Libretto

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    There were 281 participants in this experimental study. Most of the participants were family or friends of students in a research methods class at Florida International University, and they were recruited through email, personal, or telephone request. One hundred ninety one participants were female (68%) and 90 were male (32%). They range from age 13 to 92 (M= 32.33, SD= 13.58). This included 63 Caucasian participants (22.4%), 56 African American participants (19.9%), 8 Asian participants (2.8%), 138 Hispanic participants (49.1%) and 16 participants with other ethnicity (5.7%). Material and Procedure Participants responded to an online survey through a server called Qualtrics. Participants were randomly chosen to be in one of the four conditions: outcome told and alternative explanation given, outcome told and alternative explanation not given, outcome not told and alternative explanation given, and outcome not told and alternative explanation not given. All participants were asked to read two study scenarios which involved a new gosling and a “virgin rat”. Participants were also asked to complete demographics questions (including gender, age, and ethnicity) and provided responses to questionnaires after reading each study scenario. Students in the research methods class of Florida International Universal carried out the study. After participants signed and read the informed consent form, they then were asked to read two study scenarios which involved a new gosling and a…

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    creation of the atomic bomb. The opera’s libretto using original sources, features in their own words the described tensions among the scientists involved in making the bomb. The 3-and-a-half-hour production follows the father of the atomic bomb, theatrical physicist J. Robert Oppenheimer, as he wrestles with “the pull between scientific rectitude and mass murder” while overseeing the creation and testing of the first atomic bomb. The story builds up from the exposition and rises in suspense by…

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    But why was this never achieved? According to Gary Schmigdal, who has translated a large portion of his letters to Somma and other collaborating artists, we may never know why exactly the Re Lear opera was never fully realised. Verdi did however seem to run into many complications: Somma died several years after the libretto was completed, and he was unable to find a suitable cast to which he could tailor the score. He was adamant in his vision not only for the voice types but for the portrayal…

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    Tchaikovsky Themes

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    68. Libretto by M.I. Tchaikovsky ( in collaboration with the composer) after A.S. Pushkin , compose January 19 to June 8 1890, ( commissioned by imperial theatres). First performed December 7, 1890 St. Petersburg, Mariinsky theatre, conducted by E.F. Napravnik, my 1 August 1891, Jurgenson. 2-Ballets 1876 Swan lake ballet in four acts, op.20. Libretto by B.V. Begichev l, and V.F.Geltser. Composed Aug 14 1875 to April 10 1876 , commissioned by Imperial theatres, first performed February 20…

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    three of them to express what he wanted in the fullest. It could be said that previous composers valued the story or vocals in their operas more than the orchestration because of the commonality of virtuosic singers of the time. Wagner felt that he could not fully express, or create artwork to the fullest when one aspect was being favored over the other. An example of this can be found in his tragedy Tristan und Isolde Act II, scene 1. While the specific gestures and staging can not be discerned…

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    Symbolism In Opera

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    Symbolism in Opera: The Elements of French Symbolism in the Opera Production of Debussy’s Pelléas et Mélisande Introduction Although a large number of research studies have been conducted on the relationship between Claude Debussy and French Symbolism, especially his opera Pelléas et Mélisande, whether his music could reflect Symbolism is still in a heated discussion. Some research has pointed out the relationship between the music and the libretto of the opera and Symbolism , ; while some…

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    Court Masques

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    on the BAM website, Ondrejcak based the backdrop on the famous architect Inigo Jones. Inigo Jones was famous for his sets and costumes he designed for masques written by Ben Jonson. Ondrejcak pays homage to Jones by creating a digital backdrop that is similar to the intense and elaborate scenery in the sets that Jones created for the masque. Due to the long hours devoted in creating the elaborate masque sets, Ondrejcak decided to keep the cursor on the screen as he changes the flashy backdrops…

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    would replace Égle with Dorabella, Mesrin with Guglielmo, Azor with Ferrando, and Adine with Fiordiligi. After listening to her maid Despina, Dorabella willingly goes off with Gugluelmo. In the end, even after the big revelation, these two would remain together. Of course, this is immoral, because "man exists as a creature of nature, and nature itself is entirely amoral" (Till 248). These two forgive each other for pretending, but they realize that the love (or lust) they displayed for each…

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    main characters in the premiere were played by Settinio Malvezzi (Rodolfo), Marietta Gazzaniga (Luisa), Achille De Bassini (Miller), and Antonio Selva (Walter). With its large chorus and orchestra, its spectacular staging, and dramatic plot, Luisa Miller is a representative work of Romanticism. The genesis of Luisa Miller was complicated for a variety of reasons, especially the libretto. Usually choosing subject by himself, Verdi originally planned to use settings of Francesco Guerrazzi’s…

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    The librettist for Cosi fan tutte was Lorenzo de Ponte (1749-1838). De Ponte was born from an Italian-Jewish family. He later converted to Catholicism so that he could become a Catholic priest. In seminary, he learned Latin and Italian. This later became useful after he was banned from Venice for being a priest and marrying a women. Before he met, Emperor Joseph II, de Ponte had already had an interest in libretto. After meeting him, it seemed as though that writing librettos for composers like…

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