query: who sings voi che sapete in the marriage of figaro

pos: The Marriage of Figaro what love is, is it what I'm suffering from?"). After the song, the Countess, seeing Cherubino's military commission, notices that the Count was in such a hurry that he forgot to seal it with his signet ring (which would be necessary to make it an official document). Susanna and the Countess then begin with their plan. Susanna takes off Cherubino's cloak, and she begins to comb his hair and teach him to behave and walk like a woman (aria of Susanna: "Venite, inginocchiatevi" – "Come, kneel down before me"). Then she leaves the room through a door at the back

pos: The Marriage of Figaro indicates that the Countess has a rendezvous of her own that evening. They hope that the Count will be too busy looking for imaginary adulterers to interfere with Figaro and Susanna's wedding. Figaro additionally advises the Countess to keep Cherubino around. She should dress him up as a girl and lure the Count into an illicit rendezvous where he can be caught red-handed. Figaro leaves. Cherubino arrives, sent in by Figaro and eager to co-operate. Susanna urges him to sing the song he wrote for the Countess (aria: "Voi che sapete che cosa è amor" – "You ladies who know

pos: Fantasy on Themes from Mozart's Figaro and Don Giovanni housed at the Stiftung Weimarer Klassik/Goethe- und Schiller-Archiv, Weimar (shelf mark "GSA 60/I 45"). There is no title, date or place of composition, or signature. It consists of 50 unnumbered pages of music. Much of the music is based on two arias from the opera "The Marriage of Figaro": Figaro's "Non più andrai" (Act I) and Cherubino's "Voi che sapete" (Act II). Fifteen pages are devoted to the dance scene from the Act I finale of "Don Giovanni". At some point the pianist-composer Ferruccio Busoni, who has been described as "probably the most open and enthusiastic Liszt exponent in the

pos: Fantasy on Themes from Mozart's Figaro and Don Giovanni recording, and in 1997 publishing, the newly-recast work. His intention was to "publish... the whole of Liszt's "Fantasy" with an authenticity of text, supplying and clearly indicating the few bars... which are necessary to render the work performable." As reconstructed by Howard, the piece includes the music based on the dance scene from the Act I finale of "Don Giovanni". The dramatic opening is based on the music from "Figaro": a free paraphrase of "Non più andrai" followed by an arrangement of "Voi che sapete" in A-flat major instead of Mozart's B-flat major. This is the only appearance of Cherubino's

pos: The Marriage of Figaro as a girl. The Countess, alone, ponders the loss of her happiness (aria: "Dove sono i bei momenti" – "Where are they, the beautiful moments"). Meanwhile, Antonio informs the Count that Cherubino is not in Seville, but in fact at his house. Susanna enters and updates her mistress regarding the plan to trap the Count. The Countess dictates a love letter for Susanna to send to the Count, which suggests that he meet her (Susanna) that night, "under the pines". The letter instructs the Count to return the pin which fastens the letter (duet: "Sull'aria...che soave zeffiretto" – "On the

pos: The Marriage of Figaro fly] To the desire of [the one] who adores you" (K. 577) in July 1789, and to replace "" he wrote "" – "A joyous emotion", (K. 579), probably in mid-1790. The voice types which appear in this table are those listed in the critical edition published in the "Neue Mozart-Ausgabe". In modern performance practice, Cherubino and Marcellina are usually assigned to mezzo-sopranos, and Figaro to a bass-baritone. "The Marriage of Figaro" continues the plot of "The Barber of Seville" several years later, and recounts a single "day of madness" () in the palace of Count Almaviva near Seville, Spain.

pos: Christine Schäfer Berg's opera of that name, a part she would later sing at The Met and at Glyndebourne. Other notable opera roles were "Alcina" at the Drottningholm Palace Theatre, Donna Anna in a production of "Don Giovanni" in the Palais Garnier, directed by Michael Haneke and Gilda in a 2000 BBC production of Rigoletto at Covent Garden. Her repertoire contains several baroque operas, Bach cantatas, and many of the great Mozart roles, such as Konstanze ("Die Entführung aus dem Serail"), Cherubino ("The Marriage of Figaro"), Pamina ("The Magic Flute") and Servilia ("La clemenza di Tito"). But Schäfer also sings modern pieces

pos: The Marriage of Figaro Susanna and the Countess reveal that the letter was written by Figaro, and then delivered by Basilio. Figaro then arrives and tries to start the wedding festivities, but the Count berates him with questions about the anonymous note. Just as the Count is starting to run out of questions, Antonio the gardener arrives, complaining that a man has jumped out of the window and damaged his carnations while running away. Antonio adds that he tentatively identified the running man as Cherubino, but Figaro claims it was he himself who jumped out of the window, and pretends to have injured his

neg: I Dreamed of Africa Kuki Gallmann (Kim Basinger), a divorced Italian socialite, changes her life after surviving a car crash. She marries Paolo (Vincent Perez) a man she doesn't know well and moves with him and her young son to Kenya, where they start a ranch. She faces many problems, both physical and emotional, that will test her. This includes ""Voi che sapete"," sung by Brigitte Fassbaender (mezzo soprano), with the Vienna Philharmonic Orchestra, István Kertész conducting, from Act 2 of the opera "Le nozze di Figaro" ("The Marriage of Figaro"), K. 492, composed by Wolfgang Amadeus Mozart. This was one of the last

neg: Pride and Prejudice (1995 TV series) to 18 musicians and was then fed into tiny earpieces of the screen musicians, who mimed playing the instruments. The actresses whose characters played the piano, Lucy Briers (Mary) and Emilia Fox (Georgiana), were already accomplished pianists and were given the opportunity to practise weeks ahead of filming. Among the songs and movements that were played in the serial were Handel's "Air con Variazioni" from Suite No. 5 in E Major HWV 430 and "Slumber, Dear Maid" from his opera "Xerxes", Mozart's "Rondo Alla Turca", "Voi Che Sapete" and other music from his operas "The Marriage of Figaro" and "Don

neg: Rina Ketty song, worked wonderfully on the radio of those days, but also on various subsequent recorded versions. Several composers wrote songs for Rina with her charming accent in mind. So for example Paul Mirsaki (with his "Rendez-moi mon coeur", which in fact was a reprise of "Sombreros et mantilles", but this time the text remained much closer to the Spanish original) and Jean Tranchant (with "Pourvu qu'on chante"). In 1939 Rina Ketty ventured into classical music with the song "Mon coeur soupire", an adaptation of "Voi Che sapete" from Wolfgang Amadeus Mozart's "The Marriage of Figaro". Rina Ketty divorced her husband

neg: Canzone are part of the more general influence of the Romance lyric. Canzone Literally "song" in Italian, a canzone (, plural: "canzoni"; cognate with English "to chant") is an Italian or Provençal song or ballad. It is also used to describe a type of lyric which resembles a madrigal. Sometimes a composition which is simple and songlike is designated as a canzone, especially if it is by a non-Italian; a good example is the aria "Voi che sapete" from Mozart's Marriage of Figaro. The term canzone is also used interchangeably with canzona, an important Italian instrumental form of the late 16th

neg: Canzone Canzone Literally "song" in Italian, a canzone (, plural: "canzoni"; cognate with English "to chant") is an Italian or Provençal song or ballad. It is also used to describe a type of lyric which resembles a madrigal. Sometimes a composition which is simple and songlike is designated as a canzone, especially if it is by a non-Italian; a good example is the aria "Voi che sapete" from Mozart's Marriage of Figaro. The term canzone is also used interchangeably with canzona, an important Italian instrumental form of the late 16th and early 17th century. Often works designated as such are "canzoni

neg: Menschenliebe "overture" as it already features many elements that appear later in the film: Arnold's writing, rejection-letters from girls, Konstantin kissing a woman, among other elements. Further into the film, when Arnold first encounters Konstantin, the opening of the aria "voi che sapete" from "Nozze di Figaro" is played. The aria deals with a young man's longing for women, which is thematically related to Arnold's and Konstantin's dialogue. While Konstantin seduces a woman in the bar to demonstrate Arnold his techniques, we hear an instrumental version of "Das Klinget so Herrlich" from "The Magic Flute" - an aria in which the

neg: Leeds Symphony Orchestra Nozze di Figaro: Act II – Voi che sapete Guitar Concerto - Black Island commissioned by Leeds Symphony Orchestra Leeds Symphony Orchestra Leeds Symphony Orchestra is one of the oldest established orchestras in the United Kingdom dating back to 1890. It is a non-professional orchestra based in Leeds, Yorkshire, England. Martin Binks has been the conductor since September 1970. There are 90 players in the orchestra, including Kathy Hampson of Leeds Progressive Rock band Manning. Ten concerts a year are given at venues including Leeds, Knaresborough, Wetherby, Wakefield, Morley, Horsforth, and Ilkley. John McCabe (composer) piano Marat Bisengaliev violin Craig

neg:
Toto, Peppino, and the Hussy a prostitute, however, the two brothers write that with 700,000 lire the girl can reward yourself for lost time with their grandson.
 Yet Toto, who is believed that most awake, does not realize the severity of grammatical errors that creates the dictate of simple sentences that are anything but pure Italian.
 The text of the letter says: « Signorina veniamo noi con questa mia addirvi una parola che che che scusate se sono poche ma sette cento mila lire; noi ci fanno specie che questanno c’è stato una grande morìa delle vacche come voi ben sapete.: questa moneta servono a

neg: Davy (film) to go solo. An audition scene at Covent Garden includes an especially fine rendition of Puccini's "Nessun Dorma" by Secombe, who, while known mainly as a comedian, had a fine tenor voice, and Mozart's "Voi Che Sapete" performed by Adele Leigh. Peter Frampton, who plays young Tim, was the son of Harry Frampton, makeup artist for many years at Ealing including in this film. Peter would eventually follow in his father's footsteps and worked as his assistant on several films, including Hitchcock's Frenzy (1972). In 1995, Peter Frampton won the Oscar for Best Makeup for "Braveheart". He remembered his filming

neg: Madamina, il catalogo è questo se sia ricca, Se sia brutta, se sia bella; Purché porti la gonnella, Voi sapete quel che fa.</poem> <poem style="margin-left:2em; float:left;"> My dear lady, this is the list Of the beauties my master has loved, A list which I have compiled. Observe, read along with me. In Italy, six hundred and forty; In Germany, two hundred and thirty-one; A hundred in France; in Turkey, ninety-one; But in Spain already one thousand and three. Among these are peasant girls, Maidservants, city girls, Countesses, baronesses, Marchionesses, princesses, Women of every rank, Every shape, every age. With blondes it is his habit To

neg: Edith Mathis where she sings alongside Ingvar Wixell, Claire Watson, Reri Grist, and Walter Berry. Mathis' part of Susanna in "Sull'aria...che soave zeffiretto", a duet from "The Marriage of Figaro", with the Austrian soprano Gundula Janowitz, features prominently in the film "The Shawshank Redemption". Mathis was married to conductor and pianist Bernhard Klee, with whom she often performed. She lives in her native Switzerland. Edith Mathis Edith Mathis (born 11 February 1938) is a Swiss soprano and a leading exponent of the works of Wolfgang Amadeus Mozart worldwide. She is known for parts in Mozart operas, but also took part in premieres

neg: Rosemary Kuhlmann value was just fantastic." In 1951, Kuhlmann joined the ensemble of the Broadway musical revival of "Music in the Air", directed by Oscar Hammerstein II. During this production, Kuhlmann was invited by Chandler Cowles, who had produced "The Consul", to audition for Menotti for the part of the Mother in his new opera "Amahl and the Night Visitors" at the Mark Hellinger Theatre. Kuhlmann said of this audition, "I sang 'Voi lo sapete' and some art songs in English. Gian Carlo walked up to the stage and said, 'You're a little young, but we'll make you look like a Biblical

neg: Cavalleria rusticana ("We rejoice that our Saviour is living!") joined by Santuzza. The villagers enter the church, while Santuzza and Lucia remain outside. Lucia asks Santuzza why she signalled her to remain silent when Alfio said that he had seen Turiddu that morning. Santuzza exclaims, "Voi lo sapete" ("You well know") and tells Lucia the story of her seduction by Turiddu and his affair with Lola. Lucia pities Santuzza, who feels dishonored, having been seduced by Turiddu only to be abandoned by him for his old flame, Lola. Santuzza feels she cannot enter the church, but begs Lucia to go inside herself

neg: Meo Abbracciavacca Meo Abbracciavacca Meo Abbracciavacca was an Italian poet from Pistoia who died in 1313. Dante Gabriel Rossetti translated two of Abbracciavacca's poems into English in his work titled "The Early Italian Poets From Ciullo D'Alcamo to Dante Alighieri (1100-1200-1300)": "Canzone. He will be silent and watchful in his Love" (translation of original Italian verse starting ""Madonna, vostra altera canoscenza"") and "Ballatta. His Life is by Contraries" (translation of verse starting ""Per lunga dimoranza""). "<poem> Madonna, vostra altera canoscenza, E l'onorato bene, Che 'n voi convene tutto in piacimento, Mise in voi servir sì la mia intenza, Che cura mai non

neg: Se vuol ballare Se vuol ballare The cavatina "" is an aria for baritone or bass from the first act of the opera "The Marriage of Figaro" by Wolfgang Amadeus Mozart. The libretto was written by Lorenzo Da Ponte based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro (1784). The Italian title means "If you want to dance". The song is sung by Figaro upon discovering the count's ploys to exercise his newly reasserted feudal , the "" to sleep with Figaro's wife Susanna before the consummation of their marriage. Figaro sings of how he will

neg: Largo al factotum Figaro! Figaro!, ecc. Ahimè, che furia! Ahimè, che folla! Uno alla volta, per carità! Ehi, Figaro! Son qua. Figaro qua, Figaro là, Figaro su, Figaro giù. Pronto prontissimo son come il fulmine: sono il factotum della città. Ah, bravo Figaro! Bravo, bravissimo; a te fortuna non mancherà.</poem> <poem style="margin-left:2em; float:left;">Room for the city's factotum, here; Off to the shop – the dawn is near. What a merry life, what pleasure gay, Awaits a barber of quality! Ah, bravo, Figaro! Bravo, bravissimo! Of men thou art the happiest, most surely. Ready for all, both by night and by day, I bustle

neg: The Marriage of Figaro pin is Susanna's, he is overcome with jealousy, especially as he recognises the pin to be the one that fastened the letter to the Count. Thinking that Susanna is meeting the Count behind his back, Figaro complains to his mother, and swears to be avenged on the Count and Susanna, and on all unfaithful wives. Marcellina urges caution, but Figaro will not listen. Figaro rushes off, and Marcellina resolves to inform Susanna of Figaro's intentions. Marcellina sings an aria lamenting that male and female wild beasts get along with each other, but rational humans can't (aria: "Il capro e la

neg: Toto, Peppino, and the Hussy che voi vi con l'insalata consolate dai dispiacere che avreta perché dovete lasciare nostro nipote che gli zii che siamo noi medesimo di persona vi mandano questo [la scatola con i soldi] perché il giovanotto è studente che studia che si deve prendere una laura che deve tenere la testa al solito posto cioè sul collo.;.; Salutandovi indistintamente i fratelli Caponi (che siamo noi i Fratelli Caponi) » Some of the most famous scenes of Totò and Peppino took place in this movie (e.g. the dictation of a letter full of grammatical errors and their attempt to talk in French

neg: Non abbiamo bisogno encyclical was "strongly polemic" against Mussolini who ordered that Catholic youth associations be dissolved. Non abbiamo bisogno Non abbiamo bisogno (Italian for "We do not need") is a Roman Catholic encyclical published on 29 June 1931 by Pope Pius XI. First Sentence: "Non abbiamo bisogno di annunciare a voi, Venerabili Fratelli, gli avvenimenti che in questi ultimi tempi hanno avuto luogo in questa Nostra Sede Episcopale Romana e in tutta Italia, che è dire nella Nostra propria dizione Primaziale, avvenimenti che hanno avuto così larga e profonda ripercussione in tutto il mondo, e più sentitamente in tutte e singole le

neg: The Marriage of Figaro trio of "The Marriage of Figaro" (where Basilio sings "") was later reused, by Mozart, in the overture to his opera "Così fan tutte". Mozart also quotes Figaro's aria "Non più andrai" in the second act of his opera "Don Giovanni"; it is also used as a military march. Further, Mozart used it in 1791 in his Five Contredanses, K. 609, No. 1. Mozart reused the music of the "Agnus Dei" of his earlier ("Coronation Mass") for the Countess' ", in C major instead of the original F major. Mozart also reused the motif that begins his early bassoon concerto

neg: Hồng Nhung 2018, she was invited to Prince Frederik's 50th birthday party at Palace Christiansborg, Denmark. In June 20th 2018, the Music Festival which was operated by The Ambassador of Italia Cecillia Piccioni, in the festival, she performed Voi Che Sepete (Mozart) and Nho Mua Thu Ha Noi (Trinh Cong Son) along with the pianist Dang Quang. Hồng Nhung's first marriage was with a Vietnamese man, but they separated shortly after. Her second husband is an American businessman named Kevin Gilmore. They became engaged at the end of June 2007 at Vũng Tàu, and got married on July 2011. In 2012, Nhung

neg: Sull'aria...che soave zeffiretto The duettino, sung by the sopranos Edith Mathis and Gundula Janowitz, appeared in the film's soundtrack. It was nominated as one of 400 songs in consideration for the American Film Institute's list of 100 top movie songs, although it did not win a place on the list. Sull'aria...che soave zeffiretto "" (On the breeze...What a gentle little Zephyr) is a "duettino", or a short duet, from act 3 of Wolfgang Amadeus Mozart's opera "The Marriage of Figaro", K. 492, to a libretto by Lorenzo Da Ponte. In the duettino, Countess Almaviva (a soprano) dictates to Susanna (also a soprano) the

neg: Sull'aria...che soave zeffiretto Sull'aria...che soave zeffiretto "" (On the breeze...What a gentle little Zephyr) is a "duettino", or a short duet, from act 3 of Wolfgang Amadeus Mozart's opera "The Marriage of Figaro", K. 492, to a libretto by Lorenzo Da Ponte. In the duettino, Countess Almaviva (a soprano) dictates to Susanna (also a soprano) the invitation to a tryst addressed to the countess' husband in a plot to expose his infidelity. The duet is scored for oboe, bassoon, and strings. Its time signature is 6/8, its key is B-flat major, and it is 62 bars long; the tempo indication is "allegretto". During

neg: L'italiana in Algeri agitare"). Surrounded by eunuchs ("Viva, viva il flagel delle donne"), Mustafà receives Isabella in a grand hall. He is enchanted, though she is rather amused by his appearance ("Oh! Che muso, che figura!"). At that moment, Lindoro, Elvira and Zulma arrive to say goodbye to Mustafà ("Pria di dividerci da voi, Signore"). Lindoro and Isabella are astonished to come face to face. Recovering herself, Isabella asks about Elvira, learning she is Mustafà's ex-wife, to be remarried to Lindoro! The act ends with an ensemble of confusion ("Confusi e stupidi"). "In the palace" Elvira and Zulma (who have remained in Algiers

neg: Largo al factotum della città. Presto a bottega che l'alba è già. Ah, che bel vivere, che bel piacere per un barbiere di qualità! Ah, bravo Figaro! Bravo, bravissimo! Fortunatissimo per verità! Pronto a far tutto, la notte e il giorno sempre d'intorno in giro sta. Miglior cuccagna per un barbiere, vita più nobile, no, non si da. Rasori e pettini, lancette e forbici, al mio comando tutto qui sta. V'è la risorsa, poi, del mestiere colla donnetta... col cavaliere... Tutti mi chiedono, tutti mi vogliono, donne, ragazzi, vecchi, fanciulle: Qua la parrucca... Presto la barba... Qua la sanguigna... Presto il biglietto... Figaro!

neg: Non abbiamo bisogno Non abbiamo bisogno Non abbiamo bisogno (Italian for "We do not need") is a Roman Catholic encyclical published on 29 June 1931 by Pope Pius XI. First Sentence: "Non abbiamo bisogno di annunciare a voi, Venerabili Fratelli, gli avvenimenti che in questi ultimi tempi hanno avuto luogo in questa Nostra Sede Episcopale Romana e in tutta Italia, che è dire nella Nostra propria dizione Primaziale, avvenimenti che hanno avuto così larga e profonda ripercussione in tutto il mondo, e più sentitamente in tutte e singole le diocesi dell’Italia e del mondo cattolico." The encyclical condemned Italian fascism’s “pagan worship of

neg: Enric Martínez-Castignani around the world. Martínez-Castignani performs several roles, among them Schaunard ("La Bohème"), Dandini/Don Magnifico ("La Cenerentola"), Il Barone di Trombock ("Il viaggio a Reims"), Martino ("L’occasione fa il ladro"), Malatesta ("Don Pasquale"), Enrico ("Il campanello"), Bartolo ("The Barber of Seville"), Taddeo ("L'italiana in Algeri"), Raimbaud ("Le Comte Ory"), Dulcamara ("L'elisir d'amore"), Figaro ("The Marriage of Figaro"), Papageno ("The Magic Flute"), Scharpless ("Madame Butterfly") and Zurga ("Les pêcheurs de perles"). On the concert arena he sings Bach's "St Matthew Passion", "St John Passion" and "Christmas Oratorio", Brahms' "German Requiem", Mozart's Requiem, Haydn's "Nelson Mass", Schubert's "Die schöne Müllerin" and "Winterreise", and

neg: Masaccio in at the vanishing point under the base of the cross and attached strings to it, which he pressed in (or carved into) the plaster. The marks of the preparatory works are still visible. The sacred figures and the donors are represented above an image of a skeleton lying on a sarcophagus. An inscription seemingly carved into the wall above the skeleton reads: "Io fui gia quel che voi siete e quel ch'io sono voi anco sarete" (I once was what now you are and what I am, you shall yet be). This skeleton is at once a reference to

neg: Popoli di Tessaglia! latter note occurs only twice (in bars 165 and 172 of the aria): \relative c" { </score> The text of the aria is from the opera "Alceste", and was written by Ranieri de' Calzabigi. It is inserted at act 1, scene 2. <poem lang="it" style="float:left;"> Popoli di Tessaglia, ah mai più giusto fu il vostro pianto; a voi non men che a questi innocenti fanciulli Admeto è padre. Io perdo il caro sposo, e voi l'amato re. La nostra sola speranza, il nostro amor c'invola questo caso crudel, né so chi prima in sì grave sciagura a compianger m'appigli del

neg: Per questa bella mano common time. The text is a romantic declaration of love. The aria is in the key of D major. The original singer was Franz Xaver Gerl, who notably sung the roles of Don Giovanni, Figaro and Sarastro. The original double bass player was Friedrich Pischlberg. The orchestra consists of a flute, two oboes, two bassoons, two French horns and strings. The text of this aria is from the comic opera "", written by Giambattista Neri. <poem lang="it" style="float:left;">Per questa bella mano Per questi vaghi rai Giuro, mio ben, che mai Non amerò che te. L'aure, le piante, i sassi, Che

neg: The Barber of Seville (play) Afterwards, the Count sings to Rosine (""Vous l'ordonnez, je me ferai connaître... Je suis Lindor""), introducing himself as a poor man named Lindor who is in love with her. From inside the house, Rosine sings a verse to the tune of "Maître en droit", requiting his affections, before she is caught by someone else inside and is forced to retreat. Figaro and the Count go their separate ways, agreeing to meet again to put their plan in action. In Dr. Bartholo's house, Rosine writes a note to "Lindor". When Figaro drops in, she asks if he will deliver the note.

neg: The Marriage of Figaro The Marriage of Figaro The Marriage of Figaro (, ), K. 492, is an opera buffa (comic opera) in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. It premiered at the Burgtheater in Vienna on 1 May 1786. The opera's libretto is based on a stage comedy by Pierre Beaumarchais, "La folle journée, ou le Mariage de Figaro" ("The Mad Day, or The Marriage of Figaro"), which was first performed in 1784. It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering

neg: The Guilty Mother The Guilty Mother The Guilty Mother () subtitled "The Other Tartuffe" is the third play of the "Figaro" trilogy by Pierre Beaumarchais; its predecessors were "The Barber of Seville" and "The Marriage of Figaro". This was the author's last play. It is rarely revived. Like the earlier plays of the trilogy it has been turned into operatic form, but it has not entered the general opera repertoire. The characters of Figaro and his associates were so popular that other dramatists had written sequels to "The Barber of Seville" and "The Marriage of Figaro", most notably M-N Delon, who brought out

neg: Ariodante the sea, and he bitterly rebukes the gods for condemning him to live (Arioso:"Numi! lasciarmi vivere"). Hearing cries, Ariodante finds Dalinda, who is being held by thugs hired by Polinesso, with orders to kill her, as she is the only witness to his plot to discredit Ginevra. Ariodante drives Polinesso's henchmen away, and Dalinda reveals the truth to him – it was she, disguised as Ginevra, who let Polinesso into her bedroom. Ariodante rails against the treachery that caused him to doubt his beloved (Aria:"Cieca notte"). Alone, Dalinda expresses her remorse (Aria:"Neghittosi or voi che fate?"). "The royal gardens" The

neg: In questa reggia il Re dei Tartari le sette sue bandiere dispiegò. Turandot Pure nel tempo che ciascun ricorda, fu sgomento e terrore e rombo d'armi. Il regno vinto! Il regno vinto! E Lou-Ling, la mia ava, trascinata da un uomo come te, come te, straniero, là nella notte atroce dove si spense la sua fresca voce! La folla Da secoli ella dorme nella sua tomba enorme. Turandot O Principi, che a lunghe carovane d'ogni parte del mondo qui venite a gettar la vostra sorte, io vendico su voi, quella purezza, quel grido e quella morte! Mai nessun, nessun m'avrà! L'orror di chi

neg: Ch'io mi scordi di te? sarà. Più non reggo a tante pene, l'alma mia mancando va. Tu sospiri? O duol funesto! Pensa almen, che istante è questo! Non mi posso, oh Dio! spiegar. Stelle barbare, stelle spietate, perchè mai tanto rigor? Alme belle, che vedete le mie pene in tal momento, dite voi, s'egual tormento può soffrir un fido cor?</poem> <poem style="margin-left:2em; float:left;">You ask that I forget you? You can advise me to give myself to him? And this while yet I live? Ah no! My life would be far worse than death! Let death come, I await it fearlessly. But how could I attempt

neg: Marriage of Figaro (Mad Men) Marriage of Figaro (Mad Men) "Marriage of Figaro" is the third episode of the first season of the American television drama series "Mad Men". It was written by Tom Palmer and directed by Ed Bianchi. The episode originally aired on the AMC channel in the United States on August 2, 2007. The mystery of Don's past deepens when he is caught off guard by a man on the train who recognizes him from their days in the Korean War and refers to him as "Dick Whitman." Don acknowledges the man and makes non-committal plans about getting together, while avoiding giving

neg: The Marriage of Figaro (play) so close to his own, and that the Count has been pressing her to begin an affair with him. Figaro at once goes to work trying to find a solution to this problem. Then Dr. Bartholo and Marceline pass through, discussing a lawsuit they are to file against Figaro, who owes Marceline a good deal of money and has promised to marry her if he fails to repay the sum; his marriage to Suzanne will potentially void the contract. Bartholo relishes the news that Rosine is unhappy in her marriage, and they discuss the expectation that the Count will take

neg: The Marriage of Figaro (play) The Marriage of Figaro (play) The Marriage of Figaro ( ("The Mad Day, or The Marriage of Figaro")) is a comedy in five acts, written in 1778 by Pierre Beaumarchais. This play is the second in the Figaro trilogy, preceded by "The Barber of Seville" and followed by "The Guilty Mother". In the first play, "The Barber", the story begins with a simple love triangle in which a Spanish count has fallen in love with a girl called Rosine. He disguises himself to ensure that she will love him back for his character, not his wealth. But this is all

neg: The Marriage of Figaro (play) her for forgiveness, which she grants. After all other loose ends are tied up, the cast breaks into song before the curtain falls. One of the defining moments of the play—and Louis XVI's particular objection to the piece—is Figaro's long monologue in the fifth act, directly challenging the Count: The Marriage of Figaro (play) The Marriage of Figaro ( ("The Mad Day, or The Marriage of Figaro")) is a comedy in five acts, written in 1778 by Pierre Beaumarchais. This play is the second in the Figaro trilogy, preceded by "The Barber of Seville" and followed by "The Guilty Mother".

neg: The Marriage of Figaro (play) based on the same play, "La pazza giornata, ovvero Il matrimonio di Figaro", was produced in Venice with libretto by Gaetano Rossi and music by Marcos Portugal. "The Marriage of Figaro" picks up three years following the end of "The Barber of Seville" as Figaro is engaged to be married to Suzanne; both characters are among the Count's staff in his dwelling. In the three years since Figaro helped forge the marriage of the Count and Rosine, the Count has already grown bored with his marriage and is taking notice of Suzanne. The Count looks to re-engage the act of

neg: The Crazy Day or The Marriage of Figaro love and harmony. Figaro gets his parents and wife. The Earl once again loves his Rosine, as small Cherubin successfully avoided serving in the army. The Crazy Day or The Marriage of Figaro Crazy Day or The Marriage of Figaro () is a modern comedy musical staged by television channels «NTV» (Russia) and «Inter» (Ukraine) in association with «Melorama Production», under direction of Semen Gorov in 2003, based on the Pierre Beaumarchais' play "The Marriage of Figaro". The musical was aired for the first time on the New Year's night of 2004. The day before his wedding, handsome and merry

neg: The Crazy Day or The Marriage of Figaro The Crazy Day or The Marriage of Figaro Crazy Day or The Marriage of Figaro () is a modern comedy musical staged by television channels «NTV» (Russia) and «Inter» (Ukraine) in association with «Melorama Production», under direction of Semen Gorov in 2003, based on the Pierre Beaumarchais' play "The Marriage of Figaro". The musical was aired for the first time on the New Year's night of 2004. The day before his wedding, handsome and merry Figaro, played by Boris Hvoshnyansky, learns of the bride Susanna (Anastasia Stotskaya), but he has a rival - voluptuous Count Almaviva, played by Philip Kirkorov.

neg: Convivio is one of Dante's early defenses of the vernacular, expressed in greater detail in his (slightly earlier) linguistic treatise "De vulgari eloquentia" (On Eloquence in the Vernacular). Books 2 and 3 form a unit, both focusing on Dante's new love after the death of Beatrice—his love for Lady Philosophy, "the most beautiful and dignified daughter of the Emperor of the universe," as he calls her. Book 2 discusses allegory and Lady Philosophy (in connection with the canzone "Voi che ’ntendendo il terzo ciel movete" [You who move the third heaven with an act of the intellect], which opens the book),

neg: History of Swansea the borough's population was over 65,000. Much of the growth was due to immigration - in 1881 more than a third of the borough's population had been born outside Glamorgan, and just under a quarter outside Wales. Writing in 1860, John Murray reports "To the traveller who crosses the Llandore bridge at night, the livid glare from the numerous chimneys, the rolling, fleecy, white clouds that fill up the valley beneath him, the desolate-looking heaps of slag on either side, might well recalls Dante's line - "voi che entrate lasciate ogni speranza" " and records "there are no trees, and

neg: Marriage of Figaro (Mad Men) can sometimes be something as simple as a beautiful woman sliding a handsome man’s cufflink back to him when it drops from his wrist. 'The Marriage Of Figaro' has a very deliberate work/home split, following Don Draper in both environments and seeing how he fits (or doesn’t fit) in either one. Marriage of Figaro (Mad Men) "Marriage of Figaro" is the third episode of the first season of the American television drama series "Mad Men". It was written by Tom Palmer and directed by Ed Bianchi. The episode originally aired on the AMC channel in the United States on August

neg: Per la ricuperata salute di Ofelia che vi -- de_Ar -- ca -- dia em -- pier d’a -- more le bel -- ve, og -- gi fia che ri -- ten -- ti, og -- gi fia che ri -- ten -- ti \clef bass \autoBeamOff </score> \new Staff « \absolute{ \autoBeamOff \transpose c c'{ \clef bass \autoBeamOff </score> Per la ricuperata salute di Ofelia Conceived, written and composed to celebrate the newly recovered health of Nancy Storace, the Vienna-based, Anglo-Italian soprano destined to become the first Susanna of "Figaro", and to welcome her back to the stage after a temporary loss of her singing

neg: Aki Yanagisawa BWV 106. She has performed as a soloist in George Frideric Handel’s Messiah, Beethoven’s Symphony No. 9 and on the opera stage as Suzanna in Mozart’s "The Marriage of Figaro". Aki Yanagisawa Aki Yanagisawa () is a Japanese soprano. A graduate of the Tokyo National University of Fine Arts and Music, she finished third in the fifth annual Japanese Vocal Music Competition in 1993. She is a member of the Bach Collegium Japan, and performed in their recordings of the complete Bach cantatas, more frequently as a member of the chorus than a soloist. For example, she sings in the

neg: Fabiana Bravo She has also received numerous awards such as a Plácido Domingo Operalia Finalist, Opera Index winner and Met Council Winner of the Regional Finalist Competition. In recent years, Bravo has sung the Countess Almaviva in "The Marriage of Figaro" (1997), Mimi in "La bohème" (1998), Donna Anna in "Don Giovanni" (1999) and the title role in "Ariadne auf Naxos" (2002), all in opera productions of Washington D.C's Summer Opera Theatre Company. She also sings with Virginia Opera, where her performance of Donna Anna brought her recognition as a much sought-after artist. She is now a renowned name in the international

neg: Danielle de Niese Artists Studio at the Metropolitan Opera, where she debuted in 1998 at the age of 19 as Barbarina in a new production of "The Marriage of Figaro" directed by Jonathan Miller and conducted by James Levine. She studied voice privately with Ruth Falcon, and at the Mannes College of Music in Manhattan. Ridley Scott's 2001 film "Hannibal" features a scene from Dante's "La Vita Nuova"; in it, de Niese sings as the character Beatrice the song "Vide Cor Meum" by Patrick Cassidy. She was subsequently asked to perform the title role in the Met's production of Maurice Ravel's "L'enfant et

neg: Maurice Stern An audition for the New York City Opera, arranged by Bampton, began Stern's operatic career. Among the many roles he sang at New York City Opera were Porcus in Jeanne d'Arc au bûcher by Arthur Honegger; Don Basilio in The Marriage of Figaro and Tanchum the Madman in the world premiere of "The Golem", by Abraham Ellstein. In the role of Tanchum Miles Kastendieck of the New York Journal-American noted "Maurice Stern's madman topped all the characterizations, for he acts and sings with complete conviction." Paul Henry Lang of New York Herald Tribune noted "Maurice Stern acted and sang the

neg: Sarah Payne (actress) "Barnum" (1981), "Cricket" (1986), "The Mystery of Edwin Drood" (1987), "Risky Kisses" (1990), "The Marriage of Figaro" (1991), "Showtune" (1998, then titled "The Best of Times"), "High Spirits" (2001), and "Follies" (2006). She also appeared in the 1985 Royal Variety Performance. Payne sings on the 1986 studio cast recording of the concept musical "Josephine", and on the 1992 London Concert Album of "Nine". She sang Donna Elvira in "Don Giovanni" at the Greenwich Theatre in 1990. Sarah Payne (actress) Sarah Payne is a British actress and singer. She has worked extensively in London’s West End, and has played various roles

neg: The Marriage of Figaro Realizing that he is being tricked (recitative and aria: "Hai già vinta la causa! ... Vedrò, mentr'io sospiro" – "You've already won the case!" ... "Shall I, while sighing, see"), he resolves to punish Figaro by forcing him to marry Marcellina. Figaro's hearing follows, and the Count's judgment is that Figaro must marry Marcellina. Figaro argues that he cannot get married without his parents' permission, and that he does not know who his parents are, because he was stolen from them when he was a baby. The ensuing discussion reveals that Figaro is Rafaello, the long-lost illegitimate son of Bartolo

neg: The Marriage of Figaro in another aria sung by the Countess, "Porgi, amor". Franz Liszt quoted the opera in his "Fantasy on Themes from Mozart's Figaro and Don Giovanni". In 1819, Henry R. Bishop wrote an adaptation of the opera in English, translating from Beaumarchais's play and re-using some of Mozart's music, while adding some of his own. In his 1991 opera, "The Ghosts of Versailles", which includes elements of Beaumarchais's third "Figaro" play ("La Mère coupable") and in which the main characters of "The Marriage of Figaro" also appear, John Corigliano quotes Mozart's opera, especially the overture, several times. Notes Sources The Marriage

neg: Figaro chain Figaro chain Figaro is a popular gold or silver link chain design that incorporates a pattern of 2 or 3 small circular links with 1 elongated oval link. The most notable figaro chains are manufactured in Italy. They are usually worn by men and are often adorned with pendants such as crosses and medallions. The name of the chain was widely used by Italian chainmakers inspired by the operas "The Barber of Seville" (by Gioachino Rossini) and "The Marriage of Figaro" (by Wolfgang Amadeus Mozart). These operas were based on the plays "The Barber of Seville" and "The Marriage of

neg: The Marriage of Figaro (play) foiled when Rosine's guardian, Doctor Bartholo, who wants her hand in marriage, confines her to the house. The Count runs into an ex-servant of his (now a barber), Figaro, and pressures him into setting up a meeting between the Count and Rosine. He succeeds and the lovers are married to end the first part of the trilogy. "The Marriage" was written as a sequel to "The Barber". In his preface to the play, Beaumarchais says that Louis François, Prince of Conti had requested it. The play's denunciation of aristocratic privilege has been characterised as foreshadowing the French Revolution. The revolutionary

neg: Oberto (opera) and Riccardo is about to marry Cuniza, Ezzelino's sister. Leonora makes her way to Bassano on Riccardo's wedding day, intent on confronting him. "Scene 1: The countryside near Bassano" Riccardo is welcomed by a chorus as he is about to enter Ezzelino's palace. He sings of his joy at being close to Cuniza ("Son fra voi! Già sorto è il giorno...Già parmi udire il fremito" – "Here I am amongst you! The day hasted by my desire has now arrived"). They enter the castle. Leonora arrives swearing to avenge Riccardo's desertion and she sings of the love which she had

neg: Voi Airports Authority. The municipality of Voi is larger than the town, and includes the same area as the Voi Location. It includes the villages of Ikanga and Mkwachunyi. The municipality is governed by the Voi Municipal Council, the local authority, and is not subject to the Taita-Taveta County Council. The Voi Municipal Council is headed by a mayor. The Municipality is divided into six wards. Each ward elects one Member of County Assembly -MCA who is also the Councillor. The MCA represents her/his ward in the County assembly for 5 years. Voi is a major tourist hub. It neighbors the

neg: Figaro Here, Figaro There plan fails. Figaro is sentenced to death by firing squad, but in the end manages to escape helped by count. Eventually, after many vicissitudes, Count riece to marry Rosina and, after marriage, Figaro goes to live with them. Figaro Here, Figaro There Figaro Here, Figaro There (Italian: Figaro qua, Figaro là) is a 1950 Italian historical comedy film directed by Carlo Ludovico Bragaglia and starring Totò and Isa Barzizza. The title and the plot allude to "The Barber of Seville". It was made at the Scalera Studios in Rome. The film's sets were designed by Alberto Boccianti. The protagonist of

neg: Che Engku Chesterina Negeri Sembilan. Upon marriage, she acquired the royal title of "Che Engku" or princess. She is the Honorary Patron of the Central School of Classical Ballet in Western Australia. Che Engku Chesterina Che Engku Chesterina (born Chesterina Sim-Zecha in 1943) is a former Indonesian ballerina who became a Malaysian royal after marrying Tunku Tan Sri Abdullah, a prince of Negeri Sembilan and founder of Melewar Group. Che Engku Chesterina was born into the Lauw-Sim-Zecha family, a prominent "Peranakan" family of the Cabang Atas or the Chinese gentry of colonial Indonesia. She is descended from Louisa Zecha, an "Indo" planter of

neg: The Marriage of Figaro (play) is outraged, and goes to the woman he thinks is the Countess to complain; he realises that he is talking to his own wife Suzanne, who scolds him for his lack of confidence in her. Figaro agrees that he was being stupid, and they are quickly reconciled. Just then the Count comes out and sees what he thinks is his own wife kissing Figaro, and races to stop the scene. At this point, all the people who had been instructed to come on Figaro's orders arrive, and the real Countess reveals herself. The Count falls to his knees and begs

neg: The Marriage of Figaro (play) leader Georges Danton said that the play "killed off the nobility"; in exile, Napoleon Bonaparte called it "the Revolution already put into action." Thanks to the great popularity of its predecessor, "The Marriage of Figaro" opened to enormous success; it was said to have grossed 100,000 francs in the first twenty showings, and the theatre was so packed that three people were reportedly crushed to death in the opening-night crowd. The play formed the basis for an opera with a libretto by Lorenzo Da Ponte and music by Mozart, also called "The Marriage of Figaro" (1786). In 1799, another opera

neg: The Marriage of Figaro (1960 film) in Sydney and the first two hour one done live in Australia. Settings for the four acts were devised in one unit to enable aimed at keeping the action moving continuously. The critic for "The Sydney Morning Herald" praised the singing and set, saying it was "a distinguished live telecast ... producer Alan Burke boldly moved his cast about through ... [the] elaborate and fanciful set with great zest and speed." The Marriage of Figaro (1960 film) The Marriage of Figaro is a 1960 Australian TV film. It was a filmed version of Mozart's the opera, sung in English. Marie

neg: Damon Che Caballero. Unlike all his previous bands in which he was the drummer, Damon Che sings and plays guitar with the Canaries. Songs for the Terrestrially Challenged is the first Speaking Canaries album to be released on compact disc, and the first to see worldwide distribution; therefore, it has often been erroneously attributed as The(e) Speaking Canaries' debut album. On '', the most recent of The Speaking Canaries' four albums, Che plays all of the instruments on all but three songs. Che formed Don Caballero in late 1991 with guitarist Mike Banfield,and bassist Pat Morris, Ian Williams joined the band as

neg: Roy Henderson (baritone) participated in the first ventures at Glyndebourne. He sang on the opening night and appeared in every season until 1939, also singing on the last night before the outbreak of war in 1939. He sang the role of the Count in "The Marriage of Figaro", Masetto in "Don Giovanni", Guglielmo in "Così fan tutte", and Papageno in "The Magic Flute", under the direction of Fritz Busch, who commended him highly. He also took the role of Peachum in "The Beggar's Opera". His Count is preserved in the Busch (Glyndebourne 1936) HMV recording of "The Marriage of Figaro". His Masetto is

neg: The Marriage of Figaro (1960 film) The Marriage of Figaro (1960 film) The Marriage of Figaro is a 1960 Australian TV film. It was a filmed version of Mozart's the opera, sung in English. Marie Tyso had appeared in several other operas for the ABC. She was used to doing them live but this one involved pre-recorded music. "It was a much better way to do it," she said. "Of course, we now had to mime during the performance. We did the dialogue live. Alan Burke was the producer – he was wonderful to work with." It was the sixth opera broadcast live from the ABC

neg: Carlos Puebla for Cuban music, he was an ambassador for Cuba. In 1965, the night after Fidel Castro's speech announcing Che Guevara's departure from the government, Puebla, seized by passion, composed what would become his most celebrated work, "Hasta Siempre, Comandante", a true declaration of love for and hope in Che. On 12 July 1989, he died in Havana after a long illness. His ashes were transferred to the cemetery of his native city five years later. A plaque there reads: "yo soy ésto que soy, un simple trovador que canta" ("I am what I am, a simple troubadour who sings"). Puebla

neg: Che Zahara surrounding marriage reform. MWWA attracted eighty members, about fifty of which were teachers almost immediately after its founding. In 1948, she wrote four short plays to be performed as a protest against traditional Malay marriage customs, which included the ability of a man to divorce his wife without legal inquiry. In addition, she fought for husbands to pay alimony to divorced wives until she remarried. Che Zahara also supported the Laycock Marriage Bill which created a minimum age for marriage in Singapore. Another initiative that Che Zahara supported was to encourage women to give blood in order to help the

neg:
Ipermestra (Mysliveček) scene 1 - Aria of Elpinice, "Abbiam penato, è ver"
 Act I, scene 2 - Aria of Danano, "Pensa che figlia sei"
 Act I, scene 3 - Aria of Ipermestra, "Ah, non parlar d'amore"
 Act I, scene 4 - Aria of Linceo, "Di pena sì forte"
 Act I, scene 6 - Aria of Plistene, "Ma rendi pur contento"
 Act I, scene 9 - Aria of Ipermestra, "Se pietà da voi non trovo"
 Act I, scene 10 - Aria of Linceo, "Io non pretendo, o stelle" Act II, scene 1 - Aria of Adrasto, "Pria

neg:
Semiramide (Mysliveček) scene 12 - Aria of Semiramide, "Ah, non è vano il pianto"
 Act I, scene 14 - Aria of Ircano, "Talor se il vento fremi" Act II, scene 2 - Chorus, "Il piacer, la gioia scenda"
 Act II, scene 2 - Aria of Tamiri, "Tu mi disprezzi, ingrato"
 Act II, scene 3 - Aria of Scitalce, "Voi, che le mie vicende"
 Act II, scene 4 - Aria of Ircano, "Saper bramate"
 Act II, scene 6 - Accompanied recitative for Semiramide, "Di Scitalce rifiuto"
 Act II, scene 6 - Aria of Semiramide, "Il pastor, se

neg: So che ti perderò in December, 1961, RCA Italiana organized collaborative sessions with composer, arranger, and conductor Ennio Morricone. In 1962, they recorded four of Chet Baker's own compositions that he wrote while incarcerated: "Chetty's Lullaby", "So che ti perderò", "Il mio domani", and "Motivo su raggio di luna". Sue Richardson recorded the song on the 2013 Chet Baker tribute album "Too Cool: The Life and Music of Chet Baker" on Splash Point. June Bisantz recorded the song on the album "It's Always You: June Bisantz Sings Chet Baker, Vol. 2" in 2015. So che ti perderò "So che ti perderò" or "I Know

neg: Pascal Verrot the Pacific Symphony. In his native country of France he has led major orchestras many times. He made his operatic debut in 1989 conducting "Die Fledermaus" at the Lyon Opera House, and in 1991 conducted the "Marriage of Figaro" in Paris. His recent conducting includes the three Mozart-Da Ponte operas, Gounod's "Faust" at the inauguration of the new Shanghai Grand Theatre, and Debussy's "Pelléas et Mélisande". In February 2002 he made his debut at the New National Theatre Tokyo conducting Mozart's "Marriage of Figaro". Pascal Verrot Pascal Verrot is a French-born orchestra conductor who holds the post of principal conductor

neg: Moritz von Bomhard composer-arranger for the Philharmonic Piano Quartet. In 1949, Fletcher Smith, who had studied with Bomhard at Juilliard and was then head of the Voice Department at the University of Louisville, invited him to produce an opera to be performed by the students there. Bombard chose "The Marriage of Figaro", and it proved to be a great success. Bomhard returned in 1950 and 1951 to produce Menotti's "The Old Maid and the Thief" and Puccini's "Gianni Schicchi". Their box-office success following on from that of "The Marriage of Figaro" led him to disband his New Lyric Stage troupe and settle in

neg: Chen Jiao marry a girl. After rejecting the choice of dozens of palace maids, Princess Guantao eventually showed her daughter to Liu Che, who bragged that he would "build a golden house for her" if they were married. (This inspired the Chinese idiom "Hiding Jiao in a golden house" 金屋藏嬌, which later ironically became a term for keeping a "mistress" rather than a wife.) Princess Guantao then used the tale as proof that the marriage was destined to happen to convince Emperor Jing, who finally agreed to the arranged marriage. Liu Che was later created crown prince at the age of 7,

neg: Luca Marenzio he closely follows the texts of the poems being sung. During his last decade he not only wrote more serious, even sombre music, but experimented with chromaticism in a daring manner surpassed only by Gesualdo. For example, in the madrigal "O voi che sospirate a miglior note" he modulated completely around the circle of fifths within a single phrase, using enharmonic spellings within single chords (for instance, simultaneous C sharp and D flat), impossible to sing without either pitch drift or tempering intervals such that singers would approximate a sort of circulating temperament. Even more characteristic of his style, and

neg: Guido Cavalcanti lyrics is a sonnet entitled "Voi che per gli occhi mi passaste il core" (Transl. "You, Whose Look Pierced through My Heart"), dedicated, to his beloved Monna (lady) Vanna: Although there are many poems that exemplify Cavalcanti's poetic maturity, "Certe mie rime a te mandar vogliendo" is unparalleled in its originality, for here Guido adapts his medium of love to speak of his inner psychological state and the uncertainty of Dante's reaction in this example of occasional poetry. This is creativity at its highest, for Cavalcanti transforms the medium into a unique response to a real world problem. Guido tells

neg: Agrippina (opera) five of the vocal numbers, are based on earlier works, though subject in many cases to significant adaptation and reworking. Examples of recycled material include Pallas's "Col raggio placido", which is based on Lucifer's aria from "La resurrezione" (1708), "O voi dell'Erebo", which was itself adapted from Reinhard Keiser's 1705 opera "Octavia". Agrippina's aria "Non ho cor che per amarti" was taken, almost entirely unchanged, from "Se la morte non vorrà" in Handel's earlier dramatic cantata "Qual ti reveggio, oh Dio" (1707); Narcissus's "Spererò" is an adaptation of "Sai perchè" from another 1707 cantata, "Clori, Tirsi e Fileno"; and parts

neg: Guido Cavalcanti Not Hope), "Voi che per gli occhi mi passaste il core" (see below), and "Donna me prega" (A Lady Asks Me), a masterpiece of lyric verse and a small treatise on his philosophy of love. Starting from the model provided by the French troubadours, they took Italian poetry a step further and inaugurated the "volgare illustre", that higher standard of Italian language that survives almost unchanged to the present day. The founder of this school, Guido Guinizzelli, a law professor at Bologna's University wrote the first poem of this kind, a poem whose importance does not so much lie in

neg:
Demetrio (1773) che freme"
 Act II, scene 9 - Aria of Alceste, "Non so frenare il pianto"
 Act II, scene 11 - Aria of Cleonice, "Agitata in tanti affanni" [a non-Metastasian text] Act III, scene 1 - Aria of Cleonice, "Io so qual pena sia"
 Act III, scene 2 - Aria of Alceste, "Quel labbro adorato"
 Act III, scene 3 - Aria of Olinto, "Mi chi m'oltraggia" [a non-Metastasian text]
 Act III, scene 4 - Aria of Fenicio, "Giusti Dei da voi non chiede"
 Act III, scene 5 - Aria of Barsene, "Semplicetta tortorella"
 Act

neg: Che Engku Chesterina Che Engku Chesterina Che Engku Chesterina (born Chesterina Sim-Zecha in 1943) is a former Indonesian ballerina who became a Malaysian royal after marrying Tunku Tan Sri Abdullah, a prince of Negeri Sembilan and founder of Melewar Group. Che Engku Chesterina was born into the Lauw-Sim-Zecha family, a prominent "Peranakan" family of the Cabang Atas or the Chinese gentry of colonial Indonesia. She is descended from Louisa Zecha, an "Indo" planter of Bohemian descent, by her second marriage to Sim Keng Koen, the first "Kapitein der Chinezen" of Sukabumi, the Dutch-appointed head of the local Chinese community. She is also a

neg: La Spinalba Spinalba had recently visited her, whether or not in disguise. "Aria (Arsenio): "Eh, t'accheta, t'accheta"." He leaves. Elisa now confesses to Vespina that she is passionate about Florindo (Spinalba in disguise) and that she feels nothing for either Ippolito or Leandro. Ippolito reaffirms his love for Elisa and tries to make Vespina an ally, but the maid refuses to do anything to help him. "Aria (Vespina): "Siete voi della Signora"." She departs, leaving Ippolito alone. "Aria (Ippolito): "Lieve fiamma, che semplice e cheta"." "Scene 2: Elisa's garden" Leandro and Togno arrive by boat. "Duet (Leandro and Togno): "Dicea la Madre

neg:
Il gran Tamerlano marry. He decides to take Irene back as his betrothed. Bajezette, weary of life and humiliated by his defeat at the Battle of Ankara, poisons himself with the same poison intended for Tamerlano. Act 1, scene 1 - Aria of Bajazette, "Superbo di mia sorte"
 Act 1, scene 4 - Aria of Tamerlano, "Vanne la sorte mia"
 Act 1, scene 5 - Aria of Andronico, "Chi non ode i miei sospiri"
 Act 1, scene 7 - Aria of Tamerlano, "Che per voi sospiro"
 Act 1, scene 10 - Aria of Asteria, "Sento nel alma mia"

neg: La Spinalba food wrapped in a handkerchief. She asks Elisa to convince Arsenio that Spinalba will return soon. "Aria (Dianora): "Tu'l consola, tu l'invola del sentier"." Elisa asks Vespina to help, but she has nothing to say. Leandro and Ippolito challenge each other to a duel over Elisa, but she appears and calms them down. "Aria (Elisa): "Sia ver che si desti frà voi tal cimento?"." Ippolito departs. "Aria (Ippolito): "Volle talor per gioco"." Togno joins Leandro and tries to tell him that Arsenio is coming, but Leandro ignores him and goes away. "Aria (Leandro): "Detesto il momento, in cui la mirai"."

neg: Write the Future across Africa, beaming his efforts back to Cote d'Ivoire, where a massive street party is erupting ahead of his assumed goal. However, Cannavaro makes an impressive goal-line clearance: cut to him being the guest of honor on a Mediaset-style Italian variety program, where dancers wearing sequined variations of his #6 shirt re-enact the clearance while suspended on wires, while crooner Bobby Solo sings a song with the lyrics "Che Cannavaro! Che capitano!" The ball then comes to Wayne Rooney, who (with time running out) is looking to make a move versus France, attempting to pick out Theo Walcott with a

neg: The Crazy Day or The Marriage of Figaro Earl intends to use the old right of the first night in his possessions and to steal from the lovers their happiness. The case becomes more complicated as another lover - Marceline (Sofia Rotaru) claims her love for Figaro as well, requiring a considerable amount of money to return and marry her. Figaro uses infinitely jealousy count to his wife Rosine, played in the movie by Lolita Miliavskaya. The reason for the jealousy becomes innocent infatuation by Kerubino young countess' page, who played by Andrei Danilko. A whole series of changing, humorous situations and misunderstandings leads finally to all the

neg: Agrippina (opera) followed by "Voi che udite il mio lamento"). However, Poppaea is touched by her former beloved's grief, and wonders if he might not be innocent ("Bella pur nel mio diletto"). She devises a plan and when Otho approaches her, she pretends to talk in her sleep recounting what Agrippina has told her earlier. Otho, as she intended, overhears her and fiercely protests his innocence. He convinces Poppaea that Agrippina has deceived her. Poppaea swears revenge ("Ingannata una sol volta", alternate aria "Pur punir chi m'ha ingannata") but is distracted when Nero comes forward and declares his love for her. Meanwhile,

neg: Figaro Gets a Divorce Figaro Gets a Divorce Figaro Gets a Divorce is an opera by the Russian-British composer Elena Langer to a libretto by David Pountney. It premiered on 21 February 2016 at the Welsh National Opera at Cardiff. "Figaro Gets a Divorce" is conceived as a sequel to Mozart's 1786 opera "Le Nozze di Figaro (The Marriage of Figaro)" based on the 1778 play "La Folle Journée, ou Le Mariage de Figaro", by Pierre Beaumarchais. This had been created by Beaumarchais as a sequel to his play "Le Barbier de Séville". The latter was also set as the opera "The Barber of

neg: Mala vita embracing through the window and cries out "O Vito! Vito!" Amalia closes the shutters in her face. Act 3 On the day of the Piedigrotta festival, the square outside Vito's workshop is filled with people. Vito sings a love song, "Canzon d'amor—che l'ala d'or" The women waiting to depart for the festival sing of their hopes of falling in love there and then dance a tarantella. More gaily dressed people arrive led by Annetiello who sings in praise of eating and drinking, "Ce sta, ce sta nu mutto ca dice accussì". He then leads them off to the festival leaving

neg: The Marriage of Figaro (play) hiding Chérubin in her room earlier and the Count is about to punish him. Fanchette suddenly admits that she and the Count have been having an affair, and that, since he has promised he will give her anything she desires, he must not punish Chérubin but give him to her as a husband. Later, the wedding is interrupted by Bazile, who had wished to marry Marceline himself; but once he learns that Figaro is her son he is so horrified that he abandons his plans. Later, Figaro witnesses the Count opening the letter from Suzanne, but thinks nothing of it.

neg: Figaro chain Figaro" by Pierre Beaumarchais. Figaro chain Figaro is a popular gold or silver link chain design that incorporates a pattern of 2 or 3 small circular links with 1 elongated oval link. The most notable figaro chains are manufactured in Italy. They are usually worn by men and are often adorned with pendants such as crosses and medallions. The name of the chain was widely used by Italian chainmakers inspired by the operas "The Barber of Seville" (by Gioachino Rossini) and "The Marriage of Figaro" (by Wolfgang Amadeus Mozart). These operas were based on the plays "The Barber of Seville"

neg: The Marriage of Figaro Rosina is now the Countess; Dr. Bartolo is seeking revenge against Figaro for thwarting his plans to marry Rosina himself; and Count Almaviva has degenerated from the romantic youth of "Barber" into a scheming, bullying, skirt-chasing baritone. Having gratefully given Figaro a job as head of his servant-staff, he is now persistently trying to exercise his "droit du seigneur" – his right to bed a servant girl on her wedding night – with Figaro's bride-to-be, Susanna, who is the Countess's maid. He keeps finding excuses to delay the civil part of the wedding of his two servants, which is arranged

neg: The Barber of Seville accuses him of betraying her. Almaviva reveals his identity and the two reconcile. While Almaviva and Rosina are enraptured by one another, Figaro keeps urging them to leave. Two people are heard approaching the front door, who later turn out to be Basilio and the notary. However, when the Count, Rosina, and Figaro attempt to leave by way of the ladder, they discover it has been removed. The marriage contract requires two witnesses; Figaro is one, but another is needed. The Count makes Basilio an offer he can't refuse: the choice of accepting a bribe and being a witness to

neg: Marcos Portugal the Prince Regent D. João, the later King John VI of Portugal. He wrote 21 operas for various Italian theatres. The first, "I due gobbi" (also known as "Confusioni della Somiglianza"), premiered in Florence in the spring of 1793. His version of "The Marriage of Figaro", titled "La pazza giornata, ovvero Il matrimonio di Figaro" (The Crazy Day, or The Marriage of Figaro), to a libretto by Gaetano Rossi, premiered in Venice in 1799. Like most theatre composers of the time, Portugal set several librettos that had proven successful for earlier operas, such as Metastasio's "Demofoonte" (premièred at La Scala,