Synonyms for accademici or Related words with accademici
Examples of "accademici"
238) Dodici (?)
“Signornò” al Duce, ne il «Corriere d'Arezzo», 6 maggio 2001.
In 1983, he became the director of the Corsi
di Chitarra, held annually at Bassano del Grappa (Vicenza).
d'Onore include Giulio Andreotti, Alberto Ronchey, the Nobel Prize winner Rita Levi-Montalcini and Jørn Utzon.
1647 saw productions in Bologna, by the
Discordati with the probable participation of Francesco Sacrati, and in Genoa; the next year it could be seen in Turin and Reggio Emilia, and in 1652 it appeared in Naples and Milan.
He also worked in Pescia, for example in the Oratory "della Misericordia" (1702), the nave of Santa Maria Maddalena, the Oratory of San Biagio, the church of Santa Maria Nuova, the Casa Galeffi, and the theater of the
The opera was produced in Piacenza in 1644, by the
Febiarmonici; the libretto was printed (with some modifications, omitting the name of Strozzi and references to Venice) in Codogno. The same year, Strozzi again reprinted the libretto under his own name, in reaction to this. The Codogno version was reprinted in Bologna in 1647.
Camilliani was praised in one of Cosimo Bartoli's "Ragionamenti
"; in the course of a stroll through Florence the interlocutors in Bartoli's dialogue say of one of Camilliani's statues, that, had it been buried and rediscovered, it would have been praised heartily.
Maria Dalle Donne (12 July 1778 - 9 June 1842) was an Italian physician and a director at the University of Bologna. She was the first female doctorate in medicine, and the second woman to become a member of the "Ordine dei Benedettini
In 1829, Dalle Donne became the second female, after Laura Bassi, to be inducted to the prestigious Ordine dei Benedettini
Pensionati, in which she was given the title "Academic". In 1832, Dalle Donne became Director of the Department of Midwifery at the University of Bologna.
He studied mathematics at the University of Pisa (1586-1591) where he became friends with Galileo Galilei and Maffeo Barberini, the future Pope Urban VIII. Buonarroti was elected to the Accademia Fiorentina in 1585 and the Accademia della Crusca in 1589, and was one of the editors of first Italian dictionary, "Vocabolario degli
della Crusca" (1612).
Pasta studied in Milan with Giuseppe Scappa and Davide Banderali and later with Girolamo Crescentini and Ferdinando Paer among others. In 1816 she made her professional opera début in the world première of Scappa's "Le tre Eleonore" at the Teatro degli
Filodrammatici in Milan. Later that year she performed at the Théâtre Italien in Paris as Donna Elvira in "Don Giovanni", Giulietta in Niccolò Antonio Zingarelli’s "Giulietta e Romeo", and in two operas by Paer.
Because the simply consecutive Complete Edition (CE) numbers did not reflect the individual works (Opus numbers) into which compositions were grouped, Fanna numbers were often used in conjunction with CE numbers. Combined Complete Edition (CE)/Fanna numbering was especially common in the work of Italian groups driving the mid-20th century revival of Vivaldi, such as Gli
di Milano under Piero Santi. For example, the Bassoon Concerto in B major, "La Notte" RV 501, became CE 12, F. VIII,1
Bartoli worked in diplomatic circles, including as secretary to Cardinal Giovanni de’ Medici and as diplomatic agent for Duke Cosimo I. Bartoli wrote "Ragionamenti
" (Venice, 1567), which was mainly a criticism of Dante. One chapter, however, gave descriptions of composers and instrumentalists. He cited the composers Johannes Ockeghem and Josquin des Prez as equal to Donatello and Michelangelo in their respective arts, and stated that Ockeghem and Donatello were the precursors to Josquin and Michelangelo. In this book he also critiques architecture and painting, mainly focusing on the arts of his native Florence. He extolled the concept of "invenzione" in all the arts.
Undoubtedly, Farrugia was a staunch traditionalist. This may be clearly seen in his only extant philosophical work, "Discorsi
" (1775), in which, amongst other matters, he justifies and defends the use of torture, in the investigative and compilatory phase of a judicial case as much as a penalty. Though he seems to have taken note of the advances made in jurisprudence – especially that by Cesare Beccaria in his 1764 work "On Crimes and Punishment" – Farrugia evidently did not agree with them. Not so Grand Master Emmanuel de Rohan-Polduc, who, in 1784, was one of the first European princes to abolish the penalty of torture.
The Accademia degli Infiammati of Padova and the Accademia degli Umidi, soon renamed Accademia Fiorentina, of Florence were both founded in 1540, and were both initially concerned with the proper basis for literary use of the "volgare", or vernacular language of Italy, which would later become the Italian language. In 1582 five Florentine literati gathered and founded the Accademia della Crusca to demonstrate and to conserve the beauty of the Florentine vernacular tongue, modelled upon the authors of the Trecento. The main instrument to do that was the "Vocabolario degli
della Crusca". The Crusca remained for long a private institution, criticizing and opposing the official Accademia Fiorentina.
The name derives from the Latin word "crustāta", the feminine past participle of "crustāre" (to encrust), and ultimately from the noun "crusta" (crust). The French term "croustade" derives from it, from which the English term "custard" derives. The word "crostata" appeared in the earliest Italian dictionaries, included in the 1612 dictionary "Vocabolario degli
della Crusca" (compiled from 1591-1608) by the Accademia della Crusca and the Scuola Normale Superiore di Pisa, and the 1617 dictionary "Il memoriale della lingua italiana: ridotto in ordine d'alfabeto per commodità del lettore" by Giacomo Pergamino, in which it was defined as a type of "torta".
Most of Bernardi's works were published in his lifetime, primarily in Venice by Giacomo Vincenti, and later by Alessandro Vincenti who also published a posthumous collection of Bernardi's "Messe a otto voci" (Masses for eight voices) in 1638. Two collections of his works were published in Rome: "Motecta" (motets) for two to five voices in 1610, four of which were also anthologized by Georg Victorinus in his "Siren coelestis" published in Munich in 1616, and a collection of madrigals for three voices in 1611 which also contains a six-part "peasants' masquerade". The music has been lost for two of the works he composed in Salzburg, the "Te Deum" and a dramatic work (title unknown). However "Encomia sacra" for two to six voices which he wrote in Salzburg was published there by Gregor Kyrner in 1634. His "Salmi concertati" for five voices published in 1637 is considered particularly important for the way the psalms highlight an alto or soprano soloist against a four voice choir which echoes the beginnings and endings of the solo passages. In addition to five psalms for vespers, the collection also contains a "Magnificat" and the hymn, "Jesu nostra redemptio". Another important work was the "Concerti
" which Bernardi composed for the Accademia Filarmonica in Verona between 1615 and 1616. Originally published in 1616 and containing what Magnabosco considers his finest pieces of secular music, it consists of ten "madrigali concertati" () and eight "sinfonias." A modern edition of the "Concerti
" by Flavio Cinquetti and Matteo Zenatti, with critical revision and an essay by Marco Materassi was published in 2008.
The Accademia was founded in Florence in 1583 and it has been characterized by its efforts to maintain the purity of the Italian language. "" means "bran" in Italian, which conveys the metaphor that its work is similar to winnowing as it is well explained by the emblem of the Accademia della Crusca that depicts a sifter that is straining out corrupt words and structures (as wheat is separated from bran). The academy motto is ""Il più bel fior ne coglie"" ('She gathers the fairest flower'), a famous verse of the Italians poet Francesco Petrarca. In 1612, the "Accademia" published the first edition of its Dictionary: the "Vocabolario degli
della Crusca", which also served as the model for similar works in French, Spanish, German and English.
De Begnis made his debut in Modena during the Carnival 1813 season as a primo buffo in Stefano Pavesi's "Ser Marcantonio". He was greeted by generous applause and this proved to him that he was moving in the right direction. From there he went to Forli and Rimini, ending the first year of his professional career again in Modena. For the new carnival season he was in Siena for the inauguration of the newly built Teatro degli
Rozzi. There he sang the most demanding role of Uberto in Ferdinando Paër's "Agnese" – an opera semi-seria that includes one of the earliest and most dramatic mad scenes. This was a challenge that did not intimidate the young de Begnis because he had studied and refined his acting; in fact, the audience responded with enthusiasm and he was praised "both as an actor and singer".
Despite its impressive size, the "OED" is neither the world's largest nor the earliest exhaustive dictionary of a language. The Dutch dictionary "Woordenboek der Nederlandsche Taal" is the world's largest dictionary, has similar aims to the "OED" and took twice as long to complete. Another earlier large dictionary is the Grimm brothers' dictionary of the German language, begun in 1838 and completed in 1961. The first edition of the "Vocabolario degli
della Crusca" is the first great dictionary devoted to a modern European language (Italian) and was published in 1612; the first edition of "Dictionnaire de l'Académie française" dates from 1694. The official dictionary of Spanish is the "Diccionario de la lengua española" (produced, edited, and published by the Real Academia Española), and its first edition was published in 1780. The Kangxi dictionary of Chinese was published in 1716.
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