Synonyms for abbandonata or Related words with abbandonata

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Examples of "abbandonata"
Operas set to Metastasio's "Didone abbandonata" were not new to the London stage. Previous productions had included: Leonardo Vinci's "Didone abbandonata" (Royal Opera House, 1737); Johann Hasse's "Didone" (The King's Theatre, 1748); Vincenzo Ciampi's "Didone" (The King's Theatre, 1754); Baldassare Galuppi's "La Didone abbandonata" (The King's Theatre, 1761); Antonio Sacchini's "Didone abbandonata" (The King's Theatre, 1775); and Pasquale Anfossi's pastiche opera "Didone abbandonata" (The King's Theatre, 1786)
Didone in the pasticcio "Didone abbandonata" (Florence, 1778)
Act III, scene 10 - Aria of Circe, "D'un alma abbandonata" (Music lost)
Part I (Dorina's House) to be performed between the first and second act of the opera "Didone abbandonata".
Part II (A dressing room of a theatre) to be performed between the second and third act of the opera "Didone abbandonata".
Didone abbandonata ("Dido Abandoned") was an opera in three acts composed by Tomaso Albinoni. Albinoni's music (now lost) was set to Pietro Metastasio's libretto, "Didone abbandonata", which was in turn based on the story of Dido and Aeneas from the fourth book of Virgil's "Aeneid". The opera premiered on 26 December 1724 at the Teatro San Cassiano in Venice and was the first time that an opera based on a Metastasio libretto was performed in Venice.
"Didone abbandonata" was Metastasio's first original libretto, and Sarro's opera was the first of what were to be over fifty musical settings of the work. The opera premiered at the Teatro San Bartolomeo in Naples on 1 February 1724 along with a two-part comic intermezzo also composed by Sarro to a libretto by Metastasio, "L’impresario delle Isole Canarie". "Didone abbandonata" was Sarro's sixteenth opera composed for the theatres in Naples and is considered an important example of his mature style.
Des Grieux is alarmed by Manon's appearance and goes to look for water. While he is gone, Manon recalls her past and muses about her fatal beauty and her fate (Manon: "Sola, perduta, abbandonata").
Many award-winning and acclaimed films of Italian cinema have been filmed in Sicily, amongst the most noted of which are: Visconti's ""La Terra Trema"" and ""Il Gattopardo"", Pietro Germi's ""Divorzio all'Italiana"" and ""Sedotta e Abbandonata"".
In 1785 she was engaged to sing in Alessio Prati's "Armida abbandonata", but fell ill and had to hand the role to her niece ; she never sang in public again. She died in Munich.
Armida Abbandonata ("Armida Abandoned") is an opera in three acts by the Italian composer Niccolò Jommelli. The libretto, by Francesco Saverio De Rogatis, is based on the epic poem "Gerusalemme liberata" by Torquato Tasso. The opera was first performed at the Teatro San Carlo, Naples on 30 May 1770. The young Wolfgang Amadeus Mozart was in the audience. He described the work as "beautiful but too serious and old-fashioned for the theatre". Nevertheless, despite a lukewarm reception at its premiere, "Armida abbandonata" was widely performed throughout Italy in the following years.
In 1790 she started a triumphant tour through Germany, and in Bonn she performed for Beethoven. At the end of that year, she travelled to Venice and performed at the Teatro di San Samuele in the opera "La Didone Abbandonata", wearing a tiara, necklace, and diamond earrings that had been given to her by the Russian Empress.
Didone abbandonata ("Dido Abandoned") is an opera in three acts composed by Domenico Sarro to a libretto by Pietro Metastasio, which was based on the story of Dido and Aeneas from the fourth book of Virgil's "Aeneid". The opera premiered on 1 February 1724 at the Teatro San Bartolomeo in Naples.
There is another sonata for violin and piano in G minor by Tartini. Auer writes that "In Tartini's own day this sonata was called 'Didone abbandonata' ("Dido the Forsaken"). Of forty sonatas by Tartini, Auer says the two are "his two best-known and most deservedly popular works."
Carter indicates several structural similarities to "Il combattimento"; both works require three voices, one of which acts as a narrator. Despite these similarities, "Armida abbandonata", unlike the earlier work, is generally considered by scholars of Monteverdi to be an opera, although Denis Stevens, translator of Monteverdi's letters, has termed it a "parergon" (subsidiary work) to "Il Combattimento".
Didone abbandonata is an opera libretto in three acts by Pietro Metastasio. It was his first original work and was set to music by Domenico Sarro in 1724. The opera was accompanied by the intermezzo "L'impresario delle Isole Canarie", and also by Metastasio.
Perez composed more than 44 dramatic works between 1735 and 1777, 22 operas between 1744 and 1755, the period when he almost exclusively concentrated on the genre. Excerpts from "Arminio", "La Didone abbandonata", "Ezio", "Farnace", "Solimano" and "Vologeso" were published in London by John Walsh, and at least 24 exist in manuscript.
Didone abbandonata is an opera, or "dramma per musica", by Giuseppe Sarti, set to a libretto by the renowned poet Metastasio. The opera was first performed in the winter of 1762 in Copenhagen, and was composed especially for the Danish court of the time. The opera consists of three acts, and the libretto is based upon the well-known story of Dido and Aeneas.
Antonia Merighi's initial career was in Italy, where for several years she was a virtuosa singer at the court of Violante Beatrice, Grand Princess of Tuscany and sang in theatres in Tuscany as well as in Venice, Parma, Turin, Mantua, Naples and her native Bologna, often in "travesti" roles. In Naples, she created the role of Iarba in the premiere of Domenico Sarro's "Didone abbandonata" (Teatro San Bartolomeo, 1 February 1724) and appeared in at least 18 other operas there.
Negrini was born in 1804 in Cesena, a city in the Emilia-Romagna region of Italy. He was the second of the four children of Luigi Trentanove and Maria "née" Negrini from whom he later took his stage name. He studied singing in Bologna, and began his stage career at a young age. His earliest recorded performances were during the 1826 carnival season at the Teatro Comunitativo in Ravenna where he appeared in Mercadante's opera "Didone abbandonata" and Rossini's "Semiramide".