Synonyms for inganno or Related words with inganno
Examples of "inganno"
is a 1952 Italian drama film directed by Guido Brignone. It stars Gabriele Ferzetti and Nadia Gray.
" () is an Italian term for one of the two musical devices: an interrupted cadence, or a type of transposition used in 16th- and early 17th-century Italian music. This article will concentrate on the latter meaning.
(The Happy Deception) is an "opera buffa" in two acts by Gaetano Donizetti, to a libretto by Andrea Leone Tottola. Composed in 1823, it was first given on September 3 of that year at the Teatro Nuovo in Naples. It was not a success, and has disappeared from the repertory.
The earliest explanation of the term is given by Giovanni Artusi in his "Seconda parte dell'Artusi" (1603). An "
" occurs when one voice states a theme, and then the other picks it up without using the same intervals, but retaining the names of the hexachord syllables. Artusi provides the following example:
In the Matter of France, Ganelon is the knight who betrayed Charlemagne's army to the Muslims, leading to the Battle of Roncevaux Pass. His name is said to derive from the Italian word "
", meaning fraud or deception. He is based upon the historical Wenilo, the archbishop of Sens who betrayed King Charles the Bald in 858.
Little is known of Stuck's early years. He was born at Livorno on the western coast of Tuscany, came from a merchant family, and was the son of Giovanni-Giacomo Stuck and Barbera Hellerbeck. From 1702 he was in the service of Countess Lemos in Naples. Stuck wrote arias for the performance of the opera "L'innocente
" of Tomaso Albinoni, which was performed under the new title "Rodrigo in Algieri" on 10 December 1702 in Naples at the Teatro San Bartolimeo.
He was born at Bitonto (Bari) and was a pupil of Giovanni Veneziano and Giuliano Perugino at the Conservatorio di Santa Maria di Loreto. In 1738 he collaborated with Leonardo Leo and others in the hasty production of "Demetrio"; in the autumn of the same year he produced a comic opera, "L'inganno per
", the first of a long series of comic operas, the success of which won him the name of "il Dio dell'opera buffa". He went to Palermo, probably in 1747, as a teacher of counterpoint; as an opera composer he is last heard of in 1760, and is supposed to have died about 1763 or 1765.
Immediately busy in the spring months of 1823 with a cantata, an "opera seria" for the San Carlo, and an "opera buffa" for the Nuovo, Donizetti also had to work on the revised "Zoraide" for Rome. Unfortunately however, the music set for the San Carlo premiere of "Alfredo il grande" on 2 July was described in the "Giornali" as "...one could not recognize the composer of "La zingara"." It received only one performance, while his two-act "farsa", "Il fortunato
", given in September at the Teatro del Fondo received only three performances.
Only one piece is known to explicitly refer to "inganni" in the title: Giovanni Maria Trabaci's "Recercare con tre fughe et inganni" from 1603. But numerous other pieces from the era make use of the technique. Examples include numerous works by Girolamo Frescobaldi (for instance, "Fantasia seconda" of 1608) and ricercares attributed to Jacques Brunel (the first recorded systematic use of
); it has been suggested by scholar Roland Jackson that the technique played an important part in the development of the late Italian madrigal, including the famous works of Carlo Gesualdo.
Brunel enjoyed an exceptionally high reputation during his lifetime. Numerous writers, including Cosimo Bartoli, Cinciarino, Jacopo Corfini and Luigi Dentice, praised his skills. Bartoli wrote that Brunel played "with more grace, with more art and more musically than any other, whoever he may be." However, few of his works survive. The most important pieces, a number of ricercars from the so-called Bourdeney Codex, were attributed to Brunel by Anthony Newcomb in 1987. These works are of considerable importance in the evolution of the genre: there are frequent instances of advanced contrapuntal techniques such as inversion and augmentation, hexachord transpositions ("
") of the subjects; some of the pieces even employ countersubjects. Two ricercares also appear in another mansucript: one imitative, structured like a motet, and the other completely devoid of any imitative passages.
In 1822 Fioravanti joined the roster of principal singers at the Teatro Nuovo in Naples. That house remained his primary home for the remainder of his career. He appeared in several world premieres in operas by Donizetti at that house, including Don Sebastiano Alvarez in "La zingara" (1822), Ortenzio in "Il fortunato
" (1823), Claudio di Liverpool in "Emilia di Liverpool" (1824), Iwano in "Otto mesi in due ore" (1827), and Max in "Betly" (1836). In 1825 he sang in the first performance of Saverio Mercadante's "Il signore del villaggio", a revised version of his 1824 opera "Il podestà di Burgos". In 1824 he sang in the premiere of his father's opera "Ogni eccesso è vizioso" and he made his last known appearance at the Teatro Nuovo in the premiere of his brother's opera, "Il Pirata", in 1849.
"La Dori" was first brought to Venice in 1663 where it was an immediate success with subsequent productions in 1667 and 1670. On those occasions the opera was adapted to suit Venetian taste as well as the strengths of the star singers, with fairly extensive cuts (particularly to the recitatives), the addition of new arias, and the expansion of some comic scenes. "The Dance of the Moors" was changed to "The Dance of the Soldiers", and the prologue became an elaborate affair involving Apollo, Amor, and the personifications
(Deception) and Invidia (Envy). The prologue for the performance in Vienna for Emperor Leopold I was even more elaborate and featured Mars, four Amazons, and the personification La Fama (Fame) all singing the praises of the emperor and his court. During the course of its performance history "La Dori" had at least 14 different prologues often devised to flatter the patron of the production or to suit local tastes. The music for some of the later prologues was written by other composers such as Alessandro Stradella who composed the prologue music for the 1672 performance in Rome.
Ferzetti had a supporting role in Flavio Calzavara's "Sigillo rosso" alongside Gino Cervi and Carla Del Poggio, but his first leading role came in "Lo Zappatore" (both from 1950), a film which focused on the life of peasants and farm workers during the interwar and great depression period. Roles now came in abundance for Ferzetti, from the crime comedy "Welcome, Reverend!" ("Benvenuto, reverendo!", 1950) alongside Aldo Fabrizi, Massimo Girotti, and Lianella Carell, to Luis Trenker's war film, "Mountain Smugglers" ("Barriera a settentrione", 1950), to Guido Brignone's "The Naked and the Wicked" ("", 1951) and "
" (1952), to Curzio Malaparte's drama, "The Forbidden Christ" ("Il Cristo proibito", 1951), to Antonio Pietrangeli's "Empty Eyes" ("Il sole negli occhi", 1953). He starred in the successful biopic of composer Puccini under Carmine Gallone, "Puccini" (also 1953), and reprised the role in "House of Ricordi" ("Casa Ricordi", 1954), also featuring Roland Alexandre as Gioacchino Rossini. Ferzetti starred in Mario Soldati's "The Wayward Wife" ("La Provinciale", 1953), a Cannes Film Festival nominee for best film, which saw him play the role of a professor who falls in love with a glamorous star (Gina Lollobrigida). This comedy drama involves the tale of a Romanian countess who forces "Gemma" to become a prostitute. For his performance, Ferzetti received an award from the Italian National Syndicate of Film Journalists, and further cemented his status as a leading actor in Italy by appearing alongside Lollobrigida. Ferzetti appeared in Marcello Pagliero's comedy drama based on the play by Luigi Pirandello, "Vestire gli ignudi" (1954), playing the character of Ludovico Nota alongside Pierre Brasseur, Manlio Busoni, and Paolo Ferrara, and in "Camilla" (also 1954), under the directorship of Luciano Emmer.
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