While many titles are attributed to God in the Scripture (for example, «Lord,» «God,» «God-All-Powerful,» and «Commander of heavenly armies»), He has only one name, the name He revealed to Moses at Mount Sinai. It is used about 6,000 times in the Old Testament to refer to the one True God of Israel. The English transliteration of the Hebrew name is YHWH. Although we do not know which vowels would have been pronounced with these four consonants, we think the name may best be spoken as Yahweh. In the past, some translators rendered the divine name Jehovah; but this is actually a name made up from the consonants of YHWH and the vowels of Adonai, one of the Hebrew words for «Lord.» Today most Bible translations render the divine name as «Lord.» The capitalization of each letter tells the reader that the word appears in place of God’s Hebrew name and is not just a title of reverence and honor. In The Voice we have taken special care to translate the divine name as the «Eternal One» or the «Eternal,» depending on the context.
The translation of God’s name is based upon a number of factors. First, the name YHWH is clearly understood to be God’s covenant name. It was revealed to Moses at Mount Sinai (Exodus 3:13-15). Here is that classic exchange:
Moses: 13 Let’s say I go to the people of Israel and tell them, «The God of your fathers has sent me to rescue you,» and then they reply, «What is His name?» What should I tell them then?
Eternal One: 14 I AM WHO I AM. This is what you should tell the people of Israel: «I AM has sent me to rescue you.»
15 This is what you are to tell Israel’s people: «The Eternal, the God of your fathers, the God of Abraham, the God of Isaac, and the God of Jacob is the One who has sent me to you.» This is My name forevermore, and this is the name by which all future generations shall remember Me.
The revelation of God’s name to Moses is associated with the liberation of the Hebrew slaves from Egyptian bondage and the institution of God’s covenant with Israel at Sinai. The declaration affirms that this God is none other than the God who had already appeared and established a covenant of blessing with Abraham and his sons. Therefore, it is a covenant name that links past, present, and future: «I am the God who was with Abraham. I am the God who hears the prayers of My people now. I am the God who will rescue them in the future. I am the Eternal.» It is a relational name that emphasizes God’s saving actions and His dedication to His covenant people.
Second, the name YHWH appears to be built on the Hebrew verb meaning «to be.» When asked His name, God responds, «I AM WHO I AM. . . . [say,] ‘I AM has sent me to rescue you.'» The verbal idea has a timeless quality, particularly since it links God’s past, present, and future saving actions on behalf of His people and the world. This is why we think the English word «eternal» helps to capture something of its meaning. Furthermore, God emphasizes that this name is eternal; it stands forever and must be remembered by future generations of God’s covenant partners.
Third, while we have anglicized most other names in Scripture (Benyamin = Benjamin; Shemuel = Samuel; Jeshua = Joshua; Petros = Peter; Paulos = Paul), we have chosen not to do so with the divine name out of respect for that name and our deep appreciation for both Jewish and Christian traditions. The Ten Directives warn against using the name of God in any frivolous, self-serving way (Exodus 20:7). Over time—and under the influence of this directive—faithful Jewish communities spoke the name less and less until it was prohibited from use altogether except on the most solemn occasions in the temple. Even when Scripture was read aloud in the synagogue, the reader did not utter the divine name; instead, when he came across it in the text, he substituted a word for it. In Aramaic-speaking synagogues they would say Adonai ; in Greek-speaking synagogues they would say Kyrios. Many Jews today carry on this tradition of reverence by refusing to speak the name at all and indicating the presence of the written name in Scripture by saying HaShem, which means, «the name.» Early Christians continued similar practices regarding sacred names and invented new ways to signal that respect. When, for example, scribes wrote and copied the Scriptures, they refrained from fully spelling out the names and titles associated with God the Father, Son, and Spirit. Instead, they employed what we call today nomina sacra (that is, «sacred names»). When copyists came across these special names in the text, they would abbreviate them with two letters (generally) and draw a line above those letters to indicate to the reader that the word is a sacred name.
The Voice translation of the divine name as the «Eternal» and the «Eternal One» carries on the church’s long-standing tradition of reverence for God and His name. It also attempts to translate the meaning of the name and recontextualize it for our culture. We wish to emphasize both the covenantal and everlasting aspects of God’s name. It is covenantal in that God is revealing His special name as a prelude to an enduring relationship with Him, a relationship in which He promises to be with and for us. It signals God’s willingness both to know us and to be known by us. It is everlasting in that God’s name, like God Himself, is timeless and unchanging. Although existing outside of time and space, God has revealed Himself in time and space in order to engage His people—past, present, and future—in a loving and faithful relationship. The «Eternal One» stands in sharp contrast to everything else in the universe which is temporary and constantly changing.
Step into the Story of Scripture
A New Way to Process Ideas
Chris Seay (president of Ecclesia Bible Society) first recognized a need for The Voice more than 20 years ago during his early attempts to teach the whole biblical narrative as the story of God’s redemptive work in God’s Anointed, Jesus of Nazareth. Chris observed that the way this postmodern generation processes ideas and information raises obstacles to traditional methods of teaching biblical content. Instead of primarily propositional-based thought patterns, people today are more likely to interact with events and individuals through complex observations involving emotions, cognitive processes, tactile experiences, and spiritual awareness. The result of Chris’s observations is a retelling of the Scriptures in a narrative form: this is The Voice, not of words, but of meaning and experience.
The Timeless Narrative
The Voice is a fresh expression of the timeless narrative known as the Bible. Stories of God’s goodness that were told to each generation by their grandparents and tribal leaders were recorded and assembled to form the Christian Scriptures. Too often, the passion, grit, humor, and beauty have been lost in the translation process. The Voice seeks to recapture what was lost.
From these early explorations by Chris and others has come The Voice: a Scripture project to help readers step into the story of Scripture. Thomas Nelson Publishers and Ecclesia Bible Society have joined together to develop Scripture products and resources to foster spiritual growth and theological exploration out of a heart for the mission of the church and worship of God.
Communicating the Story
Putting the Bible into the language of modern readers is a painstaking process that involves correlating ancient languages and cultures with the English vernacular. Scripture is filled with passages intended to inspire, captivate, and depict both the beauty and the ugliness of the world; but earlier translations have not always been successful in communicating the beauty, grit, and story of Scripture. The Voice is a translation of the Bible’s collage of compelling narrative, poetry, song, truth, and wisdom. The Voice will call you to step into the whole story of God with your whole heart, soul, and mind.
Introduction
Step into the Story of Scripture
The book you are reading is no ordinary book. The Bible is a veritable library, a book of books, but not just any books. These books are inspired by God, written by people flush with their encounters with Him, shaped by communities of faithful believers, and recognized by the church universal as an authoritative account of God’s activities in the world. Speaking of the first part of the Christian Scriptures, Paul reminds Timothy that these books are in fact «God-breathed» (2 Timothy 3:16). Generations of Christians have sensed the warm, sweet breath of God as they thumbed through the pages and breathed in the enduring message it contains. If you allow His breath to wash over you, you will hear the authentic voice of the one True God addressing you, correcting you, and training you for what is ahead.
The Christian Bible is the most translated and retranslated book in all history. All or part of it is available today to the vast majority of the world’s population in nearly 2,300 of the world’s 6,909 languages.1 When the Scriptures were published in English in 1611 under the auspices of King James I of England, they provided the English-speaking world a common language and a shared heritage which shaped Western culture in significant ways. In America the first book read by children and adults was the King James Bible. The memorable stories in its pages entertained them, trained their minds, formed their consciences, and fashioned their societies. No book has had a greater impact on so large a group of people. However, the English language has changed in the last four centuries—as all languages do over the course of time—so we arrive at a new moment with a fresh opportunity to retell these classic stories in the common language of a new generation.
We have not arrived at this moment on our own. We stand upon the shoulders of countless dedicated sinners-made-saints who gave the best of themselves to God and passed the Scriptures along to their sons and daughters. For 1,500 years the Christian Scriptures were meticulously hand copied, checked, and rechecked in order to ensure the accurate transmission of these vital books in their original languages. Others gave themselves to the study of those original languages and translated the Scriptures into the languages of the people, often at great risk to their own lives.2 So now it is our turn. Our scholars have worked from the best Greek and Hebrew texts available.3 We have wrestled with the languages—the original languages and English, our target language—debated every decision, and taken inordinate care to make sure we are passing along to the next generation a readable, personal, faithful, creative, and transformative version of Scripture.
The heart of the Christian Scriptures—both Old and New Testaments—is the story of God’s covenants with and promises to His people and the world. Concerned with the proliferation of evil, sin, and its dire consequences to His good creation, God decides that the best route to reclaim and repair His broken creation is to reveal Himself to one person, then another, and then another on the way to redeeming the entire world. Each book of the Bible tells part of the story. Each chapter fits into this grand scheme. Each verse contributes some fact, some detail, some nuance to the overall drama. You will notice that the content of some books overlaps (for example, 1 and 2 Samuel, 1 and 2 Kings, and 1 and 2 Chronicles), and that is because they are written from different perspectives with unique interests.
Now let us be clear. The Scriptures offer more than an account of God’s past actions in history. They also speak of a future that has not yet been fully realized, a future when all things will be made new. That vision of the future is what drives the church and directs its mission. It reminds us that things are not now as they are supposed to be, not now as they are destined to be. It tells us what the world will be like when the one True God finally reigns supreme over a restored creation and evil, suffering, sin, and death are things of the past.
The Scriptures invite us to begin or deepen our connections with God, repair our relationships with each other, take our rightful places as stewards of God’s creation, all while discovering what we are made to do. Properly understood, the Bible is deeply relational and must be read in relational terms. It is not just a story about people «way back when.» On each page we read about our spiritual ancestors: Abraham our father, Sarah our mother, Paul our brother, Deborah our sister, and a host of other siblings. These books may well have been written by different people to different audiences, but in them we hear God addressing and wooing us. When we immerse ourselves in its story, we find our places in the world as men and women have been doing since the church was born during Pentecost (Acts 2:1-6).
Some well-meaning people tend to reduce the Bible to a set of manageable propositions. They select certain verses to memorize and judge for themselves which parts to read, which rules to follow. But the Scriptures are not meant to be stripped of their storied context. They are meant to be read as chapters in a larger drama of love and redemption. To read part of the Bible is to know only part of the story, not the grand sweep of sacred history. The Scriptures demand that we read and re-read them, that we study and dig deep in order to discover the truth about God, ourselves, and the world. Had God wanted us to have only a few dozen verses to memorize or a set of rules to follow, He could have provided that. Instead, He decided to disclose Himself in the messiness of people’s lives, the intrigues of political power, the occasional miraculous deed, and the inescapable still, small voice. Now don’t misunderstand, there is nothing wrong with memorizing verses or following the rules, but these must be selected carefully and understood for what they are. It is always unwise to abridge the greater story of Scripture with our own chopped-up versions. Read Obadiah as well as Isaiah. Read Jude as well as John, for you will find in the smallest books a generous portion of the story as it drives toward its fulfillment.
As you read through The Voice and consult the helps provided, we invite you to step into the story of Scripture, hear the authentic voice of God, and experience the beauty, power, and grace resident in each book. Unlike other stories you may hear—ancient and modern—this story is completely true.
- M. Paul Lewis, ed., Ethnologue: Languages of the World, 16th ed. (Dallas: SIL International, 2009). The vast majority of the remaining languages represent small, remote populations averaging only a few hundred speakers each.
- William Tyndale (c. 1494–1536) was one of the first to translate the Scriptures from the original languages into English. He was tried for heresy and burned at the stake in 1536, yet his translation greatly influenced the scholars who would translate the King James Bible.
- For the Hebrew Scriptures we turned to Biblia Hebraica Stuttgartensia (Stuttgart: Deutsche Bibelgesellschaft, 2004). In a few places the biblical texts of the Dead Sea Scrolls and the Greek translation of the Hebrew Bible (known as the Septuagint) have influenced translation decisions. For the Greek Scriptures we worked from The Greek New Testament, 4th ed. (Stuttgart: United Bible Societies, 1993) and Novum Testamentum Graece, Kurt Aland and Barbara Aland, ed., 27th ed. (Westphalia: Institut für neutestamentliche Textforschung, 1993). Textual variants in Greek, Aramaic, and Hebrew are only occasionally referenced in footnotes.
David B. Capes, PhD
Voice Typing in Google Docs
Highlighting text in a Google Doc can be a little cumbersome. The Google Doc voice typing feature is not only magical, it allows you to edit your document with voice commands.
Voice Typing
Use the Tools menu to activate voice typing. Alternatively, you can use the keyboard shortcut Control Shift S. This keyboard shortcut also will turn off voice typing.
Click the microphone icon to enable voice typing.
Punctuation
You can speak your punctuation. Say “period” “comma” “exclamation point” or “new line.”
Highlighting
Google Docs allows you to use your voice to edit your document. To highlight text manually, you select the word or phrases you wish to highlight. Going to the toolbar, select the text color icon and switch from text color to highlight. If your window width is small, the text color icon is hidden under the “More” menu.
Voice Highlight Text
Instead of all the mouse clicks, just say it with your voice. Select the word or phrase you wish to highlight. Say the word “highlight” while voice typing is enabled.