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Goldoni and form
After 1748, Goldoni collaborated with the composer Baldassare Galuppi, making significant contributions to the new form of ' opera buffa '.
Carlo Goldoni, a Venetian, overcame resistance from the old popular form of comedy, with the masks of pantalone, of the doctor, harlequin, Brighella, etc., and created the comedy of character, following Molière's example.

Goldoni and which
Goldoni also wrote under the pen name and title " Polisseno Fegeio, Pastor Arcade ," which he claimed in his memoirs the " Arcadians of Rome " bestowed on him.
Goldoni, a prolific writer, is best known for his comic play Servant of Two Masters, which has been translated and adapted internationally numerous times.
There is an abundance of autobiographical information on Goldoni, most of which comes from the introductions to his plays and from his Memoirs.
Goldoni thanked his critic, went back to his inn and ordered a fire, into which he threw the manuscript of his Amalasunta.
* Il colosso, a satire against Pavia girls which led to Goldoni being expelled from Collegio Ghislieri ( 1725 )
Piccinni's first opera, Le donne dispettose, was produced in 1755, and in 1760 he composed, at Rome, the chef d ' œuvre of his early life, La Cecchina, ossia la buona Figliuola, an opera buffa with a libretto by Goldoni, which " enjoyed a two-year run in Rome and was played in all the important European capitals.
It is the moment at which the self-consciously sentimental theatrical project of Carlo Goldoni ( the opera's librettist ) is married with the developing musical language of classicism.
His other theatre credits include < nowiki >'</ nowiki > Tis Pity She's a Whore, The Greeks ( which received the 1999 LA Weekly Theater Award for Production of the Year ) and The Goldoni Trilogy.

Goldoni and has
He has also translated plays by Carlo Goldoni, Bertolt Brecht and Herman Heijermans and co-written the screenplays for recent adaptations of Jane Austen's Pride & Prejudice and Kenneth Grahame's The Wind in the Willows.

Goldoni and been
To perform it, he obtained the services of the Sacchi company of players, who had been left without employment because the popularity of the comedies of Chiari and Goldoni offered no scope for the display of their particular talents.

Goldoni and yet
Goldoni says that he took for his models the plays of Molière and that whenever a piece of his own succeeded he whispered to himself: " Good, but not yet Molière.

Goldoni and be
Popular characters with Gozzi and Goldoni, but said to be best when used for improvisations.
Although an established and eminent playwright by the time he worked with Galuppi, Goldoni was happy for his libretti to be subservient to the music.
Ferrari may be regarded as a follower of Carlo Goldoni, modelling himself on the French theatrical methods.
His versatility may be judged from the fact that in the comedies of Goldoni and Molière he was no less successful than in the tragedies of Lessing and Shakespeare.

Goldoni and by
The life of Amalasunta was made the subject of a tragedy, the first play written by the young Goldoni and presented at Milan in ( 1733 ).
Armida was soon followed by Salieri's first truly popular success ; a commedia per musica in the style of Carlo Goldoni La fiera di Venezia ( The Fair of Venice ).
This uneven work was followed by another popular comedic success La locandiera ( Mine Hostess ), an adaptation of the classic and popular spoken stage comedy La locandiera by Carlo Goldoni, the libretto was prepared by Domenico Poggi.
In his memoirs, Goldoni describes his father as a physician, and claims that he was introduced to theatre by his grandfather Carlo Alessandro Goldoni.
Monument to Goldoni in Florence ( sculpted by Ulisse Cambi )
Goldoni took to himself the task of superseding the comedy of masks and the comedy of intrigue by representations of actual life and manners.
It was this very success that was the object of harsh critiques by Carlo Gozzi, who accused Goldoni of having deprived the Italian theatre of the charms of poetry and imagination.
Goldoni was inspired by his love of humanity and the admiration he had for his fellow men.
* The film Carlo Goldoni – Venice, Grand Theatre of the World, directed by Alessandro Bettero, was released in 2007 and is available in English, Italian, French, and Japanese.
* Works by Goldoni at Progetto Manuzio
* Works by Goldoni: text, concordances and frequency list
* The Good-Humoured Ladies: A Comedy by Carlo Goldoni ( 1922 ) translator, with Arthur Symons
High points in this history are the 80 or so libretti by Carlindo Grolo, Loran Glodici, Sogol Cardoni and various other approximate anagrams of Carlo Goldoni, the three Mozart / Da Ponte collaborations, and the comedies of Gioachino Rossini.
* 1950 Rosaura, opera in three acts after texts by the composer and Carlo Goldoni
A number of his works were based on plays by Carlo Goldoni, including Le donne curiose ( 1903 ), I quatro rusteghi ( 1906 ) and Il campiello ( 1936 ).
* L ' uccellatrice ( Venice, 1751 ) – libretto by Carlo Goldoni
The displacement of the old Italian comedy by the dramas of Pietro Chiari and Carlo Goldoni, modelled on French examples, threatened to defeat the society's efforts ; in 1757 Gozzi came to the rescue by publishing a satirical poem, La tartana degli influssi per l ' anno 1756, and in 1761 his comedy based on a fairy tale, The Love for Three Oranges or Analisi riflessiva della fiaba L ' amore delle tre melarance, a parody of the style of the other two poets.
In the following year the adjacent former episcopal Felsenreitschule riding academy, carved into the Mönchsberg rock face, was converted into a theatre, inaugurated with the performance of Servant of Two Masters by Carlo Goldoni.

Goldoni and .
Carlo Osvaldo Goldoni (; 25 February 1707 – 6 February 1793 ) was an Italian playwright and librettist from the Republic of Venice.
Audiences have admired the plays of Goldoni for their ingenious mix of wit and honesty.
Goldoni was born in Venice in 1707, the son of Margherita and Giulio Goldoni.
In any case, Goldoni was deeply interested in theatre from his earliest years, and all attempts to direct his activity into other channels were of no avail ; his toys were puppets, and his books, plays.
Goldoni returned with her to Venice, where he stayed until 1743.
Goldoni entered the Italian theatre scene with a tragedy, Amalasunta, produced in Milan.
In his Memoirs Goldoni amply discusses the state of Italian comedy when he began writing.
The great success of Gozzi's fairy dramas so irritated Goldoni that it led to his self-exile to France.
The moral and civil values that Goldoni promotes in his plays are those of rationality, civility, humanism, the importance of the rising middle-class, a progressive stance to state affairs, honor and honesty.
Goldoni had a dislike for arrogance, intolerance and the abuse of power.
Goldoni maintains an acute sensibility for the differences in social classes between his characters as well as environmental and generational changes.
Goldoni pokes fun at the arrogant nobility and the pauper who lacks dignity.

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