Bangladesh

Sept. 30, 2026 3:01 AM PT

Summer mornings in the Hill Tracts region of Bangladesh are a respite from the dissonance of honking cars and construction of the capital city of Dhaka. It was a welcome change to hear chickens and the sound of … wait, was that Julie Andrews’ voice echoing over the hills?

I was visiting my home country when I heard a group of schoolchildren playing ektaras, a traditional string instrument, and singing the “Do-Re-Mi” song for their morning assembly.

I used my phone to show them a picture of Andrews. “Do you know her?” They immediately leaped in excitement. They didn’t know the composer Richard Rodgers or lyricist Oscar Hammerstein II. But they knew Andrews — even though 60 years have passed since “The Sound of Music” and these children live in a remote Bangladeshi village. The recognition is evidence of something extraordinary.

Andrews is turning 91 on Thursday, and there are calls online to bubble wrap her, just in case. She is indeed a global treasure, and she has been earning plaudits and admirers for eight decades.

Andrews trained in the Italian bel canto tradition and from a young age sang challenging coloratura arias with precision, clarity and range. The bright, happy tone, perhaps a subconscious decision rather than anatomical alone, provided her respite from the doodlebug bombs that fell during her childhood in England in World War II. British critics had dubbed her as the “youngest prima donna,” a title usually reserved for opera greats, and it wasn’t undeserved. At just 12, she routinely floated high Fs above the treble staff during live performances.

Yet before opera could claim her, Broadway stepped in. From “The Boy Friend” to “My Fair Lady” and then “Camelot,” she won the hearts of theater goers and creators alike. Lyricist Alan Lerner described her as “an amazingly quick study in music … who meets any challenge with an unabated eyelid that makes you wonder how Britain ever lost the empire.”

Her voice then was so precise that the late maestro André Previn, who led the London Symphony Orchestra, proclaimed: “No one’s diction in any field of singing can come close. … You understand every syllable from the second balcony — I don’t understand how you do that.”

It’s inaccurate to romanticize her legacy in 2026 as simply nostalgic. That would overlook the depth and progressive nature of her characters. She was essentially the first female superhero on the big screen, as Mary Poppins — who could fly and create alternate realities with the snap of her heels, but whose more stunning superpower at the height of the Cold War was to charmingly portray capitalism as dangerous.

In “Victor/Victoria,” she navigated a gender-bending performance that challenged societal norms, playing a woman who impersonates a man impersonating a woman when it was taboo to speak about any layer of that. Her most overlooked and perhaps her best dramatic role was in “Duet for One,” a 1986 film about a musician who suffers from multiple sclerosis. Tragically this became a moment of life imitating art, foreshadowing her own destiny to lose her instrument after throat surgery in 1997.

Rather than retreat, Andrews adjusted and leaned into voice acting with characters like the dominant Queen Lillian in “Shrek” films, Gru’s hilariously villainous mother in “Despicable Me” and the mysterious Lady Whistledown in “Bridgerton,” for which she won an Emmy, twice.

In real life, the flying super governess fought to adopt two babies from Vietnam just after the fall of Saigon, helping to raise awareness of the need for adoptive parents. She then co-founded the Operation USA disaster relief charity and opened the Japanese wing for the United Nations Development Fund for Women.

Whether it was to support UNICEF after the devastating Bhola cyclone hit present-day Bangladesh in 1970 or jetting to Jordan and Senegal to support women’s and children’s activities, she was a quiet champion for the underserved. In her most famous role, in “The Sound of Music,” she was a savior for children being displaced by war.

Andrews is mostly out of the public eye, but her singing is eternal and accessible. YouTube is home to a trove of Andrews performances, including “This Is My Beloved” from “Kismet,” full-voiced “When You Wish Upon a Star,” from pianissimos to fortes, high B-flats and all — her classical skill shines through. These recordings remind us that beyond just the formulaic legato phrasing that singers from the Italian tradition follow, and the clear resonance, her work it set a gold standard for musical storytelling that few have surpassed since.

Julie Andrews is no longer trilling on the Alps, nor is she reprising her role as queen of Genovia in a “Princess Diaries” film, but her voice, and what it represented for more than 80 years, endures. It lives on not just in films and recordings but also ringing in the minds of children and adults alike, from her hometown of Walton-on-Thames to the Hill Tracts of Bangladesh. In an age of doom scrolling (and alarmingly low singing standards), her vast career offers a rare resonance and a continuing masterclass.

Shams-il Arefin Islam, a Yale-Berkeley College associate fellow who works on climate mitigation and adaptation, is a classically trained tenor.

India defeat Bangladesh by 114 runs to book women’s cricket final against Sri Lanka, who beat Pakistan by eight wickets.

Smriti Mandhana has become the highest run-scorer in women’s T20 international cricket, guiding India to a crushing win over Bangladesh in an Asian Games semifinal in Japan.

The recently crowned Asian champions defeated Bangladesh by 114 runs on Sunday as Mandhana’s fellow opener Shafali Verma hit her maiden T20 hundred at the Korogi Athletic Park ground in Nagoya.

Mandhana scored 37 off 19 balls with five fours and two sixes in her side’s 195-4 in 20 overs and, in the process, went past New Zealand all-rounder Suzie Bates’s 4,758 runs at the top of the all-time list to stand on 4,788 runs from 171 innings.

Earlier this month, Mandhana reached the top of overall run-scoring charts in women’s international cricket after smashing a record-breaking 124 off 64 balls in the Women’s Asia Cup in Dubai.

Mandhana overtook former India captain Mithali Raj, who had been the top international scorer with 10,868 international runs, during her match-winning innings against Hong Kong on Thursday.

Verma was the star on the day for India in the Asian Games semifinal, scoring 100 not out off 49 balls with three fours and nine sixes. She reached her hundred off the final ball of the 20-over innings and was clearly emotional as she took off her helmet and raised her bat in celebration towards her applauding teammates on the boundary.

India then restricted Bangladesh to 81 in 15.4 overs.

The 50-over world champions will meet Sri Lanka on Tuesday in the gold medal match, which will be a replay of the Asia Cup final from last Sunday, when India won a record-extending eighth title.

Sri Lanka advanced to the final after their captain Chamari Athapaththu led them to an easy eight-wicket win over Pakistan with more than two overs to spare.

The island nation hunted down the 178-run target with 13 balls to spare as Athapaththu led the scoring with 83 not out.

Earlier, Pakistan were asked to bat first and, with half-centuries from Ayesha Zafar and Shawaal Zulfiqar, they posted a total of 177-4 in 20 overs.

Zafar, who hit the joint third-fastest fifty for Pakistan in WT20Is off 27 balls, shared a record stand of 115 with Zulfiqar, which is the second-highest in the format for Pakistan and the highest for the third wicket.

Pakistan were able to score 27 runs off the last three overs as their all-rounder captain Fatima Sana hit two fours and one six in her 12-ball 20.

In reply, Sana broke Sri Lanka’s 36-run opening stand in the fifth over, bowling out Imesha Dulani for 27. Athapaththu, who hit seven fours and six sixes in her 50-ball knock, joined forces with Hasini Perera (42) to form a match-winning 95-run partnership off 56 balls.

Nashra Sundhu provided Pakistan the breakthrough in the 14th over, with Sri Lanka requiring another 47 runs off the last six overs, but Athapaththu’s quickfire stand of 47 off 23 balls with Harshitha Samrawickrama (17 not out) took their team over the line with 13 balls to spare.

Pakistan will play Bangladesh for the bronze medal, also on Tuesday.

North Korea, enjoying support in the stands, were up 7-0 by half-time and are the favourites for the gold.

North Korea’s formidable women’s football team, cheered on by several hundred pro-Pyongyang fans in Osaka, Japan, launched their Asian Games campaign with a 10-0 hammering of Bangladesh.

The North Koreans have enjoyed stunning international success at the youth level and start among the favourites for gold in Japan.

They were far too hot for Bangladesh to handle and were seven goals ahead by half-time on Monday.

Striker Ri Song-a, who was born and raised in Japan, was in North Korea’s starting lineup and scored in the second half.

North Korea were cheered on by a large group of red-clad fans, who sang and chanted throughout the match.

The men’s and women’s football teams were welcomed by supporters waving flags as they arrived for the games last week wearing white blazers and pink ties.

More than 100 North Koreans are set to compete in 14 sports at the games, which take place in Nagoya-Aichi and officially open on September 19.

North Korea suspended participation in international sporting competitions during the COVID-19 pandemic, but returned at the Asian Games in China in 2023 and also took part in the Paris Olympics.

North Korea’s women face South Korea in a Group F grudge match on September 21.

The men’s team begin their campaign against China on Wednesday.