In which opera is the heroine a Druid priestess?
"well-informed popular European culture in the early 19th century: in 1817 Giovanni Pacini brought druids to the stage in Trieste with an opera to a libretto by Felice Romani about a druid priestess, ""La Sacerdotessa d'Irminsul"" (""The Priestess of Irminsul""). The most famous druidic opera, Vincenzo Bellini's ""Norma"" was a fiasco at La Scala, when it premiered the day after Christmas, 1831; but in 1833 it was a hit in London. For its libretto, Felice Romani reused some of the pseudo-druidical background of ""La Sacerdotessa"" to provide colour to a standard theatrical conflict of love and duty. The story was"
"Italian ""bel canto"" soprano, Mariella Devia, after a career of 40 years and one day after turning 65, successfully made her debut as Norma at the Teatro Comunale di Bologna. Oroveso leads the Druids in a procession in the forest to pray for victory against the invading Romans: (Oroveso and Druids: ""Ite sul colle, o Druidi"" / ""Go up on the hill, O Druids. Go and observe the skies and see when the new moon will show her silver crescent""). The Druids pray that Norma will come and have the courage to broker peace with the Romans: (Druids and Oroveso:"
"Lycoris is prepared to await the outcome of events, but Damon, Galathea and Alfirena are in despair, as the opera ends with another spectacular celebration in honour of Apollo. The second opera, ""Daphne"", begins as the wedding of Florindo and Daphne gets under way. Cupid, bent on more mischief, wounds Daphne with a special arrow, forged by the god Vulcan, that causes her to renounce all love. She abandons the wedding and announces that she will join the goddess Diana and become a huntress. This sparks a series of schemes and counter-schemes as both Apollo and Florindo continue to pursue"
"Baroque opera seria, ""Il Pastor Fido"" went unperformed for many years, but with the revival of interest in Baroque music and historically informed musical performance since the 1960s,""Il Pastor Fido"", like all Handel operas, receives performances at festivals and opera houses today. Among other performances, the work was performed as part of the London Handel Festival in 2012. Diana, virgin huntress goddess, has become displeased with Arcadia and has let it be known that only through the marriage of a couple descended from heavenly ancestors, one of whom will be ""a faithful shepherd"", will her wrath be appeased. The couple"
"Maria Stuarda Maria Stuarda (Mary Stuart) is a tragic opera (""tragedia lirica""), in two acts, by Gaetano Donizetti, to a libretto by Giuseppe Bardari, based on Andrea Maffei's translation of Friedrich Schiller's 1800 play ""Maria Stuart"". The opera is one of a number of operas by Donizetti which deal with the Tudor period in English history, including ""Anna Bolena"" (named for Henry VIII's second wife, Anne Boleyn), ""Roberto Devereux"" (named for a putative lover of Queen Elizabeth I of England) and ""Il castello di Kenilworth"". The lead female characters of the operas ""Anna Bolena"", ""Maria Stuarda"", and ""Roberto Devereux"" are"
"in Tauris."" There is no overture; the opera begins with a short passage evoking calm before turning into a depiction of a great storm at sea. Iphigenia, sister of Orestes, is the high priestess of Diana in the temple of Tauris, having been transported there magically by the goddess when her father Agamemnon attempted to offer her as a sacrifice. Iphigenia and her priestesses beg the gods to protect them from the storm (""Grands dieux! soyez nous secourables""). Although the storm dies down, Iphigenia remains troubled by a dream she has had, in which she envisioned her mother Clytaemnestra murdering"
"duet for Cesare and Cleopatra accompanied only by oboes and continuo. It is preceded by another duet for Cesare and Cleopatra and an orchestral march with obbligato trumpet (not in the autograph manuscript and not always performed). The most elaborate and ravishing orchestration occurs at the beginning of act 2 in Cleopatra's aria ""V'adoro, pupille"" sung in the guise of Lidia to seduce Cesare. On stage there is a tableau of the Temple of Virtue, below Mount Parnassus with a second orchestra or ""symphony"" of nine instruments played by the muses, with muted strings in the pit. The celestial instruments—oboes,"
"La Dori La Dori, overo Lo schiavo reggio (Doris, or The Royal Slave) is a tragi-comic opera in a prologue and three acts composed by Antonio Cesti to a libretto by Giovanni Filippo Apolloni. It was first performed in the court theatre at Innsbruck in 1657. The story is set in Babylon on the shores of the Euphrates and is a convoluted tale of mistaken identities—a female protagonist who disguised as a man eventually regains her lost lover, and a man disguised as a woman who causes another man to fall in love with him. In several respects it resembles"
"works contributed to such recognition. The opera opens in a convent at night, the protagonist, Susanna, lying in prayer in front of an altar. She is approached by a number of figures, the most prominent of whom is Sister Clementia, who states that Susanna is sick, and ‘scarcely live[s] on this earth any longer’. The dialogue is underpinned by a high pedal in the organ, and - in conjunction with conventionally extra-musical sounds such as that of belfry bells, - heightens one's sense of total immersion, and helps reinforce the ritualistic and religious themes. Susanna finds herself increasingly seduced and"
"and Aricie. ""The temple of Diane in Troezen"" The story concerns the Greek hero Theseus, King of Athens (Thésée in the opera), his wife Phèdre (Phaedra) and Thésée's son by another woman, Hippolyte (Hippolytus). Hippolyte is in love with a young woman, Aricie, but she is the daughter of Thesée's enemy, Pallas, and he has compelled her to take a vow of chastity to Diane. Before she does so, Hippolyte reveals his love for her and the goddess promises to protect the couple. This enrages Phèdre, who has been nursing an illicit desire for her stepson herself. News arrives that"
"who is to marry Donna Florida, while Eurilla is attracted to Don Calloandro, the son of Don Polibio, the mayor. Notes Sources La pastorella nobile La pastorella nobile (""The Noble Shepherdess"") is an ""commedia per musica"" in two acts by Pietro Alessandro Guglielmi. The Italian libretto was by Francesco Saverio Zini. ""La pastorella nobile"" was first performed at the Teatro del Fondo in Naples on 15 or 19 April 1788 with Irene Tomeoni, the creator of the title role of ""La bella pescatrice as the shepherdess Eurilla. It was one of Guglielmi's most successful opera. Productions followed in Italy and"
"Zaira (opera) Zaira is a ""tragedia lirica"", or tragic opera in two acts by Vincenzo Bellini set to a libretto by Felice Romani which was based on Voltaire's 1732 play, ""Zaïre"". The story takes place in the time of the Crusades and the opera's plot involves the heroine, Zaira, struggling between her Christian faith and her love for Orosmane, the Muslim Sultan of Jerusalem. It was Bellini's fifth opera, following quickly after his February 1829 composition and premiere of ""La straniera"" at La Scala. ""Zaira"" received its first performance at the ""Nuovo Teatro Ducale"" in Parma (now the Teatro Regio"
"prominent figure throughout the composition, at times adding to the action of the story and at other times, providing reflective commentary. The prologue is delivered by the poet Ovid as he sings the text: When the opera proper begins, the god Apollo slays the Python, a monster which has been terrifying the Greek island of Delos. Cupid and Venus are unimpressed by Apollo’s boasting and about his conquest and his feelings of being invincible. Because of this, they plot revenge on Apollo. Cupid shoots two arrows, the first of which makes Apollo fall in love with the nymph Daphne, daughter"
"se refusa"" in ""Platée"". The ballet corps included Marie-Anne Cupis de Camargo. The opera uses an orchestra with the following instrumentation: 2 flutes, 2 oboes, 2 bassoons, 2 musettes, 2 horns, 2 trumpets, timpani and other percussion, strings (with divided violas), harpsichord. An overture in the typical Lullian style precedes the allegorical prologue set in the Forest of Erymanthus where Diane (Diana) and L'Amour (Cupid) are arguing who will rule over the forest dwellers. The quarrel is settled by Jupiter who decrees that Love will reign over their hearts for one day every year. Diane vows to look after Hippolyte"
"princesse de Norvège"" (1767) and Gossec's ""Sabinus"" (1773), both of which were also played during the Comte d'Artois' wedding festivities. Although Marmontel described the opera as a ""ballet héroïque"", the musicologist Benoït Dratwicki writes that ""Céphale et Procris"" does not really fit the genre as conceived earlier in the 18th century. Rather, it is closer to ""tragédie lyrique"" and even contains elements which look forward to Romanticism. ""Scene: A forest""<br> Procris is a nymph who once followed the goddess Diana but she abandoned this way of life after falling in love with the hunter Cephalus. Aurora, goddess of the dawn,"
"opera was first published in 1763, but without recitative or librettos. A copy of the full score, which is partly in the composer’s hand, also survives and is in the collection of the library at the Royal College of Music. Most of the music displays a simple and lyrical nature with the exception of the music for Rosetta. Rosetta, a role written for Arne's lover Charlotte Brent, requires a gifted coloratura soprano, particularly for the aria ""The traveller benighted"" which has several challenging passages containing wide vocal leaps, fast runs, and trills. The heroine of the story, Rosetta, is fearful"
"virgin Briseide, slated for sacrifice to the monster, is saved from death and finds a lover to marry in the ""second tier"" of romantic involvements. Act I, scene 1 - Chorus, ""Rendi alle selve"" <br> Act I, scene 2 - Aria of Bellerofonte, ""Splende così talora"" <br> Act I, scene 3 - Aria of Argene, ""Giusti Dei, che ben vedete"" <br> Act I, scene 4 - Aria of Ariobate, ""La frode se adempio"" <br> Act I, scene 7 - Aria of Briseide, ""Non è la morte"" <br> Act I, scene 8 - Aria of Diomede, ""Prometti ognor la calma"" <br>"
"some superb passages"" and was performed 51 times over the next two years. It was played another 76 times between 1789 and 1795 and finally enjoyed a brief revival in 1815. The opera had 130 performances all told before it left the repertoire for good. The action takes place in the Holy Land during the First Crusade. Armide, Princess of Damascus and a sorceress, has fallen in love with the crusader Renaud. Armide uses her magic to make Renaud fall in love with her too. However, two of Renaud's fellow knights manage to find him and free him from the"
"actually began, but the most commonly cited moment is the second act duet ""Amour sacré de la patrie"". One contemporary account describes what happened in the theater during the duet: The opera is loosely based on the historical uprising of Masaniello against Spanish rule in Naples in 1647. The character of Fenella, the opera's eponymous heroine, was borrowed from Walter Scott's ""Peveril of the Peak"", which features a deaf and dumb dwarf of the same name. ""The square before a chapel"" We witness the wedding of Alfonso, son of the Viceroy of Naples, with the Spanish Princess Elvira. Alfonso, who"
"Maria Padilla Maria Padilla is a ""melodramma"", or opera, in three acts by Gaetano Donizetti. Gaetano Rossi and the composer wrote the Italian libretto after François Ancelot's play. It premiered on 26 December 1841 at La Scala, Milan. The plot is loosely based on the historical figure María de Padilla, the mistress of Pedro the Cruel, King of Castile. The American premiere took place in 1990 when the young Renée Fleming made her major debut with Opera Omaha. Among other performances, the opera was presented by the Buxton Festival in 2003 and by the Minnesota Opera in 2005. Maria tells"
"her womanly wiles to seduce Cesare and gain the throne of Egypt, and then becomes totally engaged in the love affair with Cesare. She has great arias of immense dramatic intensity ""Se pietà di me non senti"" (II, 8) and ""Piangerò la sorte mia"" (III, 3). Her sensual character is described magnificently in the aria ""V'adoro, pupille"", in which Cleopatra, in the guise of Lidia, appears to Cesare surrounded by the Muses of Parnassus (II, 2). This number calls for two orchestras: one is a small group to play behind the scene with strings with ""sordino"", oboe, tiorba, harp, bassoons"
"The Metropolitan Opera premiere took place on 12 April 2010, with Renée Fleming in the title role. ""Armida"" was performed at the Rossini Opera Festival in Pesaro in August 2014 in a new production by Luca Ronconi. Goffredo, commander of the Christian forces, comforts and rallies the Frankish soldiers, who are mourning the recent death of their leader. A noblewoman appears and introduces herself as the rightful ruler of Damascus. She claims that her throne has been usurped by her evil uncle Idraote and asks for help and protection. In fact she is the sorceress Armida and in league with"
"the libretto during the rehearsals, after complaints from the duchess that the piece was ""too dry""; as a result the early scene between Venus and Cupid, and Jupiter's blessing from heaven, were added. Preparations for the opera's performance were disrupted when, in March 1608, the leading soprano Caterina Martinelli died of smallpox. A replacement had to be found rapidly, and the title role fell to Virginia Andreidi, a renowned actress-singer who used the stage name ""La Florinda""; she reportedly learned the part in only six days. In his analysis of Monteverdi's theatrical works, Carter suggests that the lament may have"
"prays to Cupid to aid her (Air: """"Tendre Amour, prête-moi tes armes""""). The Crotoniates arrive under their leader Astole, who rejects the Sybarites' flowers and accuses them of effeminacy (""""Peuple efféminé, cœurs timides""""). However, when he sees Hersilide he begins to fall in love with her. Astole says he has come to teach the Sybarites to throw off their idleness and acquire a thirst for glory, but he is disturbed to find himself succumbing to Sybaris's charms. Eventually, he agrees to let the Sybarites live under their own laws and confesses the power of Cupid. The opera ends with the"
"old music was nothing but a shadow of this."" The opera uses an orchestra with the following instrumentation: 2 piccolos, 2 flutes, 2 oboes, 2 bassoons, 2 trumpets, timpani and other percussion, strings (with divided violas), harpsichord. ""Scene: Cupid's palace on Cythera.""<br> Cupid and the Graces sing and dance for Venus until Jealousy with her Troubles and Suspicions disrupts the celebrations. Venus orders her followers to bind Jealousy in chains, but freed from Troubles and Suspicions Cupid and his entourage fall asleep and Jealousy is needed to revive them. Venus then prepares to present the story of Dardanus. ""Scene: A"
"The Beauty Stone The Beauty Stone is an opera, billed as a ""romantic musical drama"" in three acts, composed by Arthur Sullivan to a libretto by Arthur Wing Pinero and J. Comyns Carr. The medieval Faustian story concerns an ugly, crippled girl, who dreams of being beautiful and meeting a handsome prince. The Devil offers her a magical stone that confers perfect beauty to anyone who wears it. The stone is passed from one character to another, but eventually the prince recognizes the girl's beautiful soul, the stone is discarded, and the disappointed Devil leaves the town. It premiered at"
"La diavolessa La diavolessa (""The She-devil"") is an opera (dramma giocoso) in 3 acts by Baldassare Galuppi. The Italian-language libretto was by Carlo Goldoni. It premiered in November 1755 at the Teatro San Samuele, Venice. Act 2 Finale has been indicated as ""the most notable section of the opera"", thanks to its capacity ""to evoke mysterious powers through musical imageries"", with ""orchestral accompaniment continuous and rhythmically assertive"". Arias have been judged ""lively and with charming melodic ideas"". Giannino and Dorina are in love, but she wants no longer marry Giannino because he is poor. (Duet: ""Ho risolto, voglio andar"" /"
"while Pollione begs that she stays silent. Norma then wonders to herself if she isn't in fact the guilty one, then reveals that it is she who is to be the victim: a high Priestess who has broken her vows, has become involved with the enemy, and has borne his children. (Aria, Norma to Pollione: ""Qual cor tradisti"" / ""May this awful moment now show you the heart you betrayed and lost""; Duet: Norma and Pollione; Ensemble, Norma, Oroveso, Pollione, Druids, Priests: each expresses his/her sorrow, anger, pleas to Norma, with Oroveso learning for the first time that Norma is"
"Egyptian princess Semiramide rules Assyria disguised as a man. Princess Tamiri prepares to choose a husband from three candidates, setting in motion a series of events that lead to Semiramide being reunited with her lover Scitalce, and the exposure of the villainy of his rival Sibari. Semiramide riconosciuta (Porpora) Semiramide riconosciuta (""Semiramis Recognized"") is an Italian opera with serious action, or ""dramma per musica"", by Nicola Porpora, set to a libretto by the renowned poet Metastasio with some textual changes, possibly by Domenico Lalli. The opera was written for some of the finest contemporary singers, and includes a technically demanding"
"vampires, soldiers and sailors. The orchestra consists of: The action takes place in a grotto near the isle of Cyprus, in the kingdom of the fairy Ulina. After the overture comes the chorus ""Eterna giovinezza allieta il nostro cor"". The plot is based on Ulina's love towards Brunello, who doesn't love her. At the end he defends the fairy from the soldiers, who try to hurt her, without being able to prevent her death, but just in time to declare his love. A complete edition of the opera is being prepared by Brazilian scholars. By 2016, four selected numbers have"
"d'opéra"""" (""an old debauchee disguised as an opera hero""). The overture was praised by Weber and Berlioz and has frequently been recorded. The complete opera was revived by the Italian radio company RAI in 1973 and on stage at La Scala in 1983 with Gianandrea Gavazzeni conducting. The young hetaira Corine is in love with the poet Anacréon, unaware that he shares the same feelings for her. As she prepares for Anacréon's fiftieth birthday celebrations, she prays to Cupid to bring her and the poet together in spite of the difference in age between them. There is a storm outside"
"in order to spare him the pain of hanging. Meanwhile, Serena Joy discovers Offred's affair with Fred. The ""Eyes of God"", the secret police, arrest Offred. Epilogue Professor Pieixoto reveals that no one knows what happened to Offred. The opera is written in a free tonal style, with clear influences from the operas of Alban Berg and from minimalism. The musical style is narrative rather than lyric, with nothing that could reasonably be described as an aria and only a few trios and quartets. There is however a beautiful and moving duet for the heroine and her double. Much of"
"the opera. Scene: ""The stage shows the temple of Jupiter"" The shepherds rejoice at the peace their land enjoys; there is only one thing missing to make their happiness complete (Chorus: """"Coulez jours de paix, coulez jours heureux""""). They bring their presents into the temple of Jupiter. A shepherd sings a musette celebrating the return of Spring and his love for Sylvie (Musette: """"Du printemps sur l'herbe fleurie""""). A shepherdess vows to remain faithful to her lover (Ariette: """"Non, non, une flamme volage""""). The sky darkens, lightning flashes and thunder rumbles; believing it is the wrath of Jupiter, the terrified"