Synonyms for tarchi or Related words with tarchi
Examples of "tarchi"
There are 9 vadde: Igrez-Vaddo, Gaunsa-Vaddo, Bamon-Vaddo, Marna, Porta-Vaddo,
Bhatt, Guddem, Aframent, Vaddi and Oxel.
was born in Naples. In December 1787 he was appointed music director and composer at London's King's Theatre, a position he held until June 1789.
returned to Italy in 1791 and remained there until 1798 when he went to Paris. He composed several works in the opéra comique genre which achieved only moderate success. When he gave up composing, he became fashionable singing teacher in Paris, where he died in 1814.
(c. 1760 – 19 August 1814) was an Italian composer of numerous operas as well as sacred music. Between 1778 and 1787, he worked primarily in Italy, producing five or six new operas each year.
Benucci continued in the Italian opera in Vienna until 1795. His greatest success during this period was in "Il matrimonio segreto" by Domenico Cimarosa (1792). He performed at La Scala in Milan in 1795, in operas by Giuseppe Sarti and by Angelo
. He returned to Livorno in 1797, and eventually stopped performing around 1800. He died in Florence 5 April 1824.
(born October 11, 1952 in Rome) is an Italian political scientist. He is currently full professor of Political Science, Political Theory and Political Communication at the Cesare Alfieri School of Political Sciences of the University of Florence. His research is focused primarily on populism, democracy, political organization, and extreme right.
The first spark of rebellion in Xinjiang proved small enough for the Qing authorities to easily extinguish it. On March17, 1863, some 200 Dungans from the village of Sandaohe (a few miles west of Suiding), supposedly provoked by a rumor of a preemptive Dungan massacre, attacked
( now part of Huocheng County), one of the Nine Forts of the Ili Basin. The rebels seized weapons from the fort's armory and killed the soldiers of its garrison, but were soon defeated by government troops from other forts and were themselves slaughtered.
Halfway down the nave one can descend into the crypt via a double stairway. This burial place of Saint Francis was found in 1818. His remains had been hidden by Brother Elias to prevent the spread of his relics in medieval Europe. By order of Pope Pius IX a crypt was built under the lower basilica. It was designed by Pasquale Belli with precious marble in neo-classical style. But it was redesigned in bare stone in neo-Romanesque style by Ugo
between 1925 and 1932.
As an artist Marchesi was certainly one of the greatest singers of his time, and he was also a composer. In London he published his own volume set of "Ariette Italiane", and also a handful of solfeggi. He maintained a collaboration similar to that with Josef Mysliveček later in life with Angelo
. Perhaps his most important roles in the later part of his career were Megacle in Domenico Cimarosa's "L'Olimpiade" and Lovinski in Simon Mayr's La Lodoiska. Serious opera was the natural realm for his voice type, and he rarely sang comic roles after his early appearances in Rome.
On July 16, 1228, he was pronounced a saint by Pope Gregory IX (the former cardinal Ugolino di Conti, friend of Saint Francis and Cardinal Protector of the Order). The next day, the Pope laid the foundation stone for the Basilica of Saint Francis in Assisi. Francis was buried on May 25, 1230, under the Lower Basilica, but his tomb was soon hidden on orders of Brother Elias to protect it from Saracen invaders. His exact burial place remained unknown until it was re-discovered in 1818. Pasquale Belli then constructed for the remains a crypt in neo-classical style in the Lower Basilica. It was refashioned between 1927 and 1930 into its present form by Ugo
, stripping the wall of its marble decorations. In 1978, the remains of Saint Francis were examined and confirmed by a commission of scholars appointed by Pope Paul VI, and put into a glass urn in the ancient stone tomb.
The School of Fascist Mysticism has been the subject of limited research. Some eminent scholars have traced the brief notes and put them in works of broader scope: Bobbio, Casucci, Isnenghi, Nolte, De Felice, Gentile, Ledeen Greater depth was instead shown by Daniele Marchesini, Betri, Signori, La Rovere, journalists of the caliber of Bocca, de Antonellis and Giannantoni. The first to show interest in the topic was, from the political spectrum's right, the political scientist Marco
. while Marchesini goes to the record of having been the only, until 2003, to have an entire study devoted to this subject. By 2004 blooms a certain interest in Fascist Mysticism: there are published, without the knowledge of the other one, two works: L. Fantini, "Essenza mistica del fascismo totalitario. Dalla scuola di Mistica Fascista alle Brigate Nere" a cura dell'Associazione Culturale "1 dicembre 1943", Perugia 2004 and A. Grandi "Gli eroi di Mussolini. Niccolò Giani e la Scuola di Mistica Fascista", Rizzoli, Milano 2004.
After dropping round in Vienna in 1780, Banti decided to return to Italy when she was engaged at the Teatro San Benedetto in Venice for the 1782–1783 carnival season. Her performances in the premières of "Piramo e Tisbe" by Francesco Bianchi (who was to become her favourite composer), and " Attalo, re di Bitinia" by Giuseppe Sarti, as well as in a revival of Bertoni’s " Orfeo ed Euridice" were very successful by all accounts, raising enthusiasm in a listener out of the ordinary, such as the Irish tenor Michael Kelly. After Venice, she later sang in Turin, Milan, in Venice again, and also, in 1786-1787, in Warsaw, where she performed in operas gy Giordani, Persichini and
. Finally, in the same 1787, she arrived at Teatro San Carlo in Naples, where she created the role of "Sofonisba " in Bianchi’s "Scipione Africano", and also interpreted operas by Paisiello, Anfossi and Guglielmi. In 1789 Banti returned to Venice’s Teatro San Benedetto where she was the first protagonist of Anfossi’s "Zenobia in Palmira", which became one of her favourite roles, as well as "Semiramide", a character she created in Bianchi’s "La vendetta di Nino", at the end of the following year. In June 1792 she took part in the inauguration of the new theatre La Fenice in Venice, opposite the castrato Gaspare Pacchierotti (who exerted a strong artistic influence upon her throughout her career), in the first performance of Paisiello’s I giuochi d’Agrigento.
The play inspired the tragedy "Iphigénie" (1674) by Jean Racine and was the basis of several operas in the eighteenth century, using librettos that drew from both Euripedes's and Racine's versions and had various plot variants. The earliest extant libretto is by Christian Heinrich Postel, "Die wunderbar errettete Iphigenia", set by Reinhard Keiser in 1699. The most popular libretto was Apostolo Zeno's "Ifigenia in Aulide" (1718), set by Antonio Caldara (1718), Giuseppe Maria Orlandini (1732), Giovanni Porta (1738), Nicola Porpora (1735), Girolamo Abos (1945), Giuseppe Sarti (1777), Angelo
(1785), and Giuseppe Giordani (1786). Other libretti include "Ifigenia" by Matteo Verazi (set by Niccolò Jommelli, 1751), that of Vittorio Amadeo Cigna-Santi (set by Ferdinando Bertoni, 1762 and Carlo Franchi, 1766), that of Luigi Serio (set by Vicente Martín y Soler, 1779 and Alessio Prati, 1784), and that of Ferdinando Moretti (set by Niccolò Antonio Zingarelli, 1787 and Luigi Cherubini, 1788). However, the best-known opera today is Christoph Willibald Gluck's "Iphigénie en Aulide" (1774).
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