- published: 12 Nov 2014
- views: 150
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Giacomo Antonio Domenico Michele Secondo Maria Puccini (Italian: [ˈdʒaːkomo putˈtʃiːni]; 22 December 1858 – 29 November 1924) was an Italian composer whose operas are among the important operas played as standards.
Puccini has been called "the greatest composer of Italian opera after Verdi". While his early work was rooted in traditional late-19th-century romantic Italian opera, he successfully developed his work in the realistic verismo style, of which he became one of the leading exponents.
Puccini was born Giacomo Antonio Domenico Michele Secondo Maria Puccini in Lucca in Tuscany, in 1858. He was one of nine children of Michele Puccini and Albina Magi. The Puccini family was established in Lucca as a local musical dynasty by Puccini's great-great grandfather – also named Giacomo (1712–1781). This first Giacomo Puccini was maestro di cappella of the Cattedrale di San Martino in Lucca. He was succeeded in this position by his son, Antonio Puccini, and then by Antonio's son Domenico, and Domenico's son Michele (father of the subject of this article). Each of these men studied music at Bologna, and some took additional musical studies elsewhere. Domenico Puccini studied for a time under Giovanni Paisiello. Each composed music for the church. In addition, Domenico composed several operas, and Michele composed one opera. Puccini's father Michele enjoyed a reputation throughout northern Italy, and his funeral was an occasion of public mourning, at which the then-famed composer Giovanni Pacini conducted a Requiem.
Giacomo Puccini ("senior") (1712-1781) was an 18th-century Italian composer who lived and worked primarily in Lucca, Tuscany. He was the first of five generations of composers, the most famous of whom was his great-great-grandson, the opera composer Giacomo Puccini.
Puccini studied in Bologna under Giuseppe Carretti, who was maestro di cappella at Bologna's San Petronio Basilica. In Bologna Puccini became friends with Padre Martini. After returning to Lucca in 1739, he served as organist in the cathedral and later Maestro di Cappella to the Most Serene Republic. Puccini belonged to the Accademia Filarmonica of Bologna and was a skilled teacher.
His musical style incorporated elements of both the Baroque and early Classic periods. Puccini was known as an excellent organist. He wrote many dramatic and sacred works, including a Te Deum for four voices and instruments, a Domine for four voices, masses, and psalm settings. Between 1733 and 1780, Puccini wrote 31 servizi ecclesiastici for the annual Feast of the Exaltation of the Holy Cross (Festa della Esaltazione della Santa Croce). Some of Puccini's works, including a processional motet in eight voices, continued to be performed into at least the early 19th Century. A Requiem for eight voices by Puccini was performed at the Vienna Musical Exposition of 1892, together with music by his son Antonio, grandson Domenico, and great-grandson Michele.
Il tabarro (The Cloak) is an opera in one act by Giacomo Puccini to an Italian libretto by Giuseppe Adami, based on Didier Gold's play La houppelande. It is the first of the trio of operas known as Il trittico. The first performance was given on 14 December 1918 at the Metropolitan Opera in New York City.
It is close to sundown in Paris, and the stevedores work unloading Michele's barge. Giorgetta, Michele's wife, asks her husband if she can bring wine to the workers. He agrees but does not join them because she refuses his kiss. The stevedores start dancing to the music of a nearby organ grinder and one of them steps on Giorgetta's foot. Luigi, a stevedore, dances with her, and it is evident that there is something between them. Upon hearing of Michele's return the stevedores' gathering breaks up.
Work is getting scarce and Giorgetta and Michele discuss which of the stevedores should be dismissed; she prefers that it be anyone other than Luigi despite him being Michele's first choice. Soon the conversation turns into a fight. La Frugola enters, looking for Talpa, her husband and one of the stevedores. She shows everyone the fruits of her scavenging in Paris and scolds the men for their drinking. Luigi laments his lot in life, and La Frugola sings of her wish to one day buy a house in the country where she and her husband can retire. Giorgetta and Luigi sing a duet about the town where they were both born.
Coordinates: 42°24′39″N 11°17′11″E / 42.410919°N 11.286503°E / 42.410919; 11.286503
Cosa was a Latin colonia founded under Roman influence in southwestern Tuscany in 273 BC, on land confiscated from the Etruscans. The Etruscan site (called Cusi or Cosia) may have been where modern Orbetello stands; a fortification wall in polygonal masonry at Orbetello's lagoon may be in phase with the walls of Cosa. The position of Cosa is distinct, rising some 113 metres above sea level and is sited 140 km northwest of Rome on the Tyrrhenian Sea coast, on a hill near the small town of Ansedonia. The town experienced a hard life and was never truly a prosperous Roman city, although it has assumed a position of prominence in Roman archaeology owing to the circumstances of its excavation (cf. Dyson 2005, below). After the foundation, wars of the 3rd century BC affected the town. New colonists arrived in 197 BC. Cosa seems to have prospered until it was sacked in the 60s BC, perhaps by pirates - although an earthquake and unrest related to the Catilinarian Conspiracy have also been cited as reasons. This led to a re-foundation under Augustus and then life continued until the 3rd century. One of the last textual references to Cosa comes from the work of Rutilius Claudius Namatianus in his De reditu suo. In the passage 1.285-90, Rutilius remarks that by AD 416 the site of Cosa was deserted and could be seen to be in ruins. He further suggests that a plague of mice had driven the people of Cosa away.
Cosa was a Latin colony founded along the Tyrrhenian coast to solidify the control of the Romans and offer the Republic a protected port. the 3rd century BC marked a period of expansion for the Roman Republic. Cosa, located near modern-day Tuscany, came under Roman control in 273 BC after Rome took the territory from the Etruscans. The settlement transformed over time from a colony to a large maritime export center. According to Livy, following its foundation the colony was affected by the wars of the 3rd century BC and received an influx of new colonists in the early 2nd century BC, but was eventually abandoned by the 1st century BC. Various excavations on the site reveal that, after its sacking and abandonment, Cosa was reestablished under Augustus. The site was again abandoned by the 5th century AD, according to Rutilius Claudius Namatianus, but had seasonal occupation as late as the 18th and 19th centuries AD by farmers and herdsmen.
The site at Cosa has proved to be an extremely valuable source of evidence for colonial architecture during the Republican period, even though many of the houses at Cosa remain unexcavated. Although the large blocks of housing, such as the East and West Blocks excavated by Russell T. Scott, are sized and planned like the many houses of the Roman Republican period (i.e. the housing of Pompeii), the larger houses located near the forum give us insight as to the complex nature of housing in Cosa. Furthermore, the excavations of the houses show us how the colony developed over time.
COSA is an acronym and may refer to:
Provided to YouTube by The Orchard Enterprises Il Tabarro: "Dunque che cosa credi?" · Giacomo Puccini · Vincenzo Bellezza · Tito Gobbi · Chrous & Orchestra of the Opera House, Rome · Giacinto Prandelli · Piero de Palma · Plinio Clabassi · Margaret Mas · Miriam Pirazzini · Renato Ercolani · Sylvia Bertona Puccini: Il Tabarro ℗ 2011 Regis Records Released on: 2006-01-01 Auto-generated by YouTube.
Nulla! Silenzio! *Nothing! Silence.* È la! Non s'è spogliata, non dorme... *There she is!* She isn't undressed or sleeping Aspetta. Chi? Che cosa aspetta? *She's waiting. Who? What does she wait for?* Chi? Chi? Forse il mio sonno. *Who? Who? Perhaps for me to sleep.* Chi l'ha trasformata? *Who has changed her?* Qual ombra maledetta è discesa fra noi? *What wretched shadow is cast between us?* Chi l'ha insidiata? *Who's made her stray?* Il Talpa! Troppo vecchio. *Talpa! Too old.* Il Tinca forse? No, no, non pensa, beve. *Perhaps Tinca? No, I don't think so ‑ he drinks.* E dunque chi? Luigi? Who then? Luigi? No, se proprio questa sera voleva abbandonarmi *No; this same evening he asked to leave me* e m'ha fatto preghiera di sbarcarlo a Rouen! *and made the request to go ashore at Roue...
Provided to YouTube by Universal Music Group Puccini: Il Tabarro - Dunque, che cosa credi? · Renata Tebaldi · Robert Merrill · Piero de Palma · Coro del Maggio Musicale Fiorentino · Orchestra del Maggio Musicale Fiorentino · Lamberto Gardelli Puccini: Il Trittico ℗ 1962 Decca Music Group Limited Released on: 1962-01-01 Producer: Erik Smith Studio Personnel, Recording Engineer: Kenneth Wilkinson Studio Personnel, Recording Engineer: Roy Wallace Composer: Giacomo Puccini Author: Giuseppe Adami Auto-generated by YouTube.
Giacomo Antonio Domenico Michele Secondo Maria Puccini (Italian: [ˈdʒaːkomo putˈtʃiːni]; 22 December 1858 – 29 November 1924) was an Italian composer whose operas are among the important operas played as standards.
Puccini has been called "the greatest composer of Italian opera after Verdi". While his early work was rooted in traditional late-19th-century romantic Italian opera, he successfully developed his work in the realistic verismo style, of which he became one of the leading exponents.
Puccini was born Giacomo Antonio Domenico Michele Secondo Maria Puccini in Lucca in Tuscany, in 1858. He was one of nine children of Michele Puccini and Albina Magi. The Puccini family was established in Lucca as a local musical dynasty by Puccini's great-great grandfather – also named Giacomo (1712–1781). This first Giacomo Puccini was maestro di cappella of the Cattedrale di San Martino in Lucca. He was succeeded in this position by his son, Antonio Puccini, and then by Antonio's son Domenico, and Domenico's son Michele (father of the subject of this article). Each of these men studied music at Bologna, and some took additional musical studies elsewhere. Domenico Puccini studied for a time under Giovanni Paisiello. Each composed music for the church. In addition, Domenico composed several operas, and Michele composed one opera. Puccini's father Michele enjoyed a reputation throughout northern Italy, and his funeral was an occasion of public mourning, at which the then-famed composer Giovanni Pacini conducted a Requiem.
Rodolfo
Mimì è tanto malata!
Ogni dì più declina.
La povera piccina
è condannata!
Marcello
Mimì?
Mimì
Che vuol dire?
Rodolfo
Una terribile tosse
l'esil petto le scuote
e già le smunte gote
di sangue ha rosse...
Marcello
Povera Mimì!
Mimì
Ahimè, morire!
Rodolfo
La mia stanza è una tana squallida
il fuoco ho spento.
V'entra e l'aggira il vento
di tramontana.
Essa canta e sorride
e il rimorso m'assale.
Me, cagion del fatale
mal che l'uccide!
Marcello
Che far dunque?
Mimì
O mia vita!
Translation:
Mimì is so sick!
Every day she gets worse.
The poor little thing
Is doomed!
He moves out of Mimì's earshot
Mimì?
She moves closer to them.
What does he mean?
A terrible cough
Shakes her slender breast,
And yet her pale cheeks
Are flushed…
Marcello is upset, knowing Mimì can hear.
Poor Mimì!
Weeping
Alas – to die!
My room is a squalid hole…
I've used up the fire
The north wind enters there
And whirls around.
She sings and smiles,
And remorse attacks me
I am the cause of the fatal
Illness that is killing her.
What to do, then?
O my life!