Top 10 similar words or synonyms for otello_verdi

tosca_puccini    0.879614

la_bohème_puccini    0.866879

rigoletto_verdi    0.855755

pagliacci_leoncavallo    0.854748

giuseppe_taddei    0.853932

la_traviata_verdi    0.848796

giordano_andrea_chénier    0.844610

puccini_gianni_schicchi    0.843550

suor_angelica    0.842534

leoncavallo_pagliacci    0.840650

Top 30 analogous words or synonyms for otello_verdi

Article Example
Rodrigo Orrego In recent years, Orrego has expanded his opera repertoire with roles in lirico-spinto, such as "Andrea Chénier" (Umberto Giordano), "Manon Lescaut" (Puccini) and "Otello" (Verdi). Numerous recordings document his career.
Walter Felsenstein He translated and edited numerous operatic works into German, including "Carmen" (Georges Bizet, 1949) and "La traviata" (Giuseppe Verdi, 1955). Famous productions include "Die Zauberflöte" (Mozart, 1954), "Les contes d'Hoffmann" (Jacques Offenbach, 1958), "Otello" (Verdi, 1959), "Barbe-bleue" (Offenbach, 1961), "The Cunning Little Vixen" (Leoš Janáček, 1956), and "A Midsummer Night's Dream" (Benjamin Britten). The foreign-language operas Felsenstein produced were not usually set in their original tongue, but in a German translation.
Giuseppe Verdi "the listener is bombarded by a stunning diversity of rhythms, orchestral textures, melodic motifs and harmonic devices. Passages that in earlier times would have furnished material for an entire number here crowd in on each other, shouldering themselves unceremoniously to the fore in bewildering succession". Rosselli comments: "In "Otello" Verdi had miniaturized the forms of romantic Italian opera; in "Falstaff" he miniaturized himself...[M]oments...crystallize a feeling...as though an aria or duet had been precipitated into a phrase."
Dynamics (music) Another more extreme dynamic is in György Ligeti's Études No. 13 ("Devil's Staircase"), which has at one point a (6 s) and progresses to a (8 s). In Ligeti's Études No. 9, he uses (8 s). In the baritone passage ""Era la notte"" from his opera "Otello", Verdi uses . Steane (1971) and others suggest that such markings are in reality a strong reminder to less than subtle singers to at least sing softly rather than an instruction to the singer actually to attempt a .
Giuseppe Verdi Following the success of "Otello" Verdi commented, "After having relentlessly massacred so many heroes and heroines, I have at last the right to laugh a little." He had considered a variety of comic subjects but had found none of them wholly suitable and confided his ambition to Boito. The librettist said nothing at the time but secretly began work on a libretto based on "The Merry Wives of Windsor" with additional material taken from "Henry IV, Part 1" and "Part 2". Verdi received the draft libretto probably in early July 1889 after he had just read Shakespeare's play: "Benissimo! Benissimo!... No one could have done better than you", he wrote back to Boito. But he still had doubts: his age, his health (which he admits to being good) and his ability to complete the project: "If I were not to finish the music?". If the project failed, it would have been a waste of Boito's time, and have distracted him from completing his own new opera. Finally on 10 July 1889 he wrote again: "So be it! So let's do "Falstaff"! For now, let's not think of obstacles, of age, of illnesses!" Verdi emphasised the need for secrecy, but continued "If you are in the mood, then start to write." Later he wrote to Boito (capitals and exclamation marks are Verdi's own): "What joy to be able to say to the public: HERE WE ARE AGAIN!!! COME AND SEE US!"