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Updated: May 3, 2025
Odo could never forget the youth who first leant him Annibale Caro's Aeneid and Metastasio's opera libretti, Voltaire's Zaire and the comedies of Goldoni; while Alfieri perhaps found in his companion's sympathy with his own half-dormant tastes the first incentive to a nobler activity.
The list of names is a noble one, each being prominently connected in some way with music. Among composers and performers may be mentioned Czerny and the Abbe Stadler. Artario & Co., Diabelli and Leidersdorf, were music publishers. Count Palfy and Sonnleithner were operatic managers, while counselor Kiesewetter and J.F. Costelli were authors of libretti and songs.
He went about the house, raving of her to everybody, with sundry Gallic interjections; until Mrs. Chump said: "'Deed, sir, ye don't seem to have much idea of a woman's feelin's." Tracy produced in a night two sketches of libretti for Emilia to choose from the Roman Clelia being one, and Camillus the other. Tracy praised either impartially, and was indifferent between them, he told her.
From the magnificent opening air, 'Champs paternels, to the sonorous final chorus, the work is rich in beauty of a very high order. Of his other serious works few have remained in the current repertory, chiefly owing to their stupid libretti, for there is not one of them that does not contain music of rare excellence.
While opera is habitually performed in a foreign language, or, if in English, by those who have not the art of making their words intelligible, there will always be a demand for books that tell the story more clearly than is to be found in the doggerel translations of the libretti, unless audiences return with one accord to the attitude of the amateurs of former days, who paid not the slightest attention to the plot of the piece, provided only that their favourite singers were taking part.
"I knew I was not quite such a fool as your husband certainly thought me." "Jacques is a mere baby outside of his art." "Si?" "That is why I have to think for him very often. Which of the libretti has Mr. Heath bought?" "It is not one of those I had the honor of showing to Monsieur Sennier." "Really? You have written another specially for Mr. Heath?" "I wrote another to please myself.
He had moved into the house in the year 1833 the year that the opera house was opened after it had been built for a company headed by Lorenzo Da Ponte. This Da Ponte had come to America in 1805, having a record as an Italian dramatist, who had furnished libretti for Mozart's operas, Don Giovanni and Nozze di Figaro.
It seems to me the libretti of operas are generally singularly ill conceived, both morally and artistically. Music is in itself so pure and heavenly, that it seems a desecration to make it the expression of vile incidents and vapid words.
After seeing it, Diderot ran off to the author to embrace him, with many tears of joyful sympathy and gratitude. Sedaine, like Lillo, the author of Diderot's favourite play of George Barnwell, was a plain tradesman, and the success of his libretti for comic operas had not spoiled him. He could find no more expansive words for his excited admirer than "Ah, Monsieur Diderot, que vous étes beau!"
Could any words give more concisely the peculiar character of the much misunderstood Mozart, "the most delicate genius of light and love," "the most richly gifted of all musicians"? Does it not tell us more than all the outpourings of Oulibichef? Or this, in speaking of the formation of the opera and the demand for better libretti after the period of Spontini?
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