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libretto and each
* Reconstructie ( 1969 ) ( with Reinbert de Leeuw, Misha Mengelberg, Peter Schat, Jan van Vlijmen, libretto by Hugo Claus, Harry Mulisch ) Morality opera for soloists, 3 mixed choruses ( 4 voices each ), orchestra ( 11 winds, 7 brass, 2 guitars, 11 keyboards, 10 strings ), live electronics
Called " Met Titles ", the $ 2. 7 million electronic libretto system provides the audience with a translation of the opera's text in English on individual screens mounted in front of each seat.
" The stage directions in the libretto state that at the end of each verse the Major-General is " bothered for a rhyme.
Benshi masters were intellectuals: they spoke Japanese, often traveled to Japan and / or China, and were poets writing their own libretto for each film.
The libretto in each case was written by Guy Boothby.
For each libretto the composer / s are listed who set it to music, the date of the first performance, and the new title where applicable.
The original manuscript of the score does not exist ; two surviving copies from the 1650s show significant divergences from each other, and each differs to some extent from the libretto.
Both scores contain essentially the same music, though each differs from the printed libretto and has unique additions and omissions.
The press uniformly found fault with the verbose libretto and felt that the music and book were not well suited to each other.

libretto and part
The modern American composer Phillip Glass also found the story fascinating, and composed an opera, The Photographer, with a libretto based in part on court transcripts from the case.
Suggestions were made, despite initial skepticism on the part of the composer, that Boito would be interested in creating a new libretto based upon the play.
" The composers themselves took no part in the polemics, but when Piccinni was asked to set the libretto to Roland, on which Gluck was also known to be working, Gluck destroyed everything he had written for that opera up to that point.
Tippett asked Eliot to write the libretto for his new oratorio, but the poet refused, feeling that Tippett had already written a major part and that his contribution would compete with the music for attention.
He appears as a character in the opera, composed by Daniel Auber to a libretto by Eugène Scribe, and has the title-role in the opera Farinelli by the English composer John Barnett, first performed at Drury Lane in 1839, where his part is, oddly, written for a tenor ( this work is itself an adaptation of the anonymous, premiered in Paris in 1835 ).
Hwang co-wrote the English language libretto for an operatic adaptation of Lewis Carroll's Alice in Wonderland with music ( and part of the libretto ) by the Korean composer Unsuk Chin, which received its world premiere at the Bavarian State Opera in 2007 and was released on DVD in 2008.
In 2010, Churchill was commissioned to write the libretto for a new short opera by Orlando Gough as part of the Royal Opera House's ROH2 OperaShots initiative.
In April 1914 he spent part of his Easter vacation with Delius, at Grez, and worked with the composer on the scores of An Arabesque and Fennimore and Gerda, in the latter case providing an English version of the libretto.
Gilbert's libretto satirises limited liability companies, and particularly the idea that a bankrupt company could leave creditors unpaid without any liability on the part of its owners.
In 1600 Cavalieri produced Euridice, one of the first operas, by Jacopo Peri ( libretto by Ottavio Rinuccini ); this was part of an elaborate set of festivities for the wedding of Henry IV of France and Maria de ' Medici.
The libretto also reflects Gilbert's fascination with the " Stock Company Act ", highlighting the absurd convergence of natural persons and legal entities, which plays an even larger part in the next opera, Utopia Limited.
The piece ran for a hundred nights, and owing in part to its libretto, was characterized by the Institut de France as the best lyric drama of the day.
The libretto of this part of opera is in Persian.
In 2007 Armstrong ’ s first opera was premiered as part of the Scottish Opera, titled ‘ 5: 15-Opera ’ s made in Scotland ’, a 15min opera with a libretto by Ian Rankin.
Unfortunately this initial success was not to be repeated elsewhere ; perhaps ( at least in part ) for the inconsistencies and excesses of its libretto.
The libretto was taken almost verbatim from Alexander Pushkin's like-named play in blank verse ( part of his collection Little Tragedies ), with slight changes in wording and the interpolation of two songs indicated in the play.
The libretto is a faithful adaptation of Cervantes's text, from Chapter 26 of the second part of Don Quixote, with some words edited.
Casanova's Homecoming is an opera in three acts by Dominick Argento to an English libretto by the composer, based in part on Giacomo Casanova's memoirs.
Like Wagner's Ring of the Nibelung, the story is based on the Niebelungenlied and the Eddas, with some crucial differences from the better known Wagnerian version ( the role of the supernatural is limited and replaced in large part by fate ; the initial version of the libretto with a prologue set in heaven was later cut out ).
But other ballets, with a mime libretto whose authors normally shared credit with Mérante, are perhaps an irretrievably lost part of ballet history: La Korrigane, " ballet fantastique " by François Coppée, choreographed by Mérante ; Les Jumeaux de Bergame, " ballet-arlequinade " by Charles Nuitter and Mérante, to music by Th.

libretto and symphonic
Vladigerov composed in a variety of genres including an opera ( Tsar Kaloyan, to a libretto by Nikolai Liliev and Fani Popova-Mutafova ), ballet, symphonic music, five piano concertos, two violin concertos, chamber music including string quartet, trio ( violin, cello and piano ), works and transcriptions for violin and piano and numerous opuses for solo piano, 38 transcriptions of instrumental pieces for instrument and piano, 13 late transcriptions of his earlier works for two pianos, fifty folksong concert arrangements for voice and piano / orchestra, 20 songs for voice and piano, ten choral songs with piano / orchestra, incidental music for the performances of the Deutsches Theater in Berlin, the Theater in der Josefstadt in Vienna, and the National Theatre in Sofia.

libretto and intermezzo
Rossini's opera, now known as Il barbiere di Siviglia, is now acknowledged as Rossini's greatest work, while Paisiello's opera is only infrequently produced — a strange instance of poetical vengeance, since Paisiello himself had many years previously endeavoured to eclipse the fame of Giovanni Battista Pergolesi by resetting the libretto of his famous intermezzo, La serva padrona.

libretto and between
Again a classic of Renaissance literature was the basis of the libretto by Boccherini, in this case a comic mock-epic by Tassoni, in which a war between Modena and Bologna ensues over a stolen bucket.
Like the 1849 play by Murger and Théodore Barrière, the opera's libretto focuses on the relationship between Rodolfo and Mimì, ending with her death.
Printed scores for operas naturally contain the entire libretto, although there can exist significant differences between the score and the separately printed text.
The libretto, based on a play of the same name by Karel Čapek, was written by the composer between 1923 and 1925.
The libretto alternates between Biblical verses and free poetry ( a rarity among Bach ’ s early cantatas ).
Joseph Redding's libretto for Natoma, set in 1820s California, is a love story between an American naval officer and a Native American princess.
The libretto and score were revised: The secondary romance between Tommy Keeler and Winnie Tate was completely eliminated, including their songs " I'll Share it All With You " and " Who Do You Love, I Hope?
The libretto was written by Berlioz himself from Virgil's epic poem The Aeneid ; the score was composed between 1856 and 1858.
The libretto by Chris Judge Smith adopts the subplot of a romantic attraction between Madeline Usher and the narrator, who is given the name Montresor.
Similarities between the libretto and the work of Richard Wagner have also been found, though some attribute this more to the original plot of the play, and have asserted that the opera remains quintessentially Italian.
The libretto was a collaboration between Jules-Henri Vernoy de Saint-Georges and Petipa, partly after Théophile Gautier's Le Roman de la Momie.
There are numerous discrepancies between the original libretto and what was described as happening on stage, and reviewers repeatedly quoted dialogue that has no equivalent in the published libretto.
But the text of the libretto, as published, remained " virtually unchanged " between December 1871 and March 1872.
" Even after the first printing, there does not seem to have been any effort to correct the errors: There were four separate issues of the libretto between December and March, but no corrections were made.
Rosand believes that rather than casting doubts on Monteverdi's authorship, the significant differences between the score and the libretto might lend support to it, since Monteverdi was well known for his adaptations of the texts presented to him.
Apart from the stylistic differences between Il ritorno and Monteverdi's other surviving late opera, L ' incoronazione di Poppea, the main issue which raised doubts was the series of discrepancies between the score and the libretto However, much of the uncertainty concerning the attribution was resolved through the discovery of contemporary documents, all confirming Monteverdi's role as the composer.
The libretto of The Demon is based on Mikhail Lermontov's famous epic poem, once banned because of its plot line which involves a misalliance between a dark angel and a Georgian princess.
The injunction was issued one week before the date of the performance, so a " pastiche " was performed: the Motezuma libretto recitatives were spoken, and other Vivaldi arias sung between them.
Since both the libretto and score were dedicated to the new Queen of France, Marie de ' Medici, some scholars have recognized a possible parallel between Euridice and Orfeo and the King and Queen of France.
Several elements of the libretto suggest parallels between María and Mary, the mother of Jesus ( in Spanish, María ) or to Jesus himself.
55, is a ballet-pantomime written by the Polish composer Karol Szymanowski, between 1923 1931, to a libretto by Jerzy Rytard and his wife and Jarosław Iwaszkiewicz, the librettist of Symanowski's opera, King Roger.
These were followed by The Gentleman in Black ( 1870, also with Gilbert ), In Possession ( 1871, also for German Reed ), Happy Arcadia ( 1872, with Gilbert ), Oriana ( 1873, with a libretto by James Albery ), Green Old Age and Cattarina ( both 1874, with libretti by Robert Reece ), Princess Toto ( 1875, the last collaboration between Clay and Gilbert ), and Don Quixote ( 1876 ).

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