Roberta Capua (Naples, 5 December 1968) is an Italian television host.
Biography
She became known in the Italian entertainment world with her election as Miss Italia in 1986. Her mother Marisa Jossa had been awarded the same title in 1959. The year after she placed second at Miss Universe.
In 1986, she had her first television role in the music contest Vota la voce, hosted by Claudio Cecchetto. She came back on TV in 1992 to lead the Retequattro's program I bellissimi di Retequattro; three years later she replaced for some week Paola Barale as soubrette of the Italian version of Wheel of Fortune, named La Ruota Della Fortuna.
From 1996 to 1998, she presented with Luciano Rispoli the Telemontecarlo's daily program Tappeto volante and, from 1995 to 1997, hosted Aspettando Beautiful, a short show on air before the famous soap opera The Bold and the Beautiful, and Nonsolomoda.
In 1998, hosted with Giancarlo Magalli the primetime show Fantastica italiana, on Rai 1, and in the summer of the same year presented Cercasi Miss Italia disperatamente.
The name of Capua comes from the EtruscanCapeva. The meaning is 'City of Marshes'. Its foundation is attributed by Cato the Elder to the Etruscans, and the date given as about 260 years before it was "taken" by Rome. If this is true it refers not to its capture in the Second Punic War (211 BC) but to its submission to Rome in 338 BC, placing the date of foundation at about 600 BC, while Etruscan power was at its highest. In the area several settlements of the Villanovian civilization were present in prehistoric times, and these were probably enlarged by the Oscans and subsequently by the Etruscans.
Etruscan supremacy in Campania came to an end with the Samnite invasion in the latter half of the 5th century BC.
About 424 BC it was captured by the Samnites and in 343 BC besought Roman help against its conquerors. Capua entered into alliance with Rome for protection against the Samnite mountain tribes, along with its dependent communities Casilinum, Calatia, Atella, so that the greater part of Campania now fell under Roman supremacy. The citizens of Capua received the civitas sine suffragio (citizenship without the vote).
4 chiacchiere con Ilaria Capua (Director One Health Center of Excellence University of Florida)
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published: 19 Mar 2020
Salute circolare: Intervista con la virologa Ilaria Capua | Le Colazioni Digitali del Corriere
Massimo Sideri, editorialista del Corriere della Sera e responsabile editoriale di Corriere Innovazione, intervista Ilaria Capua, virologa direttrice del One Health Center of Excellence @UF, che tra le altre cose ci spiega cosa ci ha insegnato il virus: è necessario dare più potere alla scienza al femminile.
published: 04 Jun 2020
Gladiator Museum, Santa Maria Capua Vetere, Caserta, Campania, Italy, Europe
The Museo dei Gladiatori stands near the Campano Amphitheater in Santa Maria Capua Vetere. In the museum, the surviving elements of the decoration of the Campanian Amphitheater were presented to the public for the first time. It was inaugurated in 2003 and is divided into three rooms. In the first room, placed at the entrance, various inscriptions have been placed bearing dedications to the emperors Hadrian and Antoninus Pius, a model that reproduces the original structure of the Amphitheater and, at the top right, there are three of the arch keys that decorated the exterior of the monument: a male head with a Phrygian cap identified with Mitra or Attis, a female with a diadem (perhaps Giunone), a head of Minerva with an attic helmet and the cast of the Volturno, whose original is kept in ...
published: 08 Apr 2019
L'intervista alla virologa Ilaria Capua
La virologa Ilaria Capua torna a Dimartedí per presentare il sio libro 'Il Dopo'
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Massimo Sideri, editorialista del Corriere della Sera e responsabile editoriale di Corriere Innovazione, intervista Ilaria Capua, virologa direttrice del One He...
Massimo Sideri, editorialista del Corriere della Sera e responsabile editoriale di Corriere Innovazione, intervista Ilaria Capua, virologa direttrice del One Health Center of Excellence @UF, che tra le altre cose ci spiega cosa ci ha insegnato il virus: è necessario dare più potere alla scienza al femminile.
Massimo Sideri, editorialista del Corriere della Sera e responsabile editoriale di Corriere Innovazione, intervista Ilaria Capua, virologa direttrice del One Health Center of Excellence @UF, che tra le altre cose ci spiega cosa ci ha insegnato il virus: è necessario dare più potere alla scienza al femminile.
The Museo dei Gladiatori stands near the Campano Amphitheater in Santa Maria Capua Vetere. In the museum, the surviving elements of the decoration of the Campan...
The Museo dei Gladiatori stands near the Campano Amphitheater in Santa Maria Capua Vetere. In the museum, the surviving elements of the decoration of the Campanian Amphitheater were presented to the public for the first time. It was inaugurated in 2003 and is divided into three rooms. In the first room, placed at the entrance, various inscriptions have been placed bearing dedications to the emperors Hadrian and Antoninus Pius, a model that reproduces the original structure of the Amphitheater and, at the top right, there are three of the arch keys that decorated the exterior of the monument: a male head with a Phrygian cap identified with Mitra or Attis, a female with a diadem (perhaps Giunone), a head of Minerva with an attic helmet and the cast of the Volturno, whose original is kept in the Museo Campano of Capua. In the second room, with an original layout that reproposes the steps of the auditorium, the decoration of one of the vomitoria (accesses to the cavea) was reconstructed in its entirety; on the bottom there is a relief with a procession of magistrates and lictors, depicted in the act of entering the amphitheater to occupy their seats. The side balustrades instead reproduce felines that bite the prey; other fragments of lateral balustrades depict animals that seem to run towards the arena: gazelles, bears, elephants, lions. Fragments of the frontal plutei are also placed on the walls of the same room. Among the represented themes stand out sacrifice scenes, a depiction of the amphitheater under construction and mythological scenes; in particular we note, on the right wall, the exploits of Hercules (cleaning the Augean, Hercules and Antaeus stables) and two fragments with the Dioscuri. To the right of the entrance is the punishment of Prometheus, the torture of Marsyas, Mars and Rhea Silvia, as well as a fragment with dancing Maenads and another with Apollo. To the left of the entrance one can also recognize a scene with towered deities, the construction of the amphitheater, the representation of a sacred enclosure, a scene of sacrifice for the dedication of the amphitheater. On the left wall, scenes of Centauromachy and Actaeon torn apart by dogs. The stylistic features of the reliefs, the choice of subjects and the way of treating them in response to a strongly classical taste indicate the Hadrian age as a period of execution of the sculptures. In the third room, to the left of the first, there is a mechanical representation of a gladiatorial fight.
The Museo dei Gladiatori stands near the Campano Amphitheater in Santa Maria Capua Vetere. In the museum, the surviving elements of the decoration of the Campanian Amphitheater were presented to the public for the first time. It was inaugurated in 2003 and is divided into three rooms. In the first room, placed at the entrance, various inscriptions have been placed bearing dedications to the emperors Hadrian and Antoninus Pius, a model that reproduces the original structure of the Amphitheater and, at the top right, there are three of the arch keys that decorated the exterior of the monument: a male head with a Phrygian cap identified with Mitra or Attis, a female with a diadem (perhaps Giunone), a head of Minerva with an attic helmet and the cast of the Volturno, whose original is kept in the Museo Campano of Capua. In the second room, with an original layout that reproposes the steps of the auditorium, the decoration of one of the vomitoria (accesses to the cavea) was reconstructed in its entirety; on the bottom there is a relief with a procession of magistrates and lictors, depicted in the act of entering the amphitheater to occupy their seats. The side balustrades instead reproduce felines that bite the prey; other fragments of lateral balustrades depict animals that seem to run towards the arena: gazelles, bears, elephants, lions. Fragments of the frontal plutei are also placed on the walls of the same room. Among the represented themes stand out sacrifice scenes, a depiction of the amphitheater under construction and mythological scenes; in particular we note, on the right wall, the exploits of Hercules (cleaning the Augean, Hercules and Antaeus stables) and two fragments with the Dioscuri. To the right of the entrance is the punishment of Prometheus, the torture of Marsyas, Mars and Rhea Silvia, as well as a fragment with dancing Maenads and another with Apollo. To the left of the entrance one can also recognize a scene with towered deities, the construction of the amphitheater, the representation of a sacred enclosure, a scene of sacrifice for the dedication of the amphitheater. On the left wall, scenes of Centauromachy and Actaeon torn apart by dogs. The stylistic features of the reliefs, the choice of subjects and the way of treating them in response to a strongly classical taste indicate the Hadrian age as a period of execution of the sculptures. In the third room, to the left of the first, there is a mechanical representation of a gladiatorial fight.
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The Museo dei Gladiatori stands near the Campano Amphitheater in Santa Maria Capua Vetere. In the museum, the surviving elements of the decoration of the Campanian Amphitheater were presented to the public for the first time. It was inaugurated in 2003 and is divided into three rooms. In the first room, placed at the entrance, various inscriptions have been placed bearing dedications to the emperors Hadrian and Antoninus Pius, a model that reproduces the original structure of the Amphitheater and, at the top right, there are three of the arch keys that decorated the exterior of the monument: a male head with a Phrygian cap identified with Mitra or Attis, a female with a diadem (perhaps Giunone), a head of Minerva with an attic helmet and the cast of the Volturno, whose original is kept in the Museo Campano of Capua. In the second room, with an original layout that reproposes the steps of the auditorium, the decoration of one of the vomitoria (accesses to the cavea) was reconstructed in its entirety; on the bottom there is a relief with a procession of magistrates and lictors, depicted in the act of entering the amphitheater to occupy their seats. The side balustrades instead reproduce felines that bite the prey; other fragments of lateral balustrades depict animals that seem to run towards the arena: gazelles, bears, elephants, lions. Fragments of the frontal plutei are also placed on the walls of the same room. Among the represented themes stand out sacrifice scenes, a depiction of the amphitheater under construction and mythological scenes; in particular we note, on the right wall, the exploits of Hercules (cleaning the Augean, Hercules and Antaeus stables) and two fragments with the Dioscuri. To the right of the entrance is the punishment of Prometheus, the torture of Marsyas, Mars and Rhea Silvia, as well as a fragment with dancing Maenads and another with Apollo. To the left of the entrance one can also recognize a scene with towered deities, the construction of the amphitheater, the representation of a sacred enclosure, a scene of sacrifice for the dedication of the amphitheater. On the left wall, scenes of Centauromachy and Actaeon torn apart by dogs. The stylistic features of the reliefs, the choice of subjects and the way of treating them in response to a strongly classical taste indicate the Hadrian age as a period of execution of the sculptures. In the third room, to the left of the first, there is a mechanical representation of a gladiatorial fight.
Roberta Capua (Naples, 5 December 1968) is an Italian television host.
Biography
She became known in the Italian entertainment world with her election as Miss Italia in 1986. Her mother Marisa Jossa had been awarded the same title in 1959. The year after she placed second at Miss Universe.
In 1986, she had her first television role in the music contest Vota la voce, hosted by Claudio Cecchetto. She came back on TV in 1992 to lead the Retequattro's program I bellissimi di Retequattro; three years later she replaced for some week Paola Barale as soubrette of the Italian version of Wheel of Fortune, named La Ruota Della Fortuna.
From 1996 to 1998, she presented with Luciano Rispoli the Telemontecarlo's daily program Tappeto volante and, from 1995 to 1997, hosted Aspettando Beautiful, a short show on air before the famous soap opera The Bold and the Beautiful, and Nonsolomoda.
In 1998, hosted with Giancarlo Magalli the primetime show Fantastica italiana, on Rai 1, and in the summer of the same year presented Cercasi Miss Italia disperatamente.