Synonyms for ghiringhelli or Related words with ghiringhelli

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Examples of "ghiringhelli"
On 18 June 2013, Milan bought out the full ownership rights of Ghiringhelli. On 1 July 2013 Ghiringhelli joined Serie B club S.S. Juve Stabia in a definitive deal.
In summer 2014 Ghiringhelli joined Lega Pro club A.C. Pavia on a free transfer.
Ghiringhelli won a total of seven caps with Italy U-19 between 2010 and 2011.
Luca Ghiringhelli (born 23 January 1992) is an Italian professional footballer who currently plays for Lega Pro club Pavia.
Son of Benjamin and Mary Comings, he married Emma Fannie Comings on October 12, 1874. They had eight children, Mary Huntington Ghiringhelli, Alice Tenney Larkin, Ellen Copeland Chambers, Benjamin Comings, Francis Comings, George H. Comings, Willard Comings, and Fannie Comings.
For the 2012–13 season, Ghiringhelli joined Serie B side Novara, once again in a co-ownership deal with Milan. He scored his first goal with Novara in the match Novara - Empoli.
At the beginning of the 2011–12 season, Ghiringhelli moved to Prima Divisione club SPAL in a co-ownership deal. He made a total of 22 league appearances for the club. At the end of the season, the co-ownership was resolved in favour of Milan via a blind auction.
Born in Pavia, Ghiringhelli started playing football with local amateur team Don Orione, before joining Milan in 2002. He spent nine seasons in the club's youth system and he was a member of the under-20 side who won the Coppa Italia Primavera in 2010, 25 years after the team's last success in the competition.
Menotti recalls that Ghiringhelli had promised him any singer he wanted for the premiere of "The Consul", but when he suggested Callas, Ghiringhelli said that he would never have Callas at La Scala except as a guest artist. However, as Callas's fame grew, and especially after her great success in "I vespri siciliani" in Florence, Ghiringhelli had to relent: Callas made her official debut at La Scala in Verdi's "I vespri siciliani" on opening night in December 1951, and this theatre became her artistic home throughout the 1950s. La Scala mounted many new productions specially for Callas by directors such as Herbert von Karajan, Margherita Wallmann, Franco Zeffirelli and, most importantly, Luchino Visconti. Visconti stated later that he began directing opera only because of Callas, and he directed her in lavish new productions of "La vestale", "La traviata", "La sonnambula", "Anna Bolena" and "Iphigénie en Tauride". Callas was notably instrumental in arranging Franco Corelli's debut at La Scala in 1954, where he sang Licinio in Spontini's "La vestale" opposite Callas's Julia. The two had sung together for the first time the year previously in Rome in a production of "Norma". Anthony Tommasini wrote that Corelli had "earned great respect from the fearsomely demanding Callas, who, in Mr Corelli, finally had someone with whom she could act." The two collaborated several more times at La Scala, singing opposite each other in productions of "Fedora" (1956), "Il pirata" (1958) and "Poliuto" (1960). Their partnership continued throughout the rest of Callas's career.
Although by 1951, Callas had sung at all the major theatres in Italy, she had not yet made her official debut at Italy's most prestigious opera house, Teatro alla Scala in Milan. According to composer Gian Carlo Menotti, Callas had substituted for Renata Tebaldi in the role of "Aida" in 1950, and La Scala's general manager, Antonio Ghiringhelli, had taken an immediate dislike to Callas.
Montebello, which had been privately owned by the Ghiringhelli family, was given to the canton and restored between 1902 and 1910. The castle is now home to the "Museo Civico" which has a large collection of archeological artifacts. In 1871 Sasso Corbaro was bought by a group and converted into a hotel and later a restaurant was added. In 1919 the canton placed the castle under protection to prevent further modification of the castle. It was restored between 1930 and 1935 and in 1964–97 was home to the "Museo delle arti e delle tradizioni popolari ticinesi".
He started his artistic activity in the 1920s by training as textile designer and by practising photography. He was introduced by Raffaelle Giolli in a group of Italian intellectuals associated with the review "Poligono". At the age of 20, he was interested for painting and took lessons with the Neapolitan painter Carmelo Violante, then professor at the "Accademia Carrara" of Bergamo (Italy). In 1932 he travelled to Paris and met Fernand Léger. His first works were presented in the Gallery "Il Milione" in Milan. They were still figurative. Later, Veronesi started to research in the direction of abstract art. In 1934, he exhibits xylographic works with the German artist Josef Albers in the Gallery "Il Milione". In the same year he joined the photographic group "Abstraction-Création" in Paris, he experimented constructivism, and adhered to the Bauhaus method. On 4 March 1935, he participated to the first collective exhibition of abstract art of Italy in the atelier of the painters Felice Casorati and Enrico Paolucci in Turin together with the artists Oreste Bogliardi, Cristoforo De Amicis, Ezio D'Errico, Lucio Fontana, Virginio Ghiringhelli, Osvaldo Licini, Fausto Melotti, Mauro Reggiani and Atanasio Soldati, who signed the "Manifest of the first collective exhibition of Italian abstract art". In 1936, Veronesi was the illustrator of a geometry book of Leonardo Sinisgalli and he participated to the "triennal" of Milan. In that year he also participated to an exhibition of abstract art in the city of Como (Italy) with the artists Lucio Fontana, Virginio Ghiringhelli, Osvaldo Licini, Alberto Magnelli, Fausto Melotti, Enrico Prampolini, Mario Radice, Mauro Reggiani, Manlio Rho and Atanasio Soldati. In 1939 he made a personal exhibition in the "Gallerie L'Equipe" in Paris.
The castle can be reached by taking an elevator from the foot of the rock to the castle grounds or by climbing steep, narrow streets from the city center through the city wall onto the castle grounds. The south wing houses a museum that contains "6500 years of human presence on the hill ... and covers the period from the first Neolithic village to the 20th century". The museum also includes the decorated ceilings of "Casa Ghiringhelli" and from a former inn, the "Albergo della Cervia" as well as a collection from Bellinzona's mint. The museum is open throughout the year. To the west of the museum is the 19th century arsenal, which now houses a restaurant.