nedda - Synonyms for nedda | Synonyms Of nedda

Examples of "nedda"
Nedda is frightened by Canio's vehemence ("Qual fiamma avea nel guardo"), but the birdsong comforts her ("Stridono lassù"). Tonio returns and confesses his love for her, but she laughs. Enraged, Tonio grabs Nedda, but she takes a whip, strikes him and drives him off. Silvio, who is Nedda's lover, comes from the tavern, where he has left Canio and Beppe drinking. He asks Nedda to elope with him after the performance and, though she is afraid, she agrees. Tonio, who has been eavesdropping, leaves to inform Canio so that he might catch Silvio and Nedda together. Canio and Tonio return and, as Silvio escapes, Nedda calls after him, "I will always be yours!"
Lind sang her first Nedda in Leoncavallo's "I Pagliacci" in July 2012 at Schlossfestspiele Schwerin.
Nedda Casei (born September 9, 1932) is an operatic mezzo-soprano.
Ruggero Leoncavallo "I Pagliacci" (Nedda) – opera interpreted in première for Romania at Bucharest National Theatre in 1903;
"Pagliacci" premiered at the Teatro Dal Verme in Milan on 21 May 1892, conducted by Arturo Toscanini, with Adelina Stehle as Nedda, Fiorello Giraud as Canio, Victor Maurel as Tonio, and Mario Ancona as Silvio. Nellie Melba played Nedda in London in 1893, soon after the Italian premiere, and it was given in New York on 15 June 1893, with Agostino Montegriffo as Canio.
The story is set in southern Italy and recounts the tragedy of Canio, the lead clown (or "pagliaccio" in Italian) in a commedia dell'arte troupe, his wife Nedda, and her lover, Silvio. When Nedda spurns the advances of Tonio, another player in the troupe, he tells Canio about Nedda's betrayal. In a jealous rage Canio murders both Nedda and Silvio during a performance. Although Leoncavallo's opera was originally set in the late 1860s, Zeffirelli's production is updated to the period between World War I and World War II.
Nedda, trying to continue the play, admits that she has been visited by the innocent Arlecchino. Canio, furious and forgetting the play, demands the name of her lover. Nedda swears she will never tell him, and it becomes apparent that they are not acting. Beppe asks Tonio to intervene, but Tonio refrains and prevents Beppe from halting the action. Silvio begins to fight his way toward the stage. Canio, grabbing a knife from the table, stabs Nedda. As she dies, she calls: "Help! Silvio!". Silvio attacks Canio, but Canio kills Silvio also. The horrified audience then hears the celebrated final line:
Among her more noteworthy roles are performances as "Violetta", "Nedda" in "Pagliacci", and "Gilda". She appeared in many Italian cities and
As the crowd arrives, Nedda, costumed as Colombina, collects their money. She whispers a warning to Silvio, and the crowd cheers as the play begins.
Beginning in 1923, now billed as Louise Hunter, she appeared with the De Feo Opera Company singing Musetta in La bohème, Nedda in Pagliacci and Micaela in Carmen.
At three o'clock in the afternoon, the commedia troupe enters the village to the cheering of the villagers. Canio describes the night's performance: the troubles of Pagliaccio. He says the play will begin at ""ventitré ore"", an agricultural method of time-keeping that means the play will begin an hour before sunset. As Nedda steps down from the cart, Tonio offers his hand, but Canio pushes him aside and helps her down himself. The villagers suggest drinking at the tavern. Canio and Beppe accept, but Tonio stays behind. The villagers tease Canio that Tonio is planning an affair with Nedda. Canio warns everyone that while he may act the foolish husband in the play, in real life he will not tolerate other men making advances to Nedda. Shocked, a villager asks if Canio really suspects her. He says no, and sweetly kisses her on the forehead. As the church bells ring vespers, he and Beppe leave for the tavern, leaving Nedda alone.
Monte Criollo is a Argentine musical film directed and written by Arturo S. Mom. It is a tango film and starred Nedda Francy and Francisco Petrone.
Logan was married briefly (1939–1940) to actress Barbara O'Neil. After the divorce, he was married to Nedda Harrigan from 1945 until his death from progressive supranuclear palsy (PSP) in New York City in 1988.
Her recordings include a complete "Faust" under Sir Thomas Beecham (1930); substantial extracts from William Vincent Wallace's "Maritana"; and Santuzza in "Cavalleria rusticana" and Nedda in "Pagliacci". A complete discography has been prepared.
She made her debut at the New York City Opera in 1973, the Lyric Opera of Chicago in 1979, the San Francisco Opera in 1982, establishing herself in verismo roles, notably as Nedda, Manon Lescaut, Madama Butterfly.
In 1900, he contracted to train and race for W. B. Dickerman of Hillandale Farm, New Rochelle, New York, who owned "Bellini", a top sire. Dickerson developed "Soprano", "Atlantic Express", "Nedda", who was champion mare for years, among others.
Lind appears extensively on stage performing soprano roles like Konstanze ("Die Entführung aus dem Serail"), Gilda ("Rigoletto"), Juliette ("Roméo et Juliette"), Amina ("La sonnambula"), Rosalinde ("Die Fledermaus"), Violetta ("La traviata"), Nedda ("Pagliacci") and many more.
In the verismo opera "Pagliacci" by Ruggero Leoncavallo, the head of the troup's wife, Nedda, playing as Colombina, cheats on her husband, Canio, playing as Pagliaccio, both onstage with Arlecchino and offstage with Silvio.
Love of a Clown, or Pagliacci, is a 1948 Italian film based on Ruggero Leoncavallo's opera "Pagliacci", directed by Mario Costa. The film stars Tito Gobbi and Gina Lollobrigida. It recounts the tragedy of Canio, the lead clown (or "pagliaccio" in Italian) in a commedia dell'arte troupe, his wife Nedda, and her lover, Silvio. When Nedda spurns the advances of Tonio, another player in the troupe, he tells Canio about Nedda's betrayal. In a jealous rage Canio murders both Nedda and Silvio. The only actor in the cast who also sang his role was the celebrated Italian baritone, Tito Gobbi, but the film is largely very faithful to its source material, presenting the opera nearly complete.
As Canio enters, he hears Nedda and exclaims "Name of God! Those same words!" He tries to continue the play, but loses control and demands to know her lover's name. Nedda, hoping to keep to the performance, calls Canio by his stage name "Pagliaccio," to remind him of the audience's presence. He answers with his arietta: "" He sings that if his face is pale, it is not from the stage makeup but from the shame she has brought him. The crowd, impressed by his emotional performance, which they do not realize is real, cheers him.