Synonyms for fetonte or Related words with fetonte

olimpiade              abbandonata              ipermestra              torvaldo              imeneo              antigono              demofoonte              endimione              andromaca              polinice              fiametta              ariodante              tebaldo              vespri              mefistofele              delusa              balletti              temistocle              rodelinda              maiolati              riconosciuta              dorliska              oracolo              montecchi              piramo              orontea              drammatico              farnace              pizzetti              eupatore              amadigi              cleofide              cilea              jommelli              nerone              bellerofonte              capuleti              ossia              trionfo              clori              sparafucile              cesti              sosarme              zandonai              erissena              ghedini              fiesco              tessaglia              stravagante              artaserse             

Examples of "fetonte"
In 1988, Jo made her La Scala debut as Thetis in Jommelli's "Fetonte". That same year she made her debut with the Bavarian State Opera and sang Barbarina in "The Marriage of Figaro" at the Salzburg Festival.
After returning to Florence in 1564, he joined the Accademia del Disegno. He contributed two conventionally Mannerist paintings for the Duke's study and laboratory, the Studiolo of Francesco I in the Palazzo Vecchio. This artistic project was partly overseen by Giorgio Vasari. These paintings – the "Sisters of Fetonte (Phaeton)" and "Hercules and Iole" – like many of those in the studiolo, are stylized and overcrowded.
His operatic productions included "Carmen" (1970), "Das Rheingold" (1979), "Nabucco" (1977), "Il trovatore" (1977), "Norma" (with Renata Scotto, 1978), "Macbeth" (1980), "La traviata" (1982), "Aïda" (1985), "L'Orfeo" (1985 and 1998), "Fetonte" (1988), "Don Giovanni" (1990 and 1999), "The Makropulos Affair" (1993), "The Turn of the Screw" (1995), "Tosca" (1997), "Il ritorno d'Ulisse in patria" (1998), "Lohengrin" (1999), "L'incoronazione di Poppea" (2000), "Il trittico" (2008), and "Intolleranza" (2011).
The interior rooms have ceilings frescoed with grottesche and mythologic scenes. The furniture, while befitting the epoch, is not original. In the palazzina is housed a marble bust of Duke Ercole I d’Este, a work of the 15th-century. In the logetta are portrait putatively of Marfisa and her sister Bradamante, as young girls. La Palazzina has a number of rooms : Sala delle Imprese, Sala di Fetonte (Phaeton), Sala dei Banchetti, Sala Grande, Sala del Camino, Loggetta dei Ritratti and a Studiolo.
The exact date and place of Verazi's birth are unknown, but he was described in contemporary libretti as "Romano" (Roman). His first known opera libretto was for Niccolò Jommelli's "Ifigenia in Aulide" which premiered in Rome in 1751. It was the beginning of a 20-year friendship and collaboration, with Verazi producing the libretti for seven of Jomelli's operas, including "Ifigenia in Tauride" and the innovative "Fetonte". Verazi served as the official court poet and personal secretary to Charles Theodore in Mannheim from 1756 to 1778 and later worked in Milan and Munich were he died in 1794.
Vonk held chief conductor positions with De Nederlandse Opera (1976-1985), the Residentie Orkest (1980–1991) and the Netherlands Radio Philharmonic Orchestra. From 1985 to 1990, he was principal conductor of both the Staatskapelle Dresden and the Semper Oper, Dresden. In 1988 he conducted at La Scala in Milan in a revival of Jommelli's "Fetonte", but then had to take a year off from conducting after being diagnosed with Guillain–Barré syndrome, a neurological condition. He appeared to recover and resumed conducting. He became chief conductor of the WDR Symphony Orchestra, Cologne in 1991.
The culmination of these reforms arrived in the operas of Christoph Willibald Gluck. Beginning with "Orfeo ed Euridice", Gluck drastically cut back on the possibilities for vocal virtuosity afforded to singers, abolished "secco" recitative (thereby heavily reducing the delineation between aria and recitative), and took great care to unify drama, dance, music, and theatrical practice in the synthesis of Italian and French traditions. He continued his reform with "Alceste" and "Paride ed Elena". Gluck paid great attention to orchestration and considerably increased the role of the chorus: he also cut back heavily on exit arias. The labyrinthine subplots that had riddled earlier baroque opera were eliminated. In 1768, the year after Gluck's "Alceste", Jommelli and his librettist Verazi produced "Fetonte". Ensemble and chorus are predominant: the usual number of exit arias slashed in half. For the most part, however, these trends did not become mainstream until the 1790s, and the Metastasian model continued to dominate.
Born in Găujani, Giurgiu County, she studied violin at the Music High School in Brașov and voice at the Music Conservatory in Cluj-Napoca, before winning a scholarship at the Conservatorio di Santa Cecilia in Rome to be taught canto by Jolanda Magnoni; she also worked with Rodolfo Celletti and Elisabeth Schwarzkopf. Upon graduation, in 1972, having won the "Voci Rossiniane" Competition in Milan, American conductor Thomas Schippers invited her to Cincinnati as Mimì in Puccini's "La Bohème" and later she was invited by Luchino Visconti to appear in "Don Carlos" at the Teatro dell'Opera di Roma. She made her debut at the Metropolitan Opera in New York City, in 1978, as Violetta in Verdi's "La traviata", a role she has reprised over 200 times, later singing Gilda in Verdi's "Rigoletto" (1978) and Nedda in Leoncavallo's "I Pagliacci" (1978-1986). She sang in the worlds major opera houses such as Teatro alla Scala in Milan, where she had her debut in the world première of Luciano Berio's "La Vera Storia" (1982) and later appeared in: "The Stone Guest" (Donna Anna) by Dargomyzhsky (1983), "Lucio Silla" (Cinna) by Mozart (1984), "Polish Requiem" by Penderecki (1985), "L'Orfeo" (Euridice) by Luigi Rossi (1985), "Un re in ascolto" (La Protagonista) by Berio (1986), "Don Giovanni" (Donna Elvira) by Mozart (1987, 1988, and 1993), "Fetonte" (Queen Climene) by Jommelli (1988), "Alcyone" and "Alyssa" by Ravel (1990) and three Recitals (1988, 1993). Mariana Nicolesco interpreted a wide repertory from baroque, belcanto to verismo and contemporary music and has been described as "an arresting personality with a vibrant voice"; highlights of her repertory are the roles of Marzelline in "Fidelio" by Beethoven, Elettra in "Idomeneo", Vitellia in "La clemenza di Tito" by Mozart, "Beatrice di Tenda" by Bellini, "Anna Bolena", "Maria Stuarda", Queen Elisabeth I in "Roberto Devereux", "Maria di Rohan" by Donizetti, Amelia in "Simon Boccanegra", Desdemona in "Otello", Leonora in "Il trovatore", Luisa in "Luisa Miller" by Verdi, Marguérite in "Faust" by Gounod, Tatyana in "Evghenij Oneghin" by Tchaikovsky, Liù in "Turandot" by Puccini, Zarina Marina in "Dimitry" by Dvořák. She appeared in productions signed by Giorgio Strehler, Patrice Chéreau, Luca Ronconi, Jean-Pierre Ponnelle, Franco Zeffirelli, Pier Luigi Pizzi, Jonathan Miller and conducted by Carlo Maria Giulini, Wolfgang Sawallisch, Riccardo Muti, Seiji Ozawa, Lorin Maazel, Peter Maag, Georges Prêtre, Giuseppe Patané, Alberto Zedda, Colin Davis, Ghennadij Rozhdestvensky; also in prestigious Concerts Halls such as Carnegie Hall in New York, Royal Festival Hall in London, Accademia di Santa Cecilia in Rome, Concertgebouw in Amsterdam, Musikverein in Vienna, Salle Pleyel in Paris, the Great Conservatory Hall in Moscow and the Salzburg Festival, Rossini Opera Festival in Pesaro, Maggio Musicale Fiorentino, Martina Franca Festival, Casals Festival in Puerto Rico. Invited by Pope John Paul II, she sang Romanian Carols in the First Christmas Concert in the Vatican (1993) and the soprano part in the world première of Krzysztof Penderecki's Symphony No. 7 ("Seven Gates of Jerusalem") was composed for her (1997).