nascita - Synonyms for nascita | Synonyms Of nascita

Examples of "nascita"
61) L’homo oeconomicus di Poggio Bracciolini (nel VI centenario della nascita), in «Rivista di Politica Economica», giugno 1980, pp. 44.
The Birth of the Jongleur (Italian: La nascita del giullare) is a dramatic monologue by Dario Fo.
5. Inno a S. Francesco d'Assisi nell'VIII centenario della nascita (1181–1981), set to music by M°. Vincenzo Maria Cassarà (1981).
“Absolute and Relative Senses of Liberum and Libertas in Spinoza” in Spinoza nel 350 Anniversario della Nascita (ed. Emilia Giancotti), Naples: Bibliopolis, 1985, 259-280.
3. Inno a S. Benedetto nel XV centenario della nascita (480-1980), set to music by Maestro Vincenzo Maria Cassarà; Alcamo, 1980
4. Inno a S. Scolastica nel XV centenario della nascita (480-1980), set to music by Maestro Vincenzo Maria Cassarà; Alcamo, 1981
“Absolute and Relative Senses of Liberum and Libertas in Spinoza” in Spinoza nel 350 Anniversario della Nascita: Atti del Congresso Internazionale (Urbino 1982) (ed. Emilia Giancotti), Naples: Bibliopolis, 1985, 259-280.
- Part. 1. “Via dell’impero. Nascita di una strada, demolizioni e scavi: 1930-1936. Scavi archeologici, sterri e demolizioni per l’apertura di via dell’Impero.” by: Umberto Broccoli, Claudio Parisi Presicce, & Maria Elisa Tittoni. Rome, July 22, 2009, pp. 3-7.
112) Idee e problemi economici tra Cinque e Seicento a Napoli e in Spagna, in L. De Rosa (a cura di), I banchi pubblici napoletani nella cultura e nella società del loro tempo (1450–1650). Il Banco dei Poveri nel IV centenario della sua nascita, Atti del Convegno internazionale, Napoli, dicembre, 2001, Napoli, Istituto Banco di Napoli. Fondazione, 2002.
In 2009, an exhibition was held commemorating the 150th anniversary of Severino's birth. The monograph for the exhibition, "Vincenzo Severino pittore caiatino a 150 anni dalla nascita 10 marzo 1859-2009", was written by Lucia Giorgi and Pasquale Severino, grandson of the painter.
"Watanka!" is an album with original music by Stefano Lentini: "Main theme (Braccialetti rossi)", "Nascita del gruppo", "L'Imprescindibile (Tema di Rocco)", "Padri", "Il campo di calcio (Tema di Davide)", "Rosso ora", "Watanka!", "Primo respiro", "Lo sguardo (Tema di Vale)", "Un sorriso delicato (Tema di Cris)", "Il Furbo (Tema di Toni)", "Dopo", "Il Leader", "Rosso dentro", "Aspettare", "La piscina", "Madri".
The original production directed by Luciano Damiani and conducted by Gustav Kuhn became the subject of a monograph entitled "Nascita di un'opera: Salvatore Giuliano", which was published in 1987 by photographer Lorenzo Capellini. The opera had two subsequent new productions in Germany, one conducted by Frank Cramer which was performed at Mainfranken Theater Würzburg on 13 May 1987 and the second conducted by Johannes Wedekind at the Staatstheater Kassel on 8 June 1996.
He is expert on Italian-Libyan relations, Libyan domestic and foreign politics, and Italian foreign policy in the Mediterranean region and he published three books on these issues (“Dopo Gheddafi. Democrazia e petrolio nella nuova Libia”, with Gerardo Pelosi, Fazi Ed., 2012; “Libia: nascita e fine di una nazione?”, with Karim Mezran, Donzelli, March 2012; "L'Italia e l'ascesa di Gheddafi. La cacciata degli italiani, le armi e il petrolio (1969–1974), Baldini Castoldi Dalai, 2009).
The cantata form originated in Italy, alongside the oratorio. Carissimi's pupil Marc-Antoine Charpentier brought the small-scale Latin Christmas oratorio to Paris ("In nativitatem Domini canticum"), while the vernacular Italian Christmas cantata was developed by composers such as Alessandro Stradella ("Si apra al riso ogni labro" 1675), Francesco Provenzale ("Per la nascita del Verbo" 1683) and Alessandro Scarlatti in Naples, Antonio Caldara in Vienna ("Vaticini di pace" 1713).
7. Rome, the Imperial Fora and the Via dei Fori Imperiali (1944 onwards), the Via Dell' Impero (1932-44), and Via dei Monti (1912-1925): Collection of 144 General News items, Scholarly Reports and Contemporary & Historic Photographs relating to construction and design of the Via Dell' Impero in the late 1920s and early 1930s, Part. 1 - “Via dell’impero. Nascita di una strada, demolizioni e scavi: 1930-1936. Scavi archeologici, sterri e demolizioni per l’apertura di via dell’Impero," July 2009, etc., by M. G. Conde (1999 onwards).
In Naples for the first time Artemisia started working on paintings in a cathedral, dedicated to "San Gennaro nell'anfiteatro di Pozzuoli" ("Saint Januarius in the amphitheater of Pozzuoli") in Pozzuoli. During her first Neapolitan period she painted "Nascita di San Giovanni Battista" ("Birth of Saint John the Baptist") located in the Museo del Prado in Madrid, and "Corisca e il satiro" ("Corisca and the satyr"), in a private collection. In these paintings Artemisia again demonstrates her ability to adapt to the novelties of the period and handle different subjects, instead of the usual "Judith", "Susanna", "Bathsheba", and "Penitent Magdalenes", for which she already was known.
" ... io sono nato 28 Maggio 1900, nato a Partinico provincia di Palermo la mia nascita è un romanzo perché mio padre Luigi Canino era in viaggio da Palermo in Alcamo e non-potendo più andare avanti causa di mia Madre dovette fermarsi a Partinico e diede me in luce sù il palcoscenico da mio zio Antonino Canino fratello di mio padre che ne stava con il teatrino a Partinico la cuale io faccio il mestiere 9 mesi prima di nascere poi sono di vera origine di colui che e sperimentato i pupi Siciliani il signor Canino Alberto fu mio nonno che nel 1830 creo i pupi snodabili e più umani... ".
The "Babbu di a Patria" (father of Corsica), as Pasquale Paoli was nicknamed by the Corsican Independentists, wrote in his Letters the following message in 1768 against the French invaders: "We (Corsicans) are Italians by birth and feelings, but first of all we feel Italian by language, roots, customs, traditions and all the Italians are all brothers for History and for God... As Corsicans we do not want to be slaves nor "rebels" and as Italians we have the right to be treated like all the other Italian brothers... Either we'll be free or we'll be nothing... Either we'll win or we'll die (against the French) with our weapons in our hands... The war against France is just and holy as the name of God is holy and just, and here on our mountains will appear for all Italy the sun of liberty." (""Siamo còrsi per nascita e sentimento ma prima di tutto ci sentiamo italiani per lingua, origini, costumi, tradizioni e gli italiani sono tutti fratelli e solidali di fronte alla storia e di fronte a Dio… Come còrsi non vogliamo essere né schiavi né "ribelli" e come italiani abbiamo il diritto di trattare da pari con gli altri fratelli d’Italia… O saremo liberi o non saremo niente… O vinceremo con l’onore o soccomberemo (contro i francesi) con le armi in mano... La guerra con la Francia è giusta e santa come santo e giusto è il nome di Dio, e qui sui nostri monti spunterà per l’Italia il sole della libertà…"")
Manfredini-Guarmani's acquaintance with the Bolognese aristocrat and composer Francesco Sampieri, pre-dated her professional career. In addition to singing in private concerts at his house, they were both members of Bologna's Accademia Filarmonica and Accademia dei Concordi (founded by Sampieri). A year after her debut, she sang in the premiere of his "La nascita del Re di Roma", Bologna's second musical celebration of the birth of the Napoleon II. He also composed a special aria for her which she inserted in her 1816 performances as Briseide in a revival of Paër's "Achille" at Forlì. She went on to create the title role in Sampieri's "Il trionfo di Emilia" which premiered in Rome in 1818. Ten years after her stage debut in Bologna she returned there to sing in a revival of Morlacchi's "Le Danaidi" at the Teatro Contavalli. The performance on 28 November 1820 was a benefit for her, and she additionally performed a scene from "Il trionfo di Emilia" between the first and second acts of "Le Danaidi".
It was Saint-Léon who commissioned Minkus's first score for a full-length "Grand Ballet", the three-act "La Flamme d′amour, ou La Salamandre" ("The Flame of Love, or The Salamander"), which the Ballet Master produced especially for the renowned Russian "Prima ballerina" Marfa Muravieva. The premiere on was a great success for the ballet company of the Bolshoi Theatre. Saint-Léon subsequently mounted the work in St. Petersburg for the Imperial Ballet in an elaborated staging for the benefit performance of Muravieva under the title "Fiametta, ou L′amour du Diable" ("Fiametta, or The Love of the Devil"). This version was first performed on at the Imperial Bolshoi Kamenny Theatre. Minkus later accompanied Saint-Léon to mount this work in a new staging for the ballerina Muravieva at the Théâtre Impérial de l'Opéra in Paris. For this staging the ballet's title was changed again as "Néméa, ou L′Amour vengé" ("Néméa, or The Avenged Love"). At that time, ballets were performed at the Paris Opéra only as diversions during the intermissions of full-length operas, and as such Saint-Léon's ballet was reduced to two-acts. The first performance took place on 11 July 1864 with an audience that included the Empress Eugénie. Featured along with Muravieva in the title role of Néméa was the celebrated Premier danseur Louis Mérante in the role of Count Molder and the ballerina Eugénie Fiocre in the role of Cupid. Minkus's score was praised by the critics of day, among them Théophile Gautier, who found the music be filled with a "" .. haunting, dreamy quality. The music for the dances were filled with sparkling melodies and infectious rhythms."" "Néméa, ou L′Amour vengé" was retained for fifty-three performances in the Opéra's repertory until 1871. Saint-Léon also mounted the work for the ballet of the Teatro Communale in Trieste, where it premiered on 15 March 1868 as "Nascita della Fiamma d′Amoure" ("Birth of the Flame of Love"). The change of titles of this work has caused much confusion among historians, many of whom have claimed that each of these productions were completely different works altogether.