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Almaviva
''The Barber of Seville or the Useless Precaution'' (french: Le Barbier de Séville ou la Précaution inutile) is a French play by Pierre Beaumarchais, with original music by Antoine-Laurent Baudron. It was initially conceived as an opéra comique, and was rejected as such in 1772 by the Comédie-Italienne. The play as it is now known was written in 1773, but, due to legal and political problems of the author, it was not performed until February 23, 1775, at the Comédie-Française in the Tuileries. It is the first play in a trilogy of which the other constituents are ''The Marriage of Figaro'' and ''The Guilty Mother''. Though the play was poorly received at first, Beaumarchais worked some fast editing of the script, turning it into a roaring success after three days. The play's title might be a pun on Tirso de Molina's earlier play ''El Burlador de Sevilla'' (''The Trickster of Seville''). Mozart wrote a set of 12 variations, K. 354, on one of Baudron's songs, "". Synopsis ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Barber Of Seville
''The Barber of Seville, or The Useless Precaution'' ( it, Il barbiere di Siviglia, ossia L'inutile precauzione ) is an '' opera buffa'' in two acts composed by Gioachino Rossini with an Italian libretto by Cesare Sterbini. The libretto was based on Pierre Beaumarchais's French comedy '' The Barber of Seville'' (1775). The première of Rossini's opera (under the title ''Almaviva, o sia L'inutile precauzione'') took place on 20 February 1816 at the Teatro Argentina, Rome, with designs by Angelo Toselli. Rossini's ''Barber of Seville'' has proven to be one of the greatest masterpieces of comedy within music, and has been described as the opera buffa of all "opere buffe". After two hundred years, it remains a popular work. Composition history Rossini's opera recounts the events of the first of the three plays by French playwright Pierre Beaumarchais that revolve around the clever and enterprising character named Figaro, the barber of the title. Mozart's opera ''The Marriage of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Guilty Mother
''The Guilty Mother'' (), subtitled ''The Other Tartuffe'', is the third play of the ''Figaro'' trilogy by Pierre Beaumarchais; its predecessors were ''The Barber of Seville'' and ''The Marriage of Figaro''. This was the author's last play. It is rarely revived. Like the earlier plays of the trilogy it has been turned into operatic form, but it has not entered the general opera repertoire. Background The characters of Figaro and his associates were so popular that other dramatists had written sequels to ''The Barber of Seville'' and ''The Marriage of Figaro'', most notably M-N Delon, who brought out ''Le Mariage de Cherubin'' in 1785 and ''Le Mariage de Fanchette'' the following year. In the preface to the first published edition of ''The Marriage of Figaro'', Beaumarchais had declared his intention of writing a sequel. The Tartuffe figure who insinuates himself into the household for his own enrichment is Bégearss. Like Molière's original, he gains such influence over the h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gioachino Rossini
Gioachino Antonio Rossini (29 February 1792 – 13 November 1868) was an Italian composer who gained fame for his 39 operas, although he also wrote many songs, some chamber music and piano pieces, and some sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity. Born in Pesaro to parents who were both musicians (his father a trumpeter, his mother a singer), Rossini began to compose by the age of 12 and was educated at music school in Bologna. His first opera was performed in Venice in 1810 when he was 18 years old. In 1815 he was engaged to write operas and manage theatres in Naples. In the period 1810–1823 he wrote 34 operas for the Italian stage that were performed in Venice, Milan, Ferrara, Naples and elsewhere; this productivity necessitated an almost formulaic approach for some components (such as overtures) and a certain amount of self-borrowing. During ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pierre Beaumarchais
Pierre-Augustin Caron de Beaumarchais (; 24 January 1732 – 18 May 1799) was a French polymath. At various times in his life, he was a watchmaker, inventor, playwright, musician, diplomat, spy, publisher, horticulturist, arms dealer, satirist, financier and revolutionary (both French and American). Born a Parisian watchmaker's son, Beaumarchais rose in French society and became influential in the court of Louis XV as an inventor and music teacher. He made a number of important business and social contacts, played various roles as a diplomat and spy, and had earned a considerable fortune before a series of costly court battles jeopardized his reputation. An early French supporter of American independence, Beaumarchais lobbied the French government on behalf of the American rebels during the American War of Independence. Beaumarchais oversaw covert aid from the French and Spanish governments to supply arms and financial assistance to the rebels in the years before France's f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Marriage Of Figaro (play)
''The Marriage of Figaro'' (french: link=no, La Folle Journée, ou Le Mariage de Figaro ("The Mad Day, or The Marriage of Figaro")) is a comedy in five acts, written in 1778 by Pierre Beaumarchais. This play is the second in the Figaro trilogy, preceded by '' The Barber of Seville'' and followed by ''The Guilty Mother''. In the first play, ''The Barber'', the story begins with a simple love triangle in which a Spanish count has fallen in love with a girl called Rosine. He disguises himself to ensure that she will love him back for his character, not his wealth. But this is all foiled when Rosine's guardian, Doctor Bartholo, who wants her hand in marriage, confines her to the house. The Count runs into an ex-servant of his (now a barber), Figaro, and pressures him into setting up a meeting between the Count and Rosine. He succeeds and the lovers are married to end the first part of the trilogy. ''The Marriage'' was written as a sequel to ''The Barber''. In his preface to the pla ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Barber Of Seville (Paisiello)
''Il barbiere di Siviglia, ovvero La precauzione inutile'' (''The Barber of Seville, or The Useless Precaution'') is a comic opera by Giovanni Paisiello to a libretto by Giuseppe Petrosellini, even though his name is not identified on the score's title page. The opera was first performed on at the Imperial Court, Saint Petersburg. It was adapted from the 1775 play '' Le Barbier de Séville'' of Pierre Beaumarchais. The full title for the opera reads: ''Il barbiere di Siviglia, ovvero La Precauzione inutile, dramma giocoso per musica tradotto liberamente dal francese, da rappresentarsi nel Teatro Imperiale del corte, l'anno 1782'', "Paisiello's and Rossini's ''Barbiere di Siviglia''" (April 1939). '' Music & Letters'', 20 (2): pp. 157–167. (Trans: "The Barber of Seville, or The Useless Precaution, comical drama with music freely translated from the French, presented at the Imperial Court Theater, the year 1782"). The story essentially follows the original Beaumarchais play, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giovanni Paisiello
Giovanni Paisiello (or Paesiello; 9 May 1740 – 5 June 1816) was an Italian composer of the Classical era, and was the most popular opera composer of the late 1700s. His operatic style influenced Mozart and Rossini. Life Paisiello was born in Taranto in the Apulia region and educated by the Jesuits there. He became known for his beautiful singing voice and in 1754 was sent to the Conservatorio di S. Onofrio at Naples, where he studied under Francesco Durante, and eventually became assistant master. For the theatre of the Conservatorio, which he left in 1763, he wrote some intermezzi, one of which attracted so much notice that he was invited to write two operas, ''La Pupilla'' and ''Il Mondo al Rovescio'', for Bologna, and a third, ''Il Marchese di Tidipano'', for Rome. His reputation now firmly established, he settled for some years at Naples, where, despite the popularity of Niccolò Piccinni, Domenico Cimarosa and Pietro Guglielmi, of whose triumphs he was bitterly jeal ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Grandee
Grandee (; es, Grande de España, ) is an official aristocratic title conferred on some Spanish nobility. Holders of this dignity enjoyed similar privileges to those of the peerage of France during the , though in neither country did they have the significant constitutional political role the House of Lords gave to the Peerage of England and later Peerage of the United Kingdom. A "Grandee of Spain" would have nonetheless enjoyed greater "social" privileges than those of other similar European dignities. With the exception of Fernandina, all Spanish dukedoms are automatically attached to a Grandeeship yet only a few Marquessates, Countships, Viscountcies, Baronies and Lordships have the distinction. A single person can be a Grandee of Spain multiple times, as Grandeeships are attached, with the exception of a few cases, to a title and not an individual. Consequently, nobles in Spain with more than one title, most notably the current Duchess of Medinaceli and the Duke ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lazzi
Lazzi (; from the Italian ''lazzo'', a joke or witticism) are stock comedic routines that are associated with ''Commedia dell'arte''. Performers, especially those playing the masked Arlecchino, had many examples of this in their repertoire, and would use improvisatory skills to weave them into the plot of dozens of different commedia scenarios. These largely physical sequences could be improvised or preplanned within the performance and were often used to enliven the audience when a scene was dragging, to cover a dropped line or cue, or to delight an expectant audience with the troupe's specialized lazzi. Lazzi could be completed by a single player (e.g. the ''Lazzo of the School of Humanity'' wherein a Zanni character would announce that his sister was running a "school of humanity" from their home because she was a prostitute), a few individuals (e.g. the ''Lazzo of the Straw'' wherein a stock character of higher status would pour wine as his servant emptied it through a straw), o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Money Bag
A money bag (or money sack) is a bag normally used to hold and transport coins and banknotes, often closed with a drawstring.Fallen money bag sparks Ohio cash grab , 25 March 2010 (retrieved 10 January 2012) When transported between banks and other institutions, money bags are usually moved in an armored car or a . It is a type of |
Love At First Sight
Love at first sight is a personal experience as well as a common trope in literature: a person or character feels an instant, extreme, and ultimately long-lasting romantic attraction for a stranger upon first seeing that stranger. Described by poets and critics since the emergence of ancient Greece, falling in love at first sight has become a common theme in Western fiction. Historical conceptions Greek In the classical world, the phenomenon of "love at first sight" was understood within the context of a more general conception of passionate love, a kind of madness or, as the Greeks put it, ''theia mania'' ("madness from the gods"). This love passion was described through an elaborate metaphoric and mythological psychological effect involving "love's arrows" or "love darts," the source of which was often given as the mythological Eros or Cupid, sometimes by other mythological deities (such as Rumor). At times, the source of the arrows was said to be the image of the beautiful ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
