Synonyms for gamerra or Related words with gamerra
Examples of "gamerra"
Medonte, re di Epiro ("Medonte, King of Epirus") is an "opera seria" in three acts by Giuseppe Sarti. The libretto was by Giovanni de
(26 December 1742 – 29 August 1803) was a cleric, a playwright, and a poet. He is best known as a prolific librettist.
was politically active, and by his revolutionary attitudes incurred the wrath of Emperor Leopold II, who tried unsuccessfully to block his career. He died at Vicenza.
Lucio Silla (pronounced , ), K. 135, is an Italian opera in three acts composed by Wolfgang Amadeus Mozart. The libretto was written by Giovanni de
Il Medonte is an Italian opera in three acts by Josef Mysliveček set to a libretto by Giovanni de
. Like all of the composer's operas, it belongs to the serious genre in Italian referred to as opera seria.
Palmira, regina di Persia is an opera by Antonio Salieri: more specifically, it is a "dramma eroicomico". The opera is in two acts and is set to a libretto by Giovanni de
was born in Livorno, and worked from 1771 at the Teatro Regio Ducal in Milan – an important centre for opera at the time. Operas based on his librettos include Sarti's "Medonte, re di Epiro" and Josef Mysliveček's Il Medonte, Paisiello's "Pirro", several operas by Antonio Salieri and Mozart's "Lucio Silla" (though this libretto was modified by Metastasio). His "Erifile" was set by several composers. De
is also said to have been the first translator of Mozart's "Die Zauberflöte" into Italian. His librettos are in the grand, orderly tradition of Metastasio, but incorporate progressive elements with enhanced use of chorus, ballet, and elaborate scenery. In 1793, aided by his reputation as a protégé of Metastasio, he was appointed as court librettist in Vienna, and he took to combining comic and serious features to please Viennese taste.
Migliavacca's libretti were long ignored by later literary critics who dismissed them as the work of a semi-dilettante and mediocre imitator of Metastasio. However, in the late 20th century, he came to be appreciated as one of a group of reforming Italian librettists which also included Ranieri de' Calzabigi, Mattia Verazi, Giovanni de
, and Gaetano Martinelli. They moved away from the traditional Metasasian plot structures, increased the number of ensembles relative to solo arias, and organized the ballets, arias, and ensembles into integrated dramatic scenes rather than the series of showy arias which had previously characterised "opera seria".
In October 1772 Leopold and Wolfgang returned to Milan to work on the carnival opera that had been commissioned at the end of the first journey. The text was "Lucio Silla", revised by Metastasio from an original by Giovanni de
. Wolfgang found himself in the familiar routine of composing rapidly while coping with problems such as the late arrival of singers and the withdrawal of the principal tenor due to illness. Leopold reported on 18 December that the tenor had arrived, that Wolfgang was composing his arias at breakneck speed, and that rehearsals were in full swing. The first performance, on 26 December, was chaotic: its start was delayed two hours by the late arrival of Archduke Ferdinand, there were quarrels among the principal performers, and the running time was extended by the insertion of ballets (a common practice of the time), so the performance was not over until two o'clock the following morning. Despite this, subsequent performances were well received. Leopold wrote on 9 January 1773 that the theatre was still full, and that the premiere of the season's second opera, Giovanni Paisiello's "Sismano nel Mogul", had been postponed to allow Wolfgang's piece a longer run—26 performances in all. Such success for the new work seems to have been fleeting; but during the next few years the libretto was reset by several different composers, including Wolfgang's London mentor Johann Christian Bach.
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