The Vatican declared "Mistero Buffo" to be the greatest blasphemy in the history of television.
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Maverik Buffo stands out, although there was also someone named Edmond Americaan taken in this round.
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With all due respect to Dustin Longenecker, the best name in 1990's 34th round, Maverik Buffo is playing a different sport.
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But at that point, you are able to start to move into this character repertoire, this buffo [comic] repertoire, because you don't necessarily need this beautiful instrument.
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It is impossible to look at either draft and imagine a future in which someone named Maverik Buffo could be swapped in for any of these names.
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With the German conductor Cornelius Meister at the helm, though, many of the rapid-fire numbers that carry the buffo weight in this tragicomedy rattled more than they hummed.
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"This driver was acting irrationally and operating his vehicle erratically ... in the hours leading up to and between these senseless shootings," said Gary Buffo, the president of the National Limousine Association.
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The work that made his name and notoriety, "Mistero Buffo" ("Comedy-Mystery"), was a one-man show in which, his long limbs feline in a black jumper and grey trousers, he told, mimed, sang and shouted New Testament stories like an idiot.
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Tomei's exceptionally physical performance is so fine-tuned in its expressiveness that it verges on dance, but it doesn't become a pas de deux until the play's third act, when another banana-truck driver, Alvaro Mangiacavallo (Emun Elliott, buffo and pheromonal), appears on her doorstep.
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He was best known for two works: "Accidental Death of an Anarchist" (215), a play based on the case of an Italian railroad worker who was either thrown or fell from the upper story of a Milan police station while being questioned on suspicion of terrorism; and his one-man show "Mistero Buffo" ("Comic Mystery"), written in 21970 and frequently revised and updated in the decades that followed, taking wild comic aim at politics and especially religion.
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2009), Studio Buffo, director J. Józefowicz · POLISH EVENING (11.11.2009), Studio Buffo, director J. Józefowicz · BALKAN EVENING (23.11.2010), Studio Buffo, director J. Józefowicz · musical POLITA (4.12.
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2002), Studio Buffo, director J. Józefowicz · WIECZÓR ŻYDOWSKI (22.10.2002), Studio Buffo, director J. Józefowicz · WIECZÓR ROSYJSKI (26.04.2003), Studio Buffo, director J. Józefowicz · PANNA TUTLI PUTLI (17.05.
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2004), Studio Buffo, director J. Józefowicz · musical ROMEO AND JULIET (8.10.2004), COS Torwar, director J. Józefowicz · WIECZÓR WŁOSKI (18.02.2005), Studio Buffo, director J. Józefowicz · WIECZÓR FRANCUSKI (16.11.2005), Studio Buffo, director J. Józefowicz · ZEMSTA NIETOPERZA J. Strauss (18.12.
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2005), Opera Krakowska, director J. Józefowicz · ROMEO AND JULIET at Buffo (23.02.2006), Studio Buffo, director J. Józefowicz · URSUS 1976 – concert (25.06.2006), Pl. Konstytucji in Warsaw, director J. Józefowicz · CA IRA R. Waters (25.08.2006), Poznań, director J. Józefowicz · AMERICAN EVENING (22.09.2006), Studio Buffo, director J. Józefowicz · musical PROPHET (30.08.2007), Kupala Theater in Minsk, director J. Józefowicz · opera KRAKOWIACY I GÓRALE (27.10.2007), Opera Narodowa, director J. Józefowicz · LATINO EVENING (14.02.2008), Studio Buffo, director J. Józefowicz · BRITISH EVENING (25.01.2009), Studio Buffo, director J. Józefowicz · KARUZELA MARZEŃ (27.03.
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Buffo is later found killed, and Mark is the prime suspect.
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1998), Studio Buffo, director J. Józefowicz · CRAZY FOR YOU George Gershwin & Ken Ludwig (29.01.1999), Roma Theater, director W. Kępczyński · PRZEŻYJ TO SAM (17.04.1999), Studio Buffo, director J. Józefowicz · PETER PAN (27.02.2000), Roma Theater, director J. Józefowicz · 1000 x METRO (30.05.
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His son Jack Harrold was a buffo tenor with the New York City Opera.
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Salvatore Baccaloni (14 April 190031 December 1969) was an Italian operatic bass, buffo artist, and actor.
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Although the batrachian is of the genus bufo, he is by no means a buffo genius.
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Part of the first generation of recorded musicians, Pini-Corsi was one of the finest buffo singers of his era.
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Quick buffo comedy requires the clarity of the straight play, while sustained romantic anguish flourishes in atmospheric backlights and crosslight.
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2000), Dramatyczny Theater in Warsaw, director J. Józefowicz · NIEDZIELA NA GŁÓWNYM (18.03.2001), Polski Theater in Wrocław, director J. Józefowicz · NIEDZIELA NA GŁÓWNYM (29.04.2001), Studio Buffo, director J. Józefowicz · UKOCHANY KRAJ... czyli PRL w piosence (19.02.2002), Studio Buffo, director J. Józefowicz · WITCHES OF EASTWICK (13.03.2003), Kinoaktora Theater in Moscow, director J. Józefowicz · WIECZÓR CYGAŃSKI (16.10.
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Paolo Bordogna (born 1972 in Melzo) is an Italian operatic baritone and bass. He is particularly associated with buffo (comic) roles.
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The tenor voice type is generally divided into the leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or .
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As Don Magnifico in Rossini's La Cenerentola, 1981 Paolo Montarsolo (16 March 1925 – 31 August 2006) was an Italian operatic bass particularly associated with buffo roles.
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A Tenor buffo or spieltenor is a tenor with good acting ability, and the ability to create distinct voices for his characters. This voice specializes in smaller comic roles. The range of the tenor buffo is from the C one octave below middle C (C3) to the C one octave above middle C (C5). The tessitura of these parts ranges from lower than other tenor roles to very high and broad.
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Sesto Bruscantini Sesto Bruscantini (10 December 1919 – 4 May 2003) was an Italian baritone, one of the greatest buffo singers of the post-war era, especially renowned in Mozart and Rossini.
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He always smelled like mint, so when someone was killed by him, they say that he "smelled the mint". Misha found him after the war was over, but Buffo just shuffled away.
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A fine actor with a good sense of comic timing, he also excelled in the basso buffo repertoire. His voice is preserved on numerous opera recordings made with the Supraphon record label.
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Born in Rome, Galli was a marginal buffo tenor, appearing in Naples, Bologna, Parma, and Turin, primarily in the works of Nasolini, Generali, and Zingarelli. It is said that following an illness in 1810, his voice changed markedly into that of bass, but this may have been a cover story for his technical transition into the bass repertoire upon the advice of the composer Giovanni Paisiello or singer Luigi Marchesi. Galli's younger brother Vincenzo was also an opera singer noted for his performances in basso buffo roles.
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Dargiewicz, E: History of Theatre, Etc Media, 2008 Performed at Studio Buffo; to children from schools across Poland, learning English as a second language. The company were made honorary members of The English Speaking Theatre Company of Poland.
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Andrea Bellini was an Italian operatic bass who had an active career performing in Italy's major opera houses from the 1840s through the 1870s. He specialized in the buffo repertoire and was most often heard in comprimario roles.
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Within the bass voice type category are seven generally recognized subcategories: basso cantante (singing bass), hoher bass (high bass), jugendlicher bass (juvenile bass), basso buffo ("funny" bass), Schwerer Spielbass (dramatic bass), lyric bass, and dramatic basso profondo (low bass).
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Works and at Bach Digital website. Some of the secular cantatas had a plot carried by mythological figures of Greek antiquity (e.g. Der Streit zwischen Phoebus und Pan),Work at Bach Digital website. others were almost miniature buffo operas (e.g.
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She then quit sports for a musical career. She started her musical career in 1998 as a teenager, at the Buffo Theater in Warsaw. Simultaneously, she took singing lessons from Elżbieta Zapendowska, one of the most famous singing coaches in Poland.
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He sees the ensembles as anticipating Tannhäuser and Lohengrin but picks out "the delightful buffo duet for Gernot... and Drolla", saying it looks forward more to Das Liebesverbot "except that it surpasses in unassuming tunefulness anything in the following score".
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Manfred Jungwirth: Die historische Funktion des Baß-Buffo in stimmtechnischer Beleuchtung, Innsbruck, phil. Diss. 9 Sept. 1950, 91 sheets. From 1949 to 1954 as well as 1958 to 1961 and then 1971 to 1982 he was a permanent guest at the Zurich Opera House.
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6 Ian Wallace as Bartolo, Glyndebourne, 1961 From 1948 to 1961, Wallace performed regularly at Glyndebourne Festival Opera, making his début as Samuele in Un ballo in maschera but soon specialising in basso buffo roles, notably Bartolo in both The Marriage of Figaro and The Barber of Seville."Obituary: Ian Wallace, bass-baritone, has died aged 90", The Gramophone, 19 October 2009, online version accessed 22 December 2009 By the early 1950s his comic skills were attracting unreserved praise.The Times, 26 August 1953, p. 4 He added the buffo role of Melitone in La forza del destino to his repertoire,The Times, 1 September 1955, p.
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2011), Bydgoszcz, Hala Łuczniczka, director J. Józefowicz · musical POLITA – the world's first performance in 3D (31.12.2011), Torwar, Warsaw, director J. Józefowicz · musical POLA NEGRI – (18.12.2013), Дворец Культуры имени Ленсовета, Sankt Petersburg, director J. Józefowicz · RUSSIAN EVENING 2 (26.02.2014), Studio Buffo, director J. Józefowicz · musical POLA NEGRI – (17.09.
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Kurt Equiluz (born 13 June 1929 in Vienna) is an Austrian classical tenor in opera and concert, known for recording works of Johann Sebastian Bach with Nikolaus Harnoncourt and Helmuth Rilling, a member of the Vienna State Opera as a tenor buffo from 1957 until 1983.
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Wieter, the first to play bass and bass-buffo in the opera Der Friedenstag (1938), Capriccio (1942) by Richard Strauss as well as Der Mond (1939) by Carl Orff in Munich. Wieter was also a sought-after concert singer. Wieter died in Munich at age 92.
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"Wallace, Ian", Grove Music Online (subscription required), accessed 22 December 2009 The critic of The Times thought Wallace overplayed the buffo element, both as the Sacristan and Bartolo, but praised his singing.The Times, 18 December 1946, p. 8; 9 January 1947, p. 6; and 17 April 1948, p.
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He made a successful debut in Il francese in Italia, (coached by the actor-tenor Filippo LaschiFilippo Laschi (1739-1789), see short biography in L. Macy, The Grove Book of Opera Singers, 2nd Edition (OUP 2008).), opposite the charming Signora Lortinella (called 'Ortabella'), and Andrea Morigi as primo buffo.
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Bassi was born in Naples to a musician family. Her brother Nicola, was a famous buffo bass; and another brother, Adolfo, who was a composer, operatic tenor and also an impresario of the Teatro Nuovo in Trieste.Composers Classical Music.com She retired in 1828, devoting herself to teaching opera singing.
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A Cuban actor, Francisco Covarrubias, was a prominent member of the troupe, and figured on its posters. He was a basso buffo, and an author of entremeses (one-act farces), zarzuelas and sainetes. As the vogue for Spanish-style theatre waned, Covarrubias led the way to genuinely Cuban theatrical formats.
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Michał Milowicz (born 16 September 1970) is a Polish singer and actor. He was working in three theatres since beginning of his career: Studio Buffo (1995–2001), Teatr Muzyczny Roma (2001–2003) and Teatr Muzyczny im. Danuty Baduszkowej in Gdynia (2003). His debut music album called Teraz Wiersz was released in June 2003.
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Spinelli, p. 111 Buffo is a flop working in the Ghetto. He is seen by Misha as the "worst flop" who "couldn't possibly be a Jew." His favorite way to kill people (He likes killing Children) is to kiss his club, then throw it away and smother his victims in his stomach.
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Atilla Manizade (1945 – 10 July 2016) was a Turkish Cypriot opera singer (bass). Manizade was praised as an artist of great versatility. He had an extensive repertoire of more than forty operas ranging from dramatic roles to buffo parts. Manizade was also distinguished member of the State Conservatory of Istanbul Technical University.
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The opera premiered on 26 December 1819 at La Scala. Giuseppe Fioravanti, a popular basso buffo of the day and the son of composer Valentino Fioravanti, sang in the premiere.Warrack & West 1992, pp. ? Carolina Bassi Manna, Italian contralto considered one of the best in her day, also created a role in this opera.
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The intermezzo has no title in the libretto, but musicologists often refer to it by the names of the two protagonists, Nibbio and Nerina. They were played by the tried and tested comic couple of the buffo bass Gioacchino Corrado, a real institution of this musical genre, and the soprano Celeste Resse.
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Jack Harrold (June 10, 1920 – July 22, 1994) was an American operatic tenor and voice teacher. Admired for his comedic skills, he specialized in the tenor buffo repertoire. He had a particularly long association with the New York City Opera from the 1940s through the 1980s. He also appeared in several Broadway musicals.
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Zeffirelli was a major director of opera productions from the 1950s in Italy and elsewhere in Europe as well as the United States. He began his career in the theatre as assistant to Luchino Visconti. Then he tried his hand at scenography. His first work as a director was buffo operas by Gioachino Rossini.
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As late as the 1920s, he was still singing roles in comic operas such as Don Pasquale and Il barbiere di Siviglia. His last public performance was in 1921, in Domenico Cimarosa's opera Le astuzie femminili, staged in Rome. Kašman also taught singing. His finest student was Salvatore Baccaloni, a celebrated Italian buffo bass.
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Macaronic text is still used by modern Italian authors, e.g. by Carlo Emilio Gadda and Beppe Fenoglio. Other examples are provided by the character Salvatore in Umberto Eco's The Name of the Rose, and the peasant hero of his Baudolino. Dario Fo's Mistero Buffo ("Comic Mystery Play") features grammelot sketches using language with macaronic elements.
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Andrew Lamb. "Lecocq, (Alexandre) Charles". Grove Music Online, Oxford University Press. Retrieved 20 September 2018 Humbert's company included several popular performers who had created roles in La fille de Madame Angot, among them the sopranos Pauline Luigini and Marie Blanche, the tenor Mario Widmer and the buffo baritone Alfred Jolly, all of whom featured in the new production.
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Metro was first staged on January 31, 1991 in . Choreographed and directed by Janusz Józefowicz, the musical was funded and initially produced by Wiktor Kubiak. In 1997, the musical moved to Studio Buffo theatre in Warsaw, where it is still running in simplified arrangement after more than 2,100 performances in total. According to estimates, it was watched by approx.
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Magdalena Ewa Tul (born 29 April 1980) is a Polish singer and composer. In 2000 she moved from Gdańsk to Warsaw where she started working as a singer and actress for Studio Buffo, a musical theater. She performed there as a lead singer in Metro. Three years later, she started working with another musical theater, Roma.
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He considered Lecocq inferior to Offenbach in invention and originality, but superior in musical technique.Hanslick, Eduard. "Serious and buffo opera in Vienna", The Musical World, 15 December 1877, p. 836 The Musical World praised the "dash and style" of the work, but thought the score less elevated in musical style than Fleur de thé and Les cent vierges.
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Secondly, dialogue was replaced by recitative. Thirdly, Lothario's Act 1 aria acquired an extra verse. Fourthly, Philine was given an extra aria, inserted after the Act 2 entr'acte. And finally, Frédéric was changed from a buffo tenor into a contralto, and was awarded his Act 2 Gavotte to appease the singer who was to perform the regendered role.
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Quéruel, pp. 109 ff. If the quality of his voice was universally admired, his lack of physical elegance, his short and stocky build and the southern accent he never completely managed to lose predisposed Lays to comic rather than dramatic roles, particularly middle-aged buffo characters, in which, "singing of love and good wine, he proved to be sublime".
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Categories of bass voices vary according to national style and classification system. Italians favour subdividing basses into the basso cantante (singing bass), basso buffo ("funny" bass), or the dramatic basso profondo (low bass). The American systemBoldrey, Richard (1994) Guide to Operatic Roles & Arias, Redmond: PST... Inc. identifies the bass-baritone, comic bass, lyric bass, and dramatic bass.
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Within the tenor voice type category are seven generally recognized subcategories: leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, Mozart tenor, and tenor buffo or spieltenor. There is considerable overlap between the various categories of role and of voice-type; some tenor singers have begun with lyric voices but have transformed with time into spinto or even dramatic tenors.
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However, when Ferdinand heard the plans and found out that Michele Mazzara, a famous Neapolitan basso buffo, was in town, he demanded that his hosts put on Don Checco instead: "Trovatore and Trovatore, I want to hear Don Checco. I want to have fun." The theatre duly organized the performance on a few hours notice."Acuto" (pseudonym of Federico Polidoro) (11 October 1885).
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Non Si Paga! Non Si Paga! or Il Fanfani rapito (although La Commune filmed them to have a permanent record of them). The Vatican still denounced Mistero buffo as "the most blasphemous show in the history of television". A new play for the TV series, Parliamo di donne (Let's Talk About Women), focused on topics such as abortion, sexism and the Holy Family.
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Vincenzo Galli (1798–1858) was an Italian opera singer and impresario. Considered an outstanding basso buffo singer, he created many roles on Italian stages, including in two of Donizetti's operas: Ivano in Otto mesi in due ore and Cesare Salzapariglia in Le convenienze ed inconvenienze teatrali. Luigi Ricci composed the role of Michelotto in his opera Chiara di Rosembergh specifically for Galli's voice.
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Enzo Dara (13 October 1938 – 25 August 2017) was an Italian basso buffo. Opera News described him as "one of the most famous Italian basses on the opera stage [known for] portraying a cluster of touchstone roles that highlighted his natural gifts for comedy, rapid-fire patter and bel canto technique." He is particularly admired for his performances in operas by Rossini.
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In 1994 he released his first book Anche il buffo nel suo piccolo, a collection of memories, anecdotes and observations. In the 1990s Enzo Dara's performances became less frequent, and he tried his hand at directing. He directed several productions, including Il maestro di cappella and Don Pasquale. In 1992 he was awarded the Donizetti Prize by the Donizetti Festival in Bergamo.
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Born in Vienna, Lohner initially trained as a commercial artist, while also taking private acting lessons. He made his acting début in 1952 at the municipal theatre in Baden bei Wien. He also appeared as operetta buffo at the Stadttheater Klagenfurt. From 1953 to 1963 he appeared in various productions of the Theater in der Josefstadt, as well as making numerous film appearances.
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By early 1829, he had taken on the epithet "The American Buffo Singer". Over three days in late July 1829, Dixon performed "Coal Black Rose" in blackface at the Bowery, Chatham Garden, and Park theatres in New York City. The Flash characterized his audience as "crowded galleries and scantily filled boxes";December 11, 1841, Flash. Quoted in Cockrell, Demons, 96.
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Emile Renan (28 June 1913 - 8 December 2001) was an American operatic bass- baritone and stage director who had a long association with the New York City Opera. He also performed as a guest artist with the other opera companies in North America throughout his career. He was particularly known for his portrayal of buffo roles and for his work in 20th century operas.
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However he chose to study under Gaetano Nava, who became his lifelong friend. Nava taught him buffo roles in Rossini's La Cenerentola, L'italiana in Algeri and Il Turco in Italia, and in Mercadante's operas, laying the basis of sound vocal technique as a baritone. He also taught him Italian speech. Santley studied duets from Bellini's Zaira and Rossini's Semiramide and The Siege of Corinth.
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Serafinowicz worked in many theaters in Poland and abroad. She directed plays in Romania (Tigrisorul, 1970) and Czechoslovakia (Aj tak sejou mak…, 1973). She also designed the artistic setting for performances in Bulgaria (Misterium-buffo, 1968), Romania (Tigrisorul, 1970), Czechoslovakia (Janosik, 1975), FRG (Reineke Fuchs, 1980; Jim Kopf und der Lokomotiveführer, 1987; König Jemand, 1988; Jim Kopf und die Wilde 13, 1988) and Russia (Szewczyk Dratewka, 1996).
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By February 1836, Dixon was touring again. He played many well-attended shows in Boston that month and did a play at the Tremont Theatre. His recent forays into publishing had soured his image in the popular press, however, and The New York Times satirized his lower-class audience: > Tremont Teatre. At this classical establishment, Mr Dixon, "the American > Buffo singer," is at present the star.
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Giovanni Pacini c. 1835 (original etching by G. Gazzini) Giovanni Pacini (17 February 17966 December 1867) was an Italian composer, best known for his operas. Pacini was born in Catania, Sicily, the son of the buffo Luigi Pacini, who was to appear in the premieres of many of Giovanni's operas. The family was of Tuscan origin, living in Catania when the composer was born.
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The positive reception which de Begnis received is confirmed by the contemporary American critic Richard Grant White: :Among the artists of reputation who were known in the second quarter of this century, Giuseppe de Begnis was indisputably the great buffo of his time. He was a singer of the old Italian school, had been thoroughly trained in music from his childhood up, and would have been an accomplished artist even without his vocal gifts and his comic opera. With him, buffo-singing did not mean buffoonery, and he thought great scorn of those who descended to low tricks to promote laughter... By a mere look he sometimes produced an irresistibly comical effect; and although his voice was rich and smooth, its inflections conveyed ludicrous ideas with a delicacy and quickness which pierced his audiences with laughter. His principal operas were II Barbiere and Il fanatico per la musica.
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From 1912 to 1914, he was committed to the Raimund Theater in Vienna, and in 1914–1915 he was a member of the Halle Opera House. He spent the next two decades performing roles from the tenor buffo repertoire at the Berlin State Opera. In 1917, he created the lead tenor role of Hans in the premier of Jugend by Ignatz Waghalter at the Deutsche Opernhaus in Berlin.
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Scene from Mayr's Ginevra di Scozia De Begnis made his debut in Modena during the Carnival 1813 season as a primo buffo in Stefano Pavesi's Ser Marcantonio.Forbes, 1998, p. 377 He was greeted by generous applause and this proved to him that he was moving in the right direction. From there he went to Forli and Rimini, ending the first year of his professional career again in Modena.
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Lloyd studied singing at Morley College and later with Amy Martin and Herbert Oliver. He began his career as an actor at the Old Vic in his early 20s, excelling in the plays of William Shakespeare. During this time he also sang in the opera chorus. In 1923 he began to appear as a soloist with Lilian Baylis's opera company at the Old Vic; mostly in buffo roles.
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Special Agent Oso: Three Healthy Steps is a short series that airs in the United States during the Disney Junior programming block. It encourages children to use "three healthy steps" regarding eating, being healthy and exercising. This series combined both animated characters and real life actors. The animated characters that are featured in the short series are Special Agent Oso, Paw Pilot, Special Agent Wolfie, Special Agent Dotty and Professor Buffo.
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The first season of Special Agent Oso premiered in the United States and United Kingdom on April 4, 2009, and aired through April 17, 2010; the second and final season premiered on July 10, 2010 and the series finale aired May 17, 2012. In season 2, new characters were introduced, Professer Buffo & Special Agent Musa. The show has a crossover with Handy Manny called "The Manny with the Golden Bear".
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Großes Sängerlexikon, Erganzungsband (I). Francke A skilled comic actor, he performed leading basso buffo roles in many Italian opera houses as well as in Lisbon, London, Madrid and New York. Rosich created the roles of Taddeo in Gioachino Rossini's L'italiana in Algeri and Buralicchio in Rossini's L'equivoco stravagante and also wrote the librettos for two operas by Manuel García: L'amante astuto and La figlia dell' aria.Cranmer, David (1991).
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Melchiorre Luise (December 21, 1896 – November 22, 1967) was a leading exponent of the operatic basso buffo repertoire. In 1925, he made his debut as a baritone, but soon embarked on the classic roles of the basso buffo. He was seen at the Teatro alla Scala from 1938, and debuted at the Metropolitan Opera in 1947, where he sang until 1950. At the Met, Luise appeared as the Innkeeper in Manon (opposite Licia Albanese, then Bidu Sayão and Eleanor Steber), the Sacristan in Tosca (in Dino Yannopoulos's production), as the Bonze in Madama Butterfly (with Dorothy Kirsten), as Benoît and Alcindoro in La bohème (with Jan Peerce, then Jussi Björling), as Dr Bartolo in Il barbiere di Siviglia (opposite Robert Merrill), as Maestro Spinelloccio in Gianni Schicchi (with Italo Tajo, later Salvatore Baccaloni, Nadine Conner, and Giuseppe di Stefano), and as Geronte de Revoir in Manon Lescaut (with Stella Roman, Richard Tucker, and Frank Valentino).
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Pietro Antonio Auletta (1698–1771) was an Italian composer known mainly for his operas. His opera buffa Orazio gained popularity after being mis- attributed to Pergolesi as Il maestro de musica.Theatre in Dublin, 1745–1820: A Calendar of Performances 1611461103 John C. Greene (2011) Opera [1]:1 14, says that this piece is 'no doubt' Pietro Auletta's opera buffo, Orazio, first presented under the title of Il Maestro de Musica at Paris in 1752 ...
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He has worked on autism as a researcher, clinical psychologist, therapist, and founder of a clinic for the autistic in Paris, France. He is also a theatrical clown (graduate of Ringling Bros) with the stage name Buffo, who is quite well known in France.Buffo, Buten & Howard, documentary 2009, Swissfilms, at artfilm.ch He got his start in acting at a very young age, re-enacting scenes from his favorite stories, along with his childhood friends/neighbors.
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Hansen began his career as an office clerk, but during his early life he also worked as a sailor, miner, lumberjack, and ambulance driver. Born with a deep and voluminous voice, he later began singing professionally, and in 1958 he became accepted into the Danish National Radio Choir. Two years later, in 1960, he joined the renowned Royal Danish Opera Chorus. For several years afterwards he was considered the Royal Danish Opera's primary basso buffo.
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Louisette Dussault (born June 12, 1940) is a Quebec actress and writer. She was born in Thetford Mines and studied at the National Theatre School of Canada. With Jean-Claude Germain, she founded Les Enfants de Chénier and took part in their show Grand Spectacle d'adieu. She performed in works by André Brassard and Michel Tremblay, including the first readings of Les Belles- Soeurs, ' and Tremblay's translations of Lysistrata and Dario Fo's Mistero Buffo.
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After the war she started performing in Teatr Mały in Warsaw alongside her husband, later also in Teatr Miniatura in Warsaw and Teatr Nowy. They moved next (1947–1949) to Polish Theatre in Szczecin, where Sawan would take the manager seat. The couple returned to Warsaw in 1949 and started working in Teatr Ludowy: Sawan again as the manager, while she started directing plays. She had spent 1951–53 in Buffo revue theatre.
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He voiced a character in Up and replaced Brad Garrett as the voice of Professor Buffo in Special Agent Oso. He also voiced Flip Wreck, Blast Zone and Bucko in the Skylanders reboot of the franchise and Cowardly Lion and Reegull in Lego Dimensions. Harnell also provided the voice and singing voice of antagonist Cedric the Sorcerer from Sofia the First from 2013–2018 He also voiced a male tourist in Norm of the North.
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The critic in The Musical World described him as "an excellent buffo" who contributed to the opera's success with the London audience. Galli died of a stroke in Milan a year later at the age of 60. According to Francesco Regli, he was a "handsome and jovial figure whose voice remained strong and in tune throughout his career." Galli's son Achille (1829–1905) was a composer and teacher of piano and voice.
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Il giovedì grasso is a farsa in one act by Gaetano Donizetti, from a libretto by Domenico Gilardoni. The literal translation of the title is "Fat Thursday", a reference to Carnival celebration. The libretto was adapted from the French comedies Monsieur de Pourceaugnac by Molière and Le nouveau Pourceaugnac by Charles-Gaspard Delestre-Poirson and Eugène Scribe. The opera uses spoken dialogue rather than recitatives, and the buffo role is given in the Neapolitan language.
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L'inganno felice (The Fortunate Deception) is an opera in one act by Gioachino Rossini with a libretto by Giuseppe Maria Foppa. Rossini called his opera a farsa, although as Richard Osborne explains: "Its designation as a farsa is misleading in the light of its semiseria status as a romantic melodrama with buffo elements." Osborne, R., 1992, p. ?? The work has much in common with French Revolutionary operas such as Cherubini's Les deux journées.
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By the sea shore near Naples The poet Prosdocimo (baritone) is searching for a plot for a drama buffo. He meets a band of Gypsies, including the beautiful but unhappy Zaida (mezzo-soprano) and her confidant Albazar (tenor). Perhaps the Gypsies can provide some ideas? Prosdocimo's friend, the obstinate and sometimes foolish Geronio (bass), is looking for a fortune teller to advise him on his marital problems, but the Gypsies tease him.
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Ian Bryce Wallace OBE (10 July 191912 October 2009) was an English bass- baritone opera and concert singer, actor and broadcaster of Scottish extraction. His family intended him for a career in the law, but he was attracted to the stage. Originally an actor in non-musical plays, he was persuaded to try opera and made an immediate success. He played a range of buffo parts in operas, at Glyndebourne and internationally.
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Portrait of Luigi Zamboni by Giovanni Antonio Sasso Luigi Zamboni (1767 - 28 February 1837) was an Italian operatic buffo bass-baritone. He was born in Bologna, where he began his singing career in 1791 in a production of Cimarosa's Il fanatico burlato. Engagements followed in Naples, Parma, Venice and Rome, where he sang in operas by Valentino Fioravanti, Paisiello and others. He retired from the stage in 1825 and died in Florence.
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Romani virtuoso like Bela Babai,Gypsy Love, Bela Babai, "King of the Gypsy Violin", and his orchestra. Columbia Records CL636 Lajos Veres, the many members of the Lakatos family and others became famous. Nowadays the names of Roby Lakatos, Buffo Sandor and Sandor Jaroka still are household names for the Western connoisseurs of this type of music. The Western public regarded this genre as a counterpart to the other Romani-related music: Gypsy jazz.
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He was born c. 1745 in Livorno and began his early career there around 1768.Link (2004, vii) The start of Benucci's career took place in an already flourishing world of opera buffa, which provided an existing role type, the comic bass singer or buffo, at which Benucci came to excel. The historical background is described by Rice: :In one of his earliest appearances (Livorno 1768) Benucci sang Tritemio in Il filosofo di campagna.
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The daughter of Jean Pintal and Anne- Marie Bélanger, she was born in Plessisville and studied at the and the Conservatoire d'art dramatique de Montréal. She debuted with the Théâtre du Nouveau Monde in 1973 in Mistero Buffo. In the same year, she was a co-founder of the Théâtre de La Rallonge. Pintal directed a number of works for the Théâtre du Nouveau Monde as well as for the , the Théâtre de Quat'Sous and for the .
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The State of Mind Report is the sixth studio album by Polish thrash metal band Acid Drinkers. It was released on April 22, 1996 in Poland through Polton and Warner Music Poland. The album was recorded from January 22 to February 9, 1996 at Deo Recordings Studio in Wisła, and was mixed at Buffo Studio in Warsaw. The cover art was created by Litza, Ewa Ludmiła Fedan, Zygmunt Tomala, Paweł Nowicki and fotos by Piotr Stańczak.
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This ban was lifted only after papal intervention on his behalf. He was particularly renowned for his performances in operas by Giuseppe Verdi and Richard Wagner. Towards the end of his stage career however, as the quality of his voice began to deteriorate due to age, he switched to the buffo repertoire of Rossini, Donizetti and other composers of comic operas. In 1903, he made a number of recordings in Milan for the British Gramophone & Typewriter Company.
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Conrad Veidt stars as Erik the Great, a sinister stage magician who falls in love with a woman half his age, Julie, played by Mary Philbin. A young thief, Mark Royce (played by Fred MacKaye) is caught stealing from Erik's apartment and is taken in at Julie's suggestion. Secretly she falls in love with the new apprentice. However, Erik's other apprentice, Buffo (played by Leslie Fenton) becomes aware of Julie's love for Mark, and driven by jealousy tells Erik.
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Dramma giocoso (Italian, literally: drama with jokes; plural: drammi giocosi) is a genre of opera common in the mid-18th century. The term is a contraction of dramma giocoso per musica and describes the opera's libretto (text). The genre developed in the Neapolitan opera tradition, mainly through the work of the playwright Carlo Goldoni in Venice. A dramma giocoso characteristically used a grand buffo (comic or farce) scene as a dramatic climax at the end of an act.
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In 1841 both he and his wife were engaged at the opera house in Frankfurt am Main. He continued to perform there through 1848 as Joseph Nork, mostly in buffo and comprimario roles. In 1846 his wife died at the age of 30. Their son, Albin Swoboda, Sr. (1836–1901) would later become one of the most famous opera singers in the "Golden Age" of Viennese operetta, and their other son Karl Swoboda was also an opera singer.
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Born in Paris the son of Jean- Claude Blondeau, violinist and composer, Blondeau was a pupil of Pierre Baillot. He won a mention at the Prix de Rome in 1807 and in 1808 was awarded the first Grand Prix of Rome in musical composition with his cantata Marie Stuart. He resided at the Villa Medicis in Rome from 1809 to 1811. He composed religious works, including a Te Deum in honour of Napoléon, cantatas, a buffo opera, orchestral works and chamber music.
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She competed in Poland's national final for the inaugural Junior Eurovision Song Contest 2003 with the song "Sen" placed 2nd. In 2004, Marina played the lead role of Juliet in Studio Buffo Theatres adaptation of Romeo and Juliet directed by Janusz Józefowicz. In 2007, she took part in New Wave competition and came third. She was awarded $20 000 and was offered a record deal with Universal Music Germany, which she rejected as she did not agree to its terms.
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Born in Schleswig, Kruse first sang in a children's choir and completed an apprenticeship with a health insurance company. He began his singing career in the chorus at the theater in Hof, then at Stadttheater Bern and from 1966 to 1968 at Staatstheater Stuttgart. In 1968 he was engaged as a tenor for comic roles at the Theater Basel. His next contract was with the Staatsoper Hannover in 1970, where he celebrated his first great successes in buffo and character roles.
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She capitalized on her Parisian sojourn and found time to study with Pierre Garat honing buffo roles of Paisiello and Mozart. In 1822, she went to London, where she obtained brilliant successes at the King's Theatre, notably in Pietro l'Eremita (an oratorio version of Mose in Egitto) on 30 January 1822, Rossini's La donna del lago and the title role in his Matilde di Shabran. Other Rossini successes in London included Fiorilla in Il Turco in Italia and Amenaide in Tancredi.
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The part of Thoas was sung by basso buffo Stefano Mandini (Federico Pirani, Mandini, in Dizionario Biografico degli Italiani, Volume 68, 2007; accessibie online at Treccani.it). The German edition was revived in Berlin at the former Königliches Nationaltheater in the Gendarmenmarkt on 24 February 1795,Joseph Schlüters, A General History of Music, London, Bentley, 1865, p. 139 (note) [accessible for free online in books.google] while Da Ponte's translation was chosen for the London first performance at the King's Theatre on 7 April 1796.
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Thomas and Sally is about fifty minutes in length and is notable in that it is the first English comic opera to be sung throughout. The orchestration is also unusual for a lighter opera of this period, as Arne included clarinets in the score which were usually only used in tragic pieces. The nautical themes in the libretto led Arne to compose a sturdy score that includes a boisterous hunting song for the Squire. Sally's songs are written in an opera buffo style.
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In the early 1920s he joined the roster at La Scala where he began playing more buffo roles than leading roles. In 1921, he sang the role of doctor Cajus in Verdi's Falstaff at La Scala and in 1922 was Filipeto in the company's first production of Ermanno Wolf-Ferrari's I quatro rusteghi. In 1926 he created the role of Emperor Altoum in the original production of Puccini's Turandot at La Scala. In 1929 he went on tour with La Scala to Germany.
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Ferry Gruber (28 September 1926 – 23 July 2004) was an Austrian-German tenor in opera and operetta. A member of both the Bavarian State Opera and Staatstheater am Gärtnerplatz in Munich for half a century, he focused on roles of the buffo genre and operetta. He made recordings, appeared on radio and television, performed internationally at major opera houses and festivals, and worked also as an operetta director and a private voice teacher. He was a favourite with the audience, and received the title Kammersänger.
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I due Figaro, o sia Il soggetto di una commedia is an opera (melodramma buffo) in two acts by Saverio Mercadante to a libretto by Felice Romani based on Les deux Figaro by Honoré-Antoine Richaud Martelly. The opera was composed in 1826 but its production was delayed for some years due to censors' intervention. I due Figaro premiered on 26 January 1835 at the Teatro del Príncipe in Madrid. The manuscript of I due Figaro was discovered in 2009 in Madrid by an Italian musicologist.
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"The Times, 20 November 1957, p. 3 He was also admired for his Osmin in Mozart's Die Entführung aus dem Serail, in which he displayed both his buffo and his dramatic skills. He appeared in the 1953 film The Story of Gilbert and Sullivan, and in several Gilbert and Sullivan concerts at the Proms. Of the first of these, in 1955, The Times wrote, "So far as comedy was concerned, Mr Owen Brannigan won hands down in his magnificently done Sentry's Song (from Iolanthe).
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Helmut Pampuch (30 January 1940 – 20 March 2008) was a German opera singer. Pampuch, a native of Upper Silesia, was a member, from 1973 to 2005, of the Deutsche Oper am Rhein in Düsseldorf, where he sang numerous parts of the buffo tenor repertoire, for instance Dr. Blind in Die Fledermaus. His most famous role was that of Mime in Patrice Chéreau's production of Richard Wagner's Der Ring des Nibelungen 1976 at the Bayreuth Festival. He died in 2008, aged 68, after long illness.
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Wentworth also occasionally appeared in musicals on the American theatre circuit during the 1940s and 1950s. In 1946 Wentworth was invited to become a member of the New York City Opera by Laszlo Halasz. He remained committed to the company through 1959 where he mainly portrayed basso buffo and comprimario roles, although he occasionally got to appear in a leading part. While there he notably created roles in the world premieres of William Grant Still's Troubled Island (1949) and David Tamkin's The Dybbuk (1951).
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The libretto by Carl Friberth was adapted and translated from a French opéra comique by L. H. Dancourt, already set by Gluck in 1764 as the La rencontre imprévue. Rice J A. L'incontro improvviso. In: Haydn (Oxford Composer Companion) ed Wyn Jones D. Oxford, Oxford University Press, 2002. In keeping with Italian practice, Friberth constructed longer buffo finale texts at the end of Acts I and II. It is not known if any further performances followed the Eszterháza production, although a German translation was made for Bratislava.
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Title page of Romancer og Sange (published 1853) He was best known for his vocal works, which included numerous singspielen, Christmas carols, a setting of the Te Deum and of the Miserere, over 30 cantatas, and above all, lieder after poems by Matthias Claudius, Johann Heinrich Voss and Ludwig Heinrich Christoph Hölty. He also composed seven symphonies and numerous pieces for solo piano. A part of one of his works opens the ‘Cat's Duet’ or Duetto buffo di due gatti usually attributed to Rossini.
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The Duetto buffo di due gatti ("humorous duet for two cats") is a popular performance piece for two sopranos which is often performed as a concert encore. The "lyrics" consist entirely of the repeated word "miau" ("meow"). Sometimes it is also performed by a soprano and a tenor, or a soprano and a bass. While the piece is typically attributed to Gioachino Rossini, it was not actually written by him, but is instead a compilation written in 1825 that draws principally on his 1816 opera, Otello.
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He had his first big role in Fons Rademakers's Mira (1971). Since then, he has appeared in countless Flemish and Dutch films and TV productions. In the world of theater he gained his fame by acting at the International New Scene for the play Mistero Buffo by Dario Fo. To the larger audiences of television he became known through his role of Sil de strandjutter in 1976 in the equally named TV series. He starred in Academy Award winning movies including Karakter by Mike van Diem and Antonia and the Oscar-nominated social drama Daens.
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Don Checco was De Giosa's fifth opera. Almerindo Spadetta, a lawyer by training and prolific librettist by vocation, had also written the libretto for De Giosa's second opera Elvina, an opera semiseria which premiered in Naples in 1845. In Don Checco, as in most Neapolitan opere buffe of the period, the lead characters' spoken dialogue and arias were in Neapolitan dialect. The success or failure of the work often depended on the skill of the basso buffo singing the lead who would improvise many of his lines, sometimes addressing the audience directly.
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Upon being confirmed, she took Dolores as her confirmation name. As a teenager, Rosati attended a theatre club at the Warsaw Ochota Theatre, and trained dancing and acrobatics at the Warsaw Studio Buffo Theatre. She also studied at the Halina and Jan Machulski Private Acting School in Warsaw. In 2003, she started an acting degree at the National Film School in Łódź, but one and a half years into her studies, she decided to taka a gap year due to M jak miłość filming commitments, and never returned.
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His entry in the Allgemeine Deutsche Biographie quotes a contemporary source as saying that he was born in 1795, similarly in Bonn, while the Directory of German Biography gives his birth year as 1796 and his place of birth as Kassel. He was educated by Joseph Weigl in Vienna where he got his start as an opera singer in 1816. Also in 1816, he married (née Schüler), a talented soprano in her own right. Both were hired together in 1819 to play at the Theater an der Wien where Spitzeder excelled in buffo roles.
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Howard Buten as Buffo, 2008 Howard Buten (born 1950, Detroit, Michigan) is an American author living in France. He is also a psychologist, a clown, and a violin player. He is the author of five novels, the first of which, entitled When I Was Five I Killed Myself, was published in 1981 and turned into a film under its French title Quand j'avais cinq ans je m'ai tué in 1994. As a young man Howard Buten encountered a child with autism and this sparked a lifelong interest in the disorder.
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91–92 L'operaio conosce 300 parole, il padrone 1,000: per questo lui è il padrone (The Worker Knows 300 Words, the Boss Knows 1000, That's Why He's the Boss), Legami pure che tanto io spacco tutto lo stesso (Chain Me Up and I'll Still Smash Everything) and Mistero Buffo (Comical Mystery Play), also date from this time.Mitchell 1999, pp. 93–94 Though Fo himself had never been a Communist Party member, his open criticism of PCI methods and policies on the stage led to conflict with the Party.
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During her studies, she performed at the Theater Schools Festival in Łódź in the play Paradise Garden as a Woman, for which she received the Mikołaj Grabowski award. After graduation, she made her debut on the stage of the New Theater in Łódź with the title role in the play The Water Hen (Kurka Wodna), directed by Łukasz Kos. Since 2003, he has been working at the National Theater in Warsaw. Since then, she has collaborated with Buffo theaters in Warsaw, Carrousel Theater in Berlin and Teatro Tatro in Slovakia.
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Torvaldo e Dorliska is an operatic dramma semiserio in two acts by Gioachino Rossini to an Italian libretto by Cesare Sterbini, based on the novel/memoir ' (1787–1790) by the revolutionary Jean-Baptiste Louvet de Couvrai, whose work was the source of the Lodoïska libretto set by Luigi Cherubini (1791), and Lodoiska set by Stephen Storace (1794), and Simon Mayr (1796). Torvaldo e Dorliska is a rescue opera with an eventual happy ending. The inclusion of buffo roles is the reason for its designation as a 'semiserio' work, similar to Rossini's La gazza ladra.
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Santley saw him there as Raoul (Gli Ugonotti), in which he sang charmingly but lacked the fire and manliness for the role, as Arturo in I Puritani, which rivetted the attention completely, and in selection evenings, when he sang the trio 'Pappataci' from L'italiana in Algeri with Scheggi (buffo) and Ignazio Marini (bass), so popular it had to be repeated throughout the season. On 26 December 1855 he appeared at Teatro Regio di Parma in the first performance of Giovanna de Guzman, the first Italian version of Verdi's Les vêpres siciliennes.
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I like him particularly in the opera Il matrimonio segreto. He acts and sings the role of the Count in a masterly fashion. I wouldn't have believed that, in spite of being a comedian, he nonetheless still manages to portray Axur by Salieri in a rather serious manner.Quoted from Link (2004, viii) The modern scholar Christopher Raeburn describes Benucci thus: :He had a round, beautifully full voice, more bass than baritone; probably he was the finest artist for whom Mozart wrote, and as a buffo outshone his contemporaries as singer and actor.
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Monica Maimone (born 5 December 1945), is an Italian theater director and playwright. She started her career in theater in 1966; in 1968 she created the theatre group called Nuova Scena together with Dario Fo and Franca Rame, following the model of Erwin Piscator's "Volksbũhne". The most important production of Nuova Scena was Mistero Buffo by Dario Fo. She directed and produced theatrical events at Salone Pier Lombardo, Milan (now Teatro Franco Parenti), with Franco Parenti and Andrée Ruth Shammah. In 1977, she became the director of the theater.
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Reiss began his association with the Met touring throughout North America during October–December 1901. His first performance with the company was in Toronto on 12 October as Remendado in Bizet's Carmen. He made his first appearance at the company's house in New York City on December 23, 1901, as both the Shepherd and the Steersman in Wagner's Tristan und Isolde. This was the beginning of a long association with the Met for Reiss, who appeared with the company every year for the next eighteen years in mostly tenor buffo roles.
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The cast of Auber's light-hearted opera featured Bispham and Mme Amadi (as Lord and Lady Allcash) and Marie Engle (as Zerlina), as well as the bass Vittorio Arimondi and the buffo baritone Antonio Pini-Corsi (as brigands).D. Bispham, A Quaker Singer's Recollections (New York, 1920), 165-166. In 1897, he sang in a state concert at London's Buckingham Palace to mark Queen Victoria's Royal Jubilee.Bispham 1920, 265. At the Costanzi Theatre, Rome, on 22 November 1898, he created the role of Osaka in Mascagni's Iris,Scott 1977, 125; Rosenthal and Warrack 1977, 190 for date.
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Until the middle of the 1770s his opera buffa showed him to prefer the old-fashioned, pure da capo type of aria, in order to, as in his comic works, proceed to more freely shaped passages. He appeared to prefer longer passages such as finali, and he clearly had a preference for sentimental moments and phrases. Anfossi's music was fundamentally criticised as inadequately dramatic, and weak in characterisation. His buffo characters are generally not as original as those of some of his contemporaries, such as Cimarosa and Paisiello, while his seria music has a certain stereotypical nature.
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The first recorded instance of it in Europe was performed in 1832 or 1833 by Ching Lau Lauro in England, and known as sitting in the air upon nothing.Encyclopædia Britannica 1911: Conjuring Ching Lau Lauro was first to perform Aerial Suspension Illusion 1835. The same encyclopedia entry for conjuring can also be seen here In an early version, he appeared to be just touching his hand against some beads hung on a hollow bamboo pole, which in turn was set in a wooden stool. In reality the bamboo, his hand and loose Chinese or buffo costume concealed iron bars, connections and supports.
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De Giosa's Don Checco was Raffaele Casaccia, a veteran of Neapolitan opera houses famed for his comic interpretations. Two of the other key basso buffo roles, Bartolaccio and Succhiello (Don Checco's main antagonists), were taken by Giuseppe Fioravanti and his son Valentino. Like Casaccia, they were both staples on the roster of the Teatro Nuovo in Naples. Music historian Sebastian Werr has pointed out that the impoverished Don Checco, who initially obtains free room and board at the inn through deception but ultimately has his debts forgiven, can be seen as fulfilling a fantasy of the Teatro Nuovo's audiences.
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Paul Kuhn (12 September 1874, Silesia – 20 June 1966, New York City) was a German operatic tenor who specialized in the buffo repertoire. He studied singing in Breslau and performed at important opera houses and festivals in Germany and Austria like the Bavarian State Opera, the Bayreuth Festival, the Darmstadt Opera, and the Salzburg Festival. He notably portrayed the role of Mateo in the world premiere of Erich Wolfgang Korngold's Violanta at the National Theatre Munich in 1916. In 1917, he created the role of Bernardo Novagerio in the premiere of Hans Pfitzner's Palestrina at the Prinzregententheater.
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Pearsall's move abroad brought opportunities to develop his interests as a composer. Although it seems likely that he had some instruction, or at least received advice in composition from the Austrian violinist and composer Joseph Panny, he would still appear to be self-taught when he wrote most of his early attempts. There is little evidence to support a claim made by Hubert Hunt that his early works included the Duetto buffo di due gatti, published under the pseudonym G. Berthold and often attributed to Rossini. Though resident abroad, he kept in touch with his home city of Bristol.
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The play, initially staged on January 31, 1991 in , turned out to be a major success in Poland and is notable for a large number of young artists who started their career in its crew. Among those who rose to fame were: Edyta Górniak, Katarzyna Groniec, Robert Janowski, Michał Milowicz and Natasza Urbańska. In 1992 the musical opened on Broadway at the Minskoff Theatre, but soon closed due to unfavorable reviews. In 1997, the musical moved to Studio Buffo theatre in Warsaw, where it is still running in simplified arrangement after more than 2,100 performances in total.
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Georg Hann (January 30, 1897 - December 9, 1950)Nach anderen Angaben: 9–11 December 1950 was an Austrian operatic bass-baritone, particularly associated with the comic (singspiel) German repertory. Born in Vienna, he studied at the Music Academy there with Theodor Lierhammer. He joined the Munich State Opera in 1927, and remained with this theatre until his death. He also appeared regularly at the Vienna State Opera and the Salzburg Festival, quickly establishing himself as a leading buffo interpreter, notably in roles such as Leporello, Falstaff, Kecal, Ochs, La Roche (role he created in 1942), etc.
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Born in Wesel, Decken began his stage career in Rostock in 1892. He was a member of the opera in Elberfeld (now Wuppertal) from 1893 to 1896, then moved Hofbühne in Stuttgarter , where he made his debut as Beppo in Auber's Fra Diavolo. He was known for buffo parts, both for his singing as for acting with humour. His parts included Gomez in Kreutzer's Das Nachtlager in Granada, Georg in Lortzing's Der Waffenschmied and other parts in Lortzing operas, David in Wagner's Die Meistersinger von Nürnberg, Mime in his Der Ring des Nibelungen, and Eisenstein in Fledermaus by Johann Strauss.
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During the course of the game, the player will be attacked by Morty's robot henchmen (Buffo, Lectro, Pogo, Rollo, and Turbo), who take the forms of types of paintbrushes. When they appear they will either attempt to crash into the player or launch projectiles like marbles or pies at him. This will cause the player to lose either time (45 seconds) or film (one per crash). If the player uses his camera to take a picture of the robot before this happens, however, the robot will run away and the player will learn characteristics about that robot.
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Temple as Sancho in The Chieftain In addition to his theatre work, Temple sang in concerts, especially in the later part of his career. Of his recital at the Steinway Hall in 1903, The Times said, "It is unnecessary to say more than that the eminent artist showed how fully he understands the traditions of various schools, such as the German opera of the past ... French opéra-comique ... and the Italian buffo style."The Times, 11 July 1903, p. 14 At a later Steinway Hall recital he performed the then avant-garde Enoch Arden to Richard Strauss's music.
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"Ian Wallace: Bass baritone celebrated for his 'buffo' roles – and for his rendition of 'The Hippopotamus Song'", The Independent, 15 October 2009, accessed 22 December 2009 He first appeared on the professional stage in Glasgow, in Ashley Dukes's The Man With a Load of Mischief. He made his London stage début in 1945 at Sadler's Wells in James Bridie's play The Forrigan Reel, directed by Alastair Sim. He was doubtful of his suitability for an operatic career, but in 1946 friends persuaded him to audition for the conductor Alberto Erede, who engaged him for the first season of the New London Opera Company.
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From 1965 onwards he appeared regularly with Scottish Opera, for whom his roles included Leporello in Don Giovanni, Pistol in Falstaff to the Falstaff of Geraint Evans, and the Duke of Plaza Toro in The Gondoliers. Again in Scotland, he appeared at Ledlanet Nights in his one-man shows and other performances including Colas in Mozart's early singspiel Bastien und Bastienne; Schlendrian in Bach's Coffee Cantata; and Mr Somers in Gentleman's Island by Joseph Horovitz. Also in the 1960s, he sang the main Donizetti buffo roles, Don Pasquale (Welsh National Opera, 1967) and Dulcamara in L'elisir d'amore (Glyndebourne Touring Opera, 1968).
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He was born in Kingston upon Hull, Yorkshire, and by the 1850s was performing in music halls around the country. In 1856 he was billed as "the greatest Buffo Comic Singer in England". His songs included "Pop Goes the Weasel", "I’ve Joined the Teetotal Society", "That Blessed Baby", and "The Great Sensation Song", but his reputation rests on "The Perfect Cure".Richard Anthony Baker, British Music Hall: an illustrated history, Pen & Sword, 2014, , pp.15-16 The song was written by Frederick C. Perry, to a tune by Jonathan Blewitt which had previously been used for another song, "The Monkey and the Nuts".
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However, scholar William Ashbrook notes that much damage had been done to the score by the time it reached the United States: he complains of reduced orchestration, the score badly cut and re-arranged, and the buffo elements pulled out of proportion to disrupt "one of the most original aspects of Il Furioso – the way in which the comedy relates to and reinforces the serious plot."Ashbrook 1982, p. 77 Other performances took place in 1979: one in Washington, DC and the other in London in a concert performance presented by Pro Opera and the Donizetti Society on 25 November.
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In March 1996, Włodarczyk appeared in Janusz Józefowicz's play Tyle miłości at Studio Buffo theatre in Warsaw. She subsequently took part in the musical Metro, another play directed by Józefowicz, and the music video for the song "Reklama" by Polish singer K.A.S.A.. Her first big success came in 1997 when she appeared in Maciej Ślesicki's movie Sara alongside such stars of Polish cinema as Marek Perepeczko, Bogusław Linda and Cezary Pazura. Włodarczyk played the role of Agnieszka Cezary in a Polish comedy sitcom 13 posterunek. The first series ran from 1997 to 1998 and turned out to be a massive hit in Poland.
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Khosrow obliged and adopted what came to be his signature look: he shaved his head bald, grew a traditional "buffo" style mustache, added wrestling boots with the toe curled up (a nod to his ethnic background which, according to Khosrow, was an idea from Jimmy Snuka). He also introduced the Persian clubs, a sport in his native Iran, and challenged wrestlers to do as many swings as him. His Iranian gimmick received attention due to the events of the Iranian revolution. Taking the name The Great Hossein Arab, he won his first title, the Canadian Tag Team Championship, with partner the Texas Outlaw.
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Shore sang with Opera For All from 1977 to 1979."Shore, Andrew", World Who's Who. Retrieved 21 October 2014 In 1979 he joined Kent Opera, for whom over the next six years he played buffo roles such as Antonio the gardener in The Marriage of Figaro and Dr Bartolo in The Barber of Seville. For Opera North he has sung a wide range of roles, from comic (Don Pasquale, Don Jerome in the first British production of Roberto Gerhard's The Duenna, Falstaff and Gianni Schicchi) to serious (Mr Flint in Billy Budd, and the title roles in King Priam and Wozzeck).
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Palmo's Opera House, designed by John M. Trimble, opened on February 3, 1844 with a production of Bellini's I puritani with Euphrasia Borghese as Elvira, Emma Albertazzi as Henrietta, and Michael Rapetti conducting. This was soon followed by performances of Bellini's Beatrice di Tenda and the New York premiere of Donizetti's Belisario. In April 1844 the theater staged Rossini's The Barber of Seville with basso buffo Antonio Sanquirico making his professional stage debut as Dr Bartolo. The following month the opera house presented the operas La sonnambula and L'elisir d'amore for their first presentations in the original Italian language in New York City.
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The Royal Circus was opened on 4 November 1782 by the composer and song writer, Charles Dibdin (who coined the word "circus"),Mr Philip Astley’s Introduction to The First Circus in England (PeoplePlay UK) accessed 18 Mar 2007 aided by Charles Hughes, a well-known equestrian performer. The entertainments were at first performed by children with the goal of its being a nursery for young actors. Delphini, a celebrated buffo, became manager in 1788 and produced a spectacle including a real stag-hunt. Other animal acts followed, including the popular dog act Gelert and Victor, lecture pieces, pantomimes and local spectacles.
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Born and raised in Brooklyn, New York, Renan studied voice under Eleanor McLellan and John Daggett Howell in New York City. Early on in his career he became the first singer to sound a note on the NYCO stage, portraying Sacristan in the NYCO's inaugural opera production, Puccini's Tosca, on 21 February 1944. He went on to sing more than thirty-two more roles with the company over the next fifteen years, mostly in buffo parts. He sang in many twentieth century operas at the NYCO, including the world premieres of David Tamkin's The Dybbuk (as Meyer, 1951) and Robert Kurka's The Good Soldier Schweik (as the Army doctor, 1958).
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The performance was re-issued on CD by the RCA music label in 2010. In 1952 he was the tenor soloist for the United States premiere of Puccini's Messa di Gloria in Chicago. On 17 November 1951, Carelli made his debut at the Metropolitan Opera as Don Curzio in Wolfgang Amadeus Mozart's The Marriage of Figaro with Cesare Siepi in the title role, Nadine Conner as Susanna, John Brownlee as Count Almaviva, Victoria de los Angeles as Countess Almaviva, and Mildred Miller as Cherubino. He spent the next 23 years at the Met appearing in a variety of parts from supporting tenor buffo roles to leading roles.
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Jørgen Bentzon Jørgen Liebenberg Bentzon (14 February 1897 - 9 July 1951) was a Danish composer, cousin of Danish composer Niels Viggo Bentzon and flautist Johan Bentzon. He was a student of Carl Nielsen from 1915 until 1919. His works include six works entitled Racconto, the first for flute, alto saxophone, bassoon and double bass, the second for flute and string trio, the third of which is for woodwind trio, etc.; a Sinfonia Buffo Op. 35 and two symphonies (the first, Op. 37, inspired by Charles Dickens); a piano concerto (recorded on private tape); "Three expressive sketches" for violin and cello; a string quartet; an opera Saturnalia; and other works.
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All shows directed by him and performed on the Buffo stage became the significant events and were warmly welcomed by the audience. Józefowicz personally takes part (singing and dancing) in his shows, always making unforgettable creations. Janusz Józefowicz developed fundamentals of musical team, in which sang i.a.: Katarzyna Groniec, Anna Frankowska, Barbara Melzer, Beata Wyrąbkiewicz, Anna Mamczur, Edyta Górniak, Robert Janowski, Mariusz Czajka, Michał Milowicz, Dariusz Kordek, Olaf Lubaszenko, Bogusław Linda and others. Janusz Józefowicz has also made the choreography for nearly 50 musical shows (including more than twenty shows for the public Polish Television) that became the best- selling all around the country.
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De Luca is notable for creating two important Puccini roles: Sharpless in Madama Butterfly (La Scala, 1904) and the title role in Gianni Schicchi (Metropolitan Opera, 1918). He also created the Marquess in Massenet's Grisélidis, Michonnet in Cilea's Adriana Lecouvreur, Gleby in Giordano's Siberia (1903), and Sancho Panza in Massenet's Don Quichotte opposite Feodor Chaliapin. The illustrious conductor Arturo Toscanini is reputed to have once called De Luca "absolutely the best baritone I ever heard". Certainly, he was praised by critics and audiences alike in a wide range of operatic roles, ranging from buffo and bel canto parts through to the core Verdi and Puccini characters.
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In the first years after his return to England, Santley used often to sing buffo duets (for example 'Che l'antipatica vostra figura' from Ricci's Chiara di Rosemberg) with Giorgio Ronconi and Giovanni Belletti, at parties held by the influential critic H. F. Chorley. In 1859 he made his debut at Covent Garden as Hoel in Meyerbeer's opera Dinorah.C. Santley, 'The Art of Singing and Vocal Declamation' (Macmillan and Co., London 1908), pp. 15-17. In the same season he sang in the English Il trovatore (Di Luna), The Rose of Castille, Satanella, La sonnambula, and as Rhineberg in Wallace's Lurline, with William Harrison and Louisa Pyne.
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It was again performed in 2010 to mark the work's 400th anniversary. Magnificat has performed the first opera buffa featuring a basso buffo in the title role, Stradella's Il Trespolo tutore, and will perform the first opera written by a woman, Francesca Caccini's La Liberazione di Ruggiero in October 2009. It has also staged performances of Charpentier's rarely performed music for Jean- Baptiste Molière's comedy Le Malade Imaginaire. Notable among its opera productions have been its performances with the Carter Family Marionettes of the puppet opera La Grandmère amoureuse by Fuzelier and Dorneval from the ParisianThéâtre de la foire "theaters of the fair" tradition and Jacopo Melani’s Il Girello.
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In 1842 he forsook the stage for the concert-room, and was singing, with Anna Thillon and Josef Staudigl, in pieces written expressly for him by Albert Smith.Athenæum, 10 June 1843, p. 556 Parry afterwards accompanied Camillo Sivori, Franz Liszt, Sigismund Thalberg, and others in a concert tour through the United Kingdom, and his powers as a pianist and his originality as a buffo vocalist were widely recognised. In 1849 Albert Smith wrote an entertainment entitled Notes Vocal and Instrumental, which Parry produced on 25 June 1850 at the Store Street Music Hall, Bedford Square, London, and illustrated with large water-colour paintings executed by himself.
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Francesco Carattoli (1704 or 1705 – March 1772) was an Italian bass buffo, or singer of opera buffa. Carattoli was born in Rome, and began singing in the 1740s. He sang in a number of comic operas in various parts of Italy through the 1740s, 1750s, and early 1760s, by composers such as Gaetano Latilla, Baldassare Galuppi, Domenico Fischietti, and Niccolò Piccinni, both becoming prominent himself and helping to increase the popularity and prestige of opera buffa through his skillful performances. A number of the prominent comic opera bass roles of the 18th century were written for him, and his combination of voice and acting was much sought after.
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These terms, although not fully describing a singing voice, associate the singer's voice with the roles most suitable to the singer's vocal characteristics. Yet another sub-classification can be made according to acting skills or requirements, for example the basso buffo who often must be a specialist in patter as well as a comic actor. This is carried out in detail in the Fach system of German speaking countries, where historically opera and spoken drama were often put on by the same repertory company. A particular singer's voice may change drastically over his or her lifetime, rarely reaching vocal maturity until the third decade, and sometimes not until middle age.
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His portrayal of the villainous Alberich in Der Ring des Nibelungen was celebrated worldwide, and still is, through Sir Georg Solti's famous DECCA studio recording (1958–64), and Karl Böhm's 1967 recorded performance from Bayreuth, both of which have been mainstay recordings since first issued on vinyl. He sang at the Bayreuth Festival from 1952 to 1975, mainly Alberich, but also Klingsor from Parsifal, Kurwenal from Tristan und Isolde, Fritz Kothner from Die Meistersinger von Nürnberg, and occasionally Hans Sachs and Friedrich von Telramund. He sang Alberich at New York's Metropolitan Opera in 1972. In addition to his triumphs in Wagner, he also had great success in buffo roles.
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Kelly, ed. Thal 1972, 130–131. Paisiello's The Barber of Seville was presented with Nancy Storace: Kelly and Mandini alternated in the role of the Count.Kelly, ed. Thal 1972, 140. When Paisiello came to the court Kelly witnessed his meeting with Mozart. The poet Giovanni Battista Casti also arrived, and in 1784 with Paisiello produced a new opera Il re Teodoro in Venezia: in the cast including Mandini, Francesco Benucci, , Laschi, Storace and Viganoni, Kelly took the buffo role of Gaforio, which became his nickname thereafter.Kelly, ed. Thal 1972, 131–132. In each year the Italian company attended the Emperor to Luxembourg for three months.Kelly, ed.
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" TV Guide called it "a searing example of writer-director Billy Wilder at his most brilliantly misanthropic" and adds, "An uncompromising portrait of human nature at its worst, the film . . . stands as one of the great American films of the 1950s." Ed Gonzalez of Slant Magazine wrote that the film "... allowed Wilder to question the very nature of human interest stories and the twisted relationship between the American media and its public. More than 50 years after the film's release, when magazines compete to come up with the cattiest buzz terms and giddily celebrate the demise of celebrity relationships for buffo bucks, Ace in the Hole feels more relevant than ever.
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Kusche played roles in operettas, notably Zsupan in Der Zigeunerbaron by Johann Strauss, Ollendorff in Der Bettelstudent and Frank in Die Fledermaus by Johann Strauss. He worked for opera broadcasts by WDR in Cologne during the 1950s and 1960s as part of the ensemble working with the conductor Franz Marszalek. They recorded well- known operettas such as Schwarzwaldmädel, Gasparone and Gräfin Mariza, but also rarely played works such as Jabuka by Johann Strauss, and Paroli by Leo Fall. Kusche also appeared in contemporary opera, for example as an animal tamer in Alban Berg's Lulu and in buffo roles in Carl Orff's stage works, among others.
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Reiss at the stage entrance of the Metropolitan Opera, Albert Reiss also Albert Reiß (22 February 1870 – 19 June 1940) was a German operatic tenor who had a prolific career in Europe and the United States during the first third of the twentieth century. He spent much of his career performing at the Metropolitan Opera where he sang in more than 1,000 performances, including several premieres, between 1901–1919. Excelling in the tenor buffo repertoire, Reiss was particularly associated with the roles of David in Wagner's Die Meistersinger von Nürnberg and Mime in Der Ring des Nibelungen, two roles he sang in numerous houses internationally.
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During the show, the narrattore often sits on a chair without moving. There are no props or costumes, nor any lights beyond those necessary to let the audience see the narratore: sometimes the theatre itself is lit so that the narrattore can see the faces of the audience to address them directly. The genre generally said to have begun with Mistero Buffo (Comic Mystery) by Dario Fo in 1969, though Fo has traditionally used mime to physicalize the actions and the entire cast of characters when performing in this style. This influenced two generations of narrattori, notably Marco Paolini, Marco Baliani and Laura Curino; and later Ascanio Celestini, Davide Enia and Alessandro Ghebreigziabiher.
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Although Mistero Buffo reworked medieval stories, the teatro di narrazione has a particular focus on investigating the "dark holes" of Italian modern history. Corpo di stato by Baliani concerns the murder of Aldo Moro by the Red Brigades in 1978; Curino's Olivetti concerns Camillo and Adriano Olivetti, founders of the Olivetti business empire; Paolini's Il racconto del Vajont the tragedy of the Vajont Dam disaster; Enia's Maggio '43 the Allied bombing of Palermo during the Allied invasion of Sicily in World War II; Celestini's Radio Clandestina and Scemo di guerra the Nazi-Fascist occupation of Rome and its subsequent American liberation; and Ghebreigziabiher's Tramonto and Il dono della diversità racism and immigration problems in the society.
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Emery has also translated a number of works by Italian playwrights Dario Fo and Franca Rame. He was on-stage translator for Fo during his UK tour in 1982, and produced a book documenting the first UK performance of Franca Rame's play The Rape, published as Dario Fo and Franca Rame: Theatre Workshops at Riverside Studios 1982 through Red Notes. The book included transcriptions of theatre workshops held by Fo and Rame as well as two new translations. Emery translated three Fo plays published in the collection which followed his 1997 award of the Nobel Prize in Literature: Misterro Buffo, Accidental Death of an Anarchist, and One was Nude and One Wore Tails.
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Bruscantini was born in Civitanova Marche, Marche, Italy. After obtaining a law degree, he turned to vocal studies in Rome, with Luigi Ricci at the Accademia Nazionale di Santa Cecilia. He won a vocal contest organized by RAI in 1947 and made his debut at La Scala in Milan in 1949, as Geronimo in Cimarosa's Il matrimonio segreto. Bruscantini rapidly established himself in buffo roles in opera by Mozart and Rossini such as Le nozze di Figaro, Don Giovanni, Cosi fan tutte, Il turco in Italia, L'italiana in Algeri, Il barbiere di Siviglia, La Cenerentola but also in works by Donizetti such as L'elisir d'amore, La fille du régiment and Don Pasquale.
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Olin Downes, "STRAUSS OPERA HAS AMERICAN PREMIERE; Ariadne of Naxos is Admirably Given by Philadelphia Civic Company. ITS WIT IS DELIGHTFUL A Novel and Lively Work With a Buffo Thread Interwoven With the Heroic Element", The New York Times, November 2, 1928 However, the company mainly presented works from the standard opera repertory. In the autumn of 1928 the company began performing at the Academy of Music instead of the MOH. Their first performance at the Academy was Giuseppe Verdi's Aida on October 18, 1928 with Emily Roosevelt in the title role, Paul Althouse as Radamès, Julia Claussen as Amneris, Reinhold Schmidt as the King of Egypt, Nelson Eddy as Amonasro, and Smallens conducting.
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Riding Lights is a British independent theatre company which has toured shows nationally and internationally since 1977. Based at Friargate Theatre, York since 2000, the company has staged numerous original productions such as "Science Friction" and "Dick Turpin", that have toured nationally. Other recent tours have included Mistero Buffo (2005), The Winter's Tale (2006) and a co-production with York Theatre Royal, African Snow played at York and the Trafalgar Studios in London before touring across the country. The play was a contribution to the national commemorations of the 200th anniversary of the abolition of slavery in the UK and took as its theme the stories of John Newton and Olaudah Equiano.
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Grand Theatre in Warsaw. It is one of the largest theatres in Europe, featuring one of the biggest stages in the world. Thanks to numerous musical venues, including the Teatr Wielki, the Polish National Opera, the Chamber Opera, the National Philharmonic Hall and the National Theatre, as well as the Roma and Buffo music theatres and the Congress Hall in the Palace of Culture and Science, Warsaw hosts many events and festivals. Among the events worth particular attention are: the International Frédéric Chopin Piano Competition, the International Contemporary Music Festival Warsaw Autumn, the Jazz Jamboree, Warsaw Summer Jazz Days, the International Stanisław Moniuszko Vocal Competition, the Mozart Festival, and the Festival of Old Music.
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In fact the opera is no more English than Aida is Egyptian. Boito and Verdi between them transformed the fat knight into one of the archetypes of opera buffa."Heyworth, Peter. "Falstaff and the Verdi canon", The Observer, 14 May 1961, p. 26 Verdi himself, however, felt that the Falstaff of the opera is not a conventional Italian buffo character, but portrays Shakespeare's fuller, more ambiguous Falstaff of the Henry IV plays: "My Falstaff is not merely the hero of The Merry Wives of Windsor, who is simply a buffoon, and allows himself to be tricked by the women, but also the Falstaff of the two parts of Henry IV. Boito has written the libretto in accordance.
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The opera begins without any prelude; the opening chords of the Scarpia motif lead immediately to the agitated appearance of Angelotti and the enunciation of the "fugitive" motif. The sacristan's entry, accompanied by his sprightly buffo theme, lifts the mood, as does the generally light-hearted colloquy with Cavaradossi which follows after the latter's entrance. This leads to the first of the "Grand Tunes", Cavaradossi's "Recondita armonia" with its sustained high B flat, accompanied by the sacristan's grumbling counter-melody. The domination, in that aria, of themes which will be repeated in the love duet make it clear that though the painting may incorporate the Marchesa's features, Tosca is the ultimate inspiration of his work.
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He returned once more to the festival in 1998 to give the Tom Walsh Memorial Lecture. His subject was the tenore di grazia. In the mid-1980s Benelli moved to singing character and buffo tenor roles. These included Don Basilio in Le nozze di Figaro which he sang at Glyndebourne, the Salzburg Festival, the Maggio Musicale Fiorentino, and at the Metropolitan Opera for his house debut in 1986; Guillot de Morfontaine in Manon at La Scala and the Teatro Carlo Felice; Sendorf in The Makropulos Affair at the Teatro San Carlo; John Styx in Orphée aux enfers at the Teatro Regio di Torino, and Jack O'Brien in Rise and Fall of the City of Mahagonny at the Teatro Carlo Felice.
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Angelo Amorevoli is considered one of the greatest tenors in the first half of the 18th century's European operatic scene and the leader, together with Annibale Pio Fabri (and Francesco Borosini), of tenor revenge in the world of Baroque music drama. Before them, the tenor, which used to show marked baritonal characteristics, was employed in third leading parts, in buffo roles, often interpreting en travesti figures of old women. With the coming of the new tenor class led by Amorevoli, things changed: the vocal range and tessitura employed remained substantially baritonal, reaching the summit of B4 flat. The main change, however, was the unheard-of coloratura virtuosity the new tenor class proved themselves equal to, which enabled the tenors to achieve a real breakthrough, finally conquering leading roles in Baroque operas.
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The 21st- century editor and musicologist Francesco Luisi writes that although this description is not strictly accurate, the Galuppi–Goldoni operas were "a genuinely new beginning for musical theatre". In Luisi's view these works fundamentally changed the nature of opera by making the music part of the drama and not merely a decoration. Galuppi's contemporary Esteban de Arteaga wrote approvingly that the composer was able to "illumine the personalities of the characters and the situations in which they find themselves by selecting the most appropriate type of voice and style of singing". As well as his general contribution to the essentials of comic opera, establishing the music as at least as important as the words, Galuppi's (and Goldoni's) more specific legacy to comic opera was the large-scale buffo finale to end the acts.
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Born in Vienna, Gallos first studied law at the University of Vienna, and then voice at the Vienna Music Academy. He sang predominantly buffo roles and was often heard in important tenor secondary roles. In 1922, the first year in which operas were performed at the Salzburg Festival, he appeared in Mozart operas, as Pedrillo in Die Entführung aus dem Serail and Don Curzio in Le nozze di Figaro, both conducted by Franz Schalk. He appeared at the festival until 1950. He was involved in several new productions after the reconstruction of the Kleines Festspielhaus: in 1927 and 1936 as Jaquino in Beethoven's Fidelio, from 1936 to 1938 as Augustin Moser in Wagner's Die Meistersinger von Nürnberg and often as Valzacchi in Der Rosenkavalier by Richard Strauss, between 1929 and 1946.
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During the 1990s, a succession of civil union bills was regularly introduced and rejected in Parliament, bolstered by discussion in the European Parliament on equal rights for homosexuals on marriage and adoption. During the XIIIth parliamentary session, at least ten bills were presented (by Nichi Vendola, Luigi Manconi, Gloria Buffo, Ersilia Salvato, Graziano Cioni, Antonio Soda, Luciana Sbarbati, Antonio Lisi, Anna Maria De Luca, and Mauro Paissan). None of these ever made it to a discussion on the floor of the House, not least due to the explicit influence and strident opposition of the Catholic hierarchy which often spoke up on political issues with an ethical resonance. In September 2003, the European Parliament approved a new resolution on human rights against discrimination on the grounds of sexual orientation.
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Quoted in Cockrell 107. Harrington retaliated by accusing Dixon of stealing half of a ream of pink paper from the Boston Post—the Herald's main competitor. The Lowell Courier satirized the scene at Dixon's trial: > The first day of February will not hereafter be used in the almanacs as a > dead blank—a dull, monotonous nothing. ... It was on this veritable day in > the year of our Lord one thousand eight hundred and thirty seven, new style, > at ten minutes and twenty three seconds past three o'clock in the afternoon, > wind S.S.E., that George Washington Dixon, the American Melodist—the great > Buffo Singer—the immortal Zip Coon himself—was brought before the Police > Court, charged by his brother editor Henry F. Harrington (Esquire) with > stealing half a ream of letter-paper from the office of the Morning Post.
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The word bouffon comes from a Latin verb: , to puff (i.e., to fill the cheeks with air); the word "Buffo" was used in the Theatre of ancient Rome by those who appeared on the stage with their cheeks blown up; when they received blows that they would make a great noise causing the audience to laugh.p.780 Encyclopædia Britannica; or A Dictionary of Arts, Sciences, and Miscellaneous Literature, Volume 4 Archibald Constable and Company, 1823 The usage of the word bouffon comes from French and has entered English theatrical language through the work of Jacques Lecoq and his pedagogic inquiry into performance approaches of comedy, leading him to create dynamic classroom exercises that explored elements of burlesque, commedia dell'arte, farce, gallows humor, parody, satire, slapstick, etc. that collectively influenced the development of modern bouffon performance work.
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The work was written in March 1888 for a revue entitled Cent moins un staged at the house of the singer and patroness Madame Henriette Fuchs and was first performed at Fuch's house by Elisabeth Fuchs (her daughter) and Julien Tiersot (a music critic) in April 1888. The revue also had contributions from Jules Massenet, Léo Delibes, Ernest Guiraud, Victorin de Joncières, Théodore Dubois, Vincent d'Indy, Charles Lenepveu, André Messager, Gabriel Pierné and Paul Vidal. The piece was first published in Le Figaro musical in April 1893, along with the Couplets du capitaine des pompiers (in honour of Colonel Constant, the head of the fire brigade the night of the fire at the Opéra-Comique on 25 May 1887) by André Wormser. The music is in two verses in a buffo style, with yodeling in the refrain.
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While opera seria deals with gods and ancient heroes and only occasionally contained comic scenes, opera buffa involves the predominant use of comic scenes, characters, and plot lines in a contemporary setting. The traditional model for opera seria had three acts, dealt with serious subjects in mythical settings, as stated above, and used high voices (both sopranos and castrati) for principal characters, often even for monarchs. In contrast, the model that generally held for opera buffa was having two acts (as, for example, The Barber of Seville), presenting comic scenes and situations as earlier stated and using the lower male voices to the exclusion of the castrati.Warrack, John; West, Ewan (1992), The Oxford Dictionary of Opera, This led to the creation of the characteristic "basso buffo", a specialist in patter who was the center of most of the comic action.
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He made his first appearances at La Scala and the Maggio Musicale Fiorentino in 1948. In 1949, he took part in the creation of Goffredo Petrassi's Il cordovano at La Scala in Milan. Although he did not fully surrender the serious bass roles, he steadily moved into the buffo roles and found his career moving more swiftly upward. From 1950 to 1952, he sang annually at the Arena di Verona opera festival. In 1953 he made his first appearance at the Edinburgh Festival in the title role of Giuseppe Verdi's Falstaff. Corena's Metropolitan Opera debut took place as Leporello in Don Giovanni on February 6, 1954 with Cesare Siepi in the title role, Margaret Harshaw as Donna Anna, Cesare Valletti as Don Ottavio, Lucine Amara as Donna Elvira, Roberta Peters as Zerlina, and Max Rudolf conducting.
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Comedian Harmonists (from left: Robert Biberti, Erich Collin, Erwin Bootz, Roman Cycowski, Harry Frommermann, Asparuh "Ari" Leschnikoff) The Comedian Harmonists were an internationally famous, all-male German close harmony ensemble that performed between 1928 and 1934 as one of the most successful musical groups in Europe before World War II. The group consisted of Harry Frommermann (tenor buffo), Asparuh "Ari" Leschnikoff (first tenor), Erich Collin (second tenor), Roman Cycowski (baritone), Robert Biberti (bass), and Erwin Bootz (pianist). The hallmark of the Comedian Harmonists was its members' ability to blend their voices together so that the individual singers could appear and disappear back into the vocal texture. Its repertoire was wide, ranging from the folk and classical songs arranged by Frommermann to appealing and witty popular songs of the day by writers such as Peter Igelhoff, Werner Richard Heymann and Paul Abraham.
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In particular, Paisiello and his followers were opposed to the use of basso buffo, which is common in comic opera.The Barber of Seville at musicwithease.com The second performance, however, was successful. The original French play, Le Barbier de Séville, had a similar story: poorly received at first, only to become a favorite within a week. The opera was first performed in England on 10 March 1818 at the King's Theatre in London in Italian, soon followed on 13 October at the Covent Garden Theatre by an English version translated by John Fawcett and Daniel Terry. It was first performed in America on 3 May 1819 in English (probably the Covent Garden version) at the Park Theatre in New York.Loewenberg 1978, columns 643–646. It was given in French at the Théâtre d'Orléans in New Orleans on 4 March 1823,Kmen 1966, p. 97.
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Spinelli, p. 66 Eventually all Jewish people in Warsaw including Misha, Janina, and the gang of boys are moved into the ghetto. Janina's uncle Shepsel describes their new living conditions as if living in a "closet".Spinelli, p. 74 News goes out that Himmler, a prominent Nazi, is coming. One day, a parade of Jackboots passes, and Misha tries to catch the attention of the ugly, unresponsive man who he thinks is Himmler, but instead is knocked to the ground by Buffo, a man who enjoys killing Jewish children. Once Uri reassures Misha that the man he saw was in fact Himmler, Misha decides that he no longer wants to be a Jackboot.Spinelli, p. 117 Each night Misha steals by slipping through a hole in the wall that is “two bricks wide”.Spinelli, p. 92 His friend Janina wants to mimic him, so she begins following him on his stealing expeditions.
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Opera buffa (; "comic opera", plural: opere buffe) is a genre of opera. It was first used as an informal description of Italian comic operas variously classified by their authors as commedia in musica, commedia per musica, dramma bernesco, dramma comico, divertimento giocoso. Especially associated with developments in Naples in the first half of the 18th century, whence its popularity spread to Rome and northern Italy, buffa was at first characterized by everyday settings, local dialects, and simple vocal writing (the basso buffo is the associated voice type), the main requirement being clear diction and facility with patter. The New Grove Dictionary of Opera considers La Cilla (music by Michelangelo Faggioli, text by , 1706) and Luigi and Federico Ricci's Crispino e la comare (1850) to be the first and last appearances of the genre, although the term is still occasionally applied to newer work (for example Ernst Krenek's Zeitoper Schwergewicht).
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The importance of opera buffa diminished during the Romantic period. Here, the forms were freer and less extended than in the serious genre and the set numbers were linked by recitativo secco, the exception being Donizetti's Don Pasquale in 1843. With Rossini, a standard distribution of four characters is reached: a prima donna soubrette (soprano or mezzo); a light, amorous tenor; a basso cantante or baritone capable of lyrical, mostly ironical expression; and a basso buffo whose vocal skills, largely confined to clear articulation and the ability to "patter", must also extend to the baritone for the purposes of comic duets.Fisher, Burton D. The Barber of Seville (Opera Classics Library Series) The type of comedy could vary, and the range was great: from Rossini's The Barber of Seville in 1816 which was purely comedic, to Mozart's The Marriage of Figaro in 1786 which added drama and pathos.
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The work was mounted in 1990 by the Lyric Opera of Chicago's Lyric Opera Center for American Artists in 1990, a production which was recorded and released on the New World Records label. The production was conducted by Lee Schaenen and starred Kevin Anderson as The Director, Bruce Fowler as The Tennore Buffo, Andrew Schroeder as The Accompanist, Michael Wadsworth as The Basso Cantante, Philip Zawisza as The Stage Manager, Elizabeth Futral as The Coloratura, Susan Foster as The Prompter, Joslyn King as The Mezzo, Dianne Pritchett as The Wardrobe Mistress, Paula LoVerne as Madame Pace, Robert Orth as The Father, Gary Lehman as The Son, Elizabeth Byrne as The Stepdaughter, and Nancy Maultsby as The Mother. Another professional production was mounted in 2000 at the McCarter Theater in Princeton, New Jersey for the Opera Festival of New Jersey.Six Characters in Search of an Author at usopera.
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Montarsolo was born in Portici. After vocal studies in Naples and Milan, he made his debut at the Teatro San Carlo in 1949 and at La Scala in 1951, first singing small roles but quickly established himself in buffo roles in operas by Wolfgang Amadeus Mozart and Gioachino Rossini, and taking part in many revivals of 18th-century operas by composers such as Giovanni Battista Pergolesi, Luigi Cherubini, Domenico Cimarosa, Giovanni Paisiello, etc. In 1954, he began appearing outside Italy, notably in Vienna, Salzburg, Paris, London, Glyndebourne, and made his American debut in 1957 at the Dallas Opera, subsequently appearing at the San Francisco Opera, the Lyric Opera of Chicago and the Metropolitan Opera in New York. Besides the 18th- and 19th-century Italian repertoire, he also gained considerable acclaim in character roles such as Fra Melitone, Geronte, Gianni Schicchi, Baron Ochs, the Doctor in Wozzeck, as well as roles in many contemporary works by Rota, Tosatti, etc.
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Branningan circa 1960 Owen Brannigan OBE (10 March 19089 May 1973) was an English bass, known in opera for buffo roles and in concert for a wide range of solo parts in music ranging from Henry Purcell to Michael Tippett. He is best remembered for his roles in Mozart and Britten operas and for his recordings of roles in Britten, Offenbach and Gilbert and Sullivan operas, as well as recordings of English folk songs. Brannigan began as an amateur singer and attended music college part-time, while working as a joiner, until his quality was recognised and he was awarded a scholarship during World War II. Although he had an international opera career, he performed most frequently with English opera companies, particularly Sadler's Wells opera, and later at Glyndebourne and Covent Garden. Highlights of his broad repertory included creating three roles in Benjamin Britten's early operas, and two more in later Britten operas that were written specifically for him.
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Immediately after its launch in 2003, the English site was attacked by one or several hackers, who launched denial-of-service attacks, and another hacker who redirected visitors to a site featuring a Flag of the United States.Al Jazeera and the Net – free speech, but don't say that by John Lettice; The Register; 7 April 2003Al-Jazeera hacker pleads guilty BBC News; 13 June 2003 Both events were widely reported as Al Jazeera's website having been attacked by "hackers". by Dominic Timms; Guardian Unlimited; 26 March 2003 In November 2003, John William Racine II, also known as 'John Buffo', was sentenced to 1,000 hours of community service and a $1,500 U.S. fine for the online disruption. Racine posed as an Al Jazeera employee to get a password to the network's site, then redirected visitors to a page he created that showed an American flag shaped like a U.S. map and a patriotic motto, court documents said.
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This version was given in Italian with recitatives (instead of spoken dialogue). The role of Mignon, originally for mezzo-soprano, was sung by a soprano (Christina Nilsson), and the role of Frédéric, originally a tenor, was sung by a contralto (Zelia Trebelli-Bettini). A second verse was added to Lothario's aria in the first act ("Fugitif et tremblant" in the French version), and in the second act, a rondo-gavotte for Frédéric ("Me voici dans son boudoir") was devised using the music of the entr'acte preceding that act, to satisfy Mme Trebelli-Bettini, who was discomfited by having to take on a role originally written for buffo tenor. Apparently the coloratura soprano Elisa Volpini, who was to sing Philine, felt that her aria at the end of the second act ("Je suis Titania") was insufficient, and another florid aria ("Alerte, alerte, Philine!") was inserted after the second act entr'acte and before Laerte's 6/8 Allegretto ("Rien ne vaut").
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Born at Lodi,See Howard, P: Happy birthday, Gaetano Guadagni (Musical Times, September 2007, pp. 93-96) Guadagni joined the cappella of Sant'Antonio in Padua in 1746, but also made his public operatic debut at Venice that year, which did not meet with ecclesiastical approval: he was dismissed from his position in Padua by 1748, and soon after appeared in London as a member of Giovanni Francesco Crosa ("Dr Croza")'s buffo (comic) company. He does not appear to have had the typical rigorous training that most castrati undertook (see castrato), which may account for his being described by the music historian Charles Burney as a "wild and careless singer" on his arrival in England. He was rapidly taken up in theatrical and musical circles in the capital, and also acquired a reputation for his sexual activities, as did many castrati. This was reported by Horace Walpole in a letter to Horace Mann dated 23 March 1749: > Delaval, a wild young fellow, kept an Italian woman, called the Tedeschi.
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Sergei Slonimsky composed more than a hundred pieces: 5 operas, 2 ballets, 34 symphonies and works in all genres of chamber, vocal, choral, theatre and cinema music, including Pesn' Volnitsy (The Songs of Freedom, for mezzo- soprano, baritone and symphony orchestra based on Russian folk songs, 1962), A Voice from the Chorus, a cantata set to poems by Alexander Blok,Alfred Schnittke, Alexander Ivashkin - 2002 A Schnittke Reader - Page 90 0253109175 The polystylistic method employed in Slonimsky's oratorio Golos iz khora [A Voice from the Chorus] similarly lifts us philosophically out of the time of the story. In it the inspired and anxious reflections of Blok about the fate of the world are expressed by various means, from the choral episode in the spirit of the sixteenth century to serial and aleatoric devices from the twentieth century. Concerto-Buffo, Piano Concerto (Jewish Rhapsody), Cello Concerto, 24 preludes and fugues, etc. Mostly eclectic, he experimented with a folkloric style as well as with 12-tone techniques and new forms of notations.
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La zingara (The Gypsy Girl) is an opera semiseria in two acts by Gaetano Donizetti, set to a libretto by Andrea Leone Tottola after La petite bohémienne (The Little Gypsy) by Louis-Charles Caigniez, which was itself derived from a work of August von Kotzebue. It was Donizetti's first opera written for Naples, and the first performance of this "rescue opera" took place at the Teatro Nuovo on 12 May 1822. One critic reviewing the 2001 recording from the Festival della Valle d'Itria, the opera's first performance outside Italy, made the following observations: > Despite its moronic libretto, the opera was an enormous success at its > premiere in Naples in 1822, and even Bellini wrote nice things about the > second-act septetOsborne 1994, p. 146: He notes that this was an > "adumbration" of the famous sextet which appeared 13 years later in Lucia di > Lammermoor in which Donizetti mixes buffo and serious characters, as well as > Neapolitan dialect (there are no recitatives; numbers are separated by > spoken dialogue) with "pure" Italian, and the absurd plot is (sort of) held > together by the clever Argilla, who under the guise of telling fortunes > gains entry to people's feelings as well as to every area of the castle.
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