"that is commonly played at Celtic Park prior to matches. Hail, Hail, the Gang's All Here Hail, Hail, the Gang's All Here is an American popular song first published in 1917. The lyrics were written by D. A. Esrom (pseudonym of Theodora Morse) to a tune originally written by Arthur Sullivan for the 1879 comic opera ""The Pirates of Penzance"". The tune occurs in Act II as part of ""With Cat-Like Tread"" and echoes the Anvil Chorus from Giuseppe Verdi's opera ""Il Trovatore"". ""(Original lyrics by W. S. Gilbert)"" It appears that the lyric ""Hail, hail, the gang's all here"""
"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"
"of Irene, ""Quell'empio cor istabile"" <br> Act 2, scene 9 - Aria of Tamerlano, ""Il caro e solo oggetto"" <br> Act 2, scene 10 - Aria of Idaspe, ""Fra il mar turbato, e nero"" <br> Act 2, scene 11 - Aria of Asteria, ""Nacqui in seno alla sventura"" <br> Act 2, scene 12 - Chorus, ""Lieti sposi, ah venga Imene"" <br> Act 2, scene 13 - Quartet for Tamerlano, Bajazette, Asteria, and Andronico, ""Smanio, veneggio e fremo"" <br> Act 3, scene 2 - Aria of Bajazette, ""Pria di salir"" <br> Act 3, scene 4 - Aria of Tamerlano, ""M'offende il"
"concert arias. The aria was originally sung by Mysliveček's friend and professional collaborator Luigi Marchesi in the role of Rinaldo. The tenor Valentin Adamberger, who would create the role of Belmonte in Mozart's opera ""Die Entführung aus dem Serail"" in Vienna in 1782, was also present as a cast member. (taken from the score in the Ajuda Palace in Lisbon,<br> the only complete score of the opera) Act I, scene 1 - Aria of Fenicia, ""Perche d'affano oppressa"" <br> Act I, scene 2 - Aria of Sidonia, ""Vuoi che turbi"" <br> Act I, scene 3 - Aria of Armida, ""So"
"""Vieni, odio implacabile"" <br> Act II, scene 5 - Chorus of furies Act II, scene 6 - Aria of Armida, ""Se il mio duolo, se il mio fato"" <br> Act II, scene 7 - Aria of Odio, ""Mi chiamerai ma in vano"" <br> Act II, scene 9 - Chorus with Lucinda, ""Ecco la calma"" <br> Act II, scene 9 - Cavatina of Lucinda, ""Qui senza stento"" <br> Act II, scene 9 - Duet for Lucinda and the Cavalier Danese, ""Qual v'a più bel piacer"" <br> Act II, scene 11 - Cavatina of Melissa, ""Perche veder deggio"" <br> Act II, scene"
"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,"
"Child's opera; it also became the source for the popular Tin Pan Alley song, """"One Meat Ball"""". The opera begins with a chorus sung to the tune of """"La dolce aurora"""" from Rossini's ""Mosè in Egitto"". The song of the Stranger in the second scene is adapted to the ""Serenade"" in ""The Barber of Seville""; the song of the Padrona in the fourth scene is set to the """"Non piu mesta"""" of ""La Cenerentola""; the duet in the fifth scene to """"La dove prende Amor recetto"""" of the ""Magic Flute""; the """"Cavatina"""" in the sixth scene to the """"Di pescator"""""
"the gypsy chorus of act 2, ballet music for opera rarely connecting with the themes of the work. Several other revisions focused on Azucena's music, including an extended version of the finale of act 4, to accommodate the role's singer Adelaide Borghi-Mamo. Some of these changes have even been used in modern performances in Italian. Rarely given in French, it was presented as part of the 1998 Festival della Valle d'Itria and in 2002 ""Le trouvère"" appeared as part of the Sarasota Opera's ""Verdi Cycle"" of all the composer's work. ""Scene 1: The guard room in the castle of Luna"
"""Second Academy"" which performed at the King's Theatre, Haymarket, quarrelled with Handel and established a rival company, the Opera of the Nobility, operating from a theatre in Lincoln's Inn Fields. This company had Porpora as composer and Senesino as principal singer, but had not been a success during its first season of 1733–34. Farinelli, Porpora's most famous pupil, joined the company and made it financially solvent. He first appeared in ""Artaserse"", a with music by his brother Riccardo and by Johann Adolph Hasse. He sang the memorable arias ""Per questo dolce amplesso"" (music by Hasse) and ""Son qual nave"" (music"
"Act 1, scene 13 - Aria of Irene, ""Tradito ed appresso"" <br> Act 1, scene 14 - Chorus, ""Già ti cede il mondo intero"" <br> Act 2, scene 15 - Duet of Tamerlano and Asteria, ""Di quel amabil ciglio"" Act 2, scene 2 - Aria of Bajazette, ""In mezzo alle tempeste"" <br> Act 2, scene 4 - Aria of Andronico, ""Se ti mirre se quest'alma"" <br> Act 2, scene 5 - Aria of Bajazette, ""Sazia il tuo fiero orgoglio"" <br> Act 2, scene 6 - Aria of Asteria, ""Cadrò, sì cada, io stessa"" <br> Act 2, scene 8 - Aria"
"an orchestral ensemble of flute, clarinet, harp, violin, viola, and cello. The Corridor (opera) The Corridor is a chamber opera composed by Harrison Birtwistle to an English language libretto by David Harsent. It premiered at the Aldeburgh Festival on 12 June 2009. The title refers to the corridor through which Orpheus and Eurydice passed as he was leading her from the underworld. Various aspects of the myth of Orpheus have been a recurring theme in Birtwistle's work, first explored in his three-act opera ""The Mask of Orpheus"" (1986) and later incorporated into his two-act opera ""The Second Mrs Kong"" (1994)."
"virtue. The overture leads directly to the opening 'shipwreck' sextet. Haydn's finales for Acts 1 and 2 aspire to the Mozartian ideal in their attention to details of textual structure, characterization, location and stage events, pointing to Haydn’s capable dramatic technique. Other highlights are the four-part aria with horns and timpani for the Count “A trionfar t’invita”, Rosina’s laments “Dove fuggo” and “Care spiagge”. Antal Dorati recorded the opera with the Lausanne Chamber Orchestra, and Jessye Norman, Helen Donath, Claes-Håkan Ahnsjö, and Domenico Trimarchi in 1976. There is also a recording of excerpts conducted by Miguel Hernandez-Silva, recorded in 2011;"
"son to discover the virtue of his fiancée. Aceste pronounces an oath of fidelity and loyalty to Venus, who then retires. It only remains for Ascanio to perpetuate the race of Aeneas and guide the city of Alba to prosperity. ""Act 1"" ""Act 2"" Ascanio in Alba Ascanio in Alba, K. 111, is a pastoral opera in two parts ("""") by Wolfgang Amadeus Mozart to an Italian libretto by Giuseppe Parini. It was commissioned by the Empress Maria Theresa for the wedding of her son, Archduke Ferdinand Karl, to Maria Beatrice d'Este on 15 October 1771. It was first performed"
"chords. This act begins by reestablishing the aura of romantic mystery which began Act 1. This is evoked by the use of high violins and wind chords together, similar to that of Stravinsky's ""The Rite of Spring"". The first movement is characterised by the constant change of tempo, while the second picks up influences from other musical styles in particular that of rhythmic impulse and swooning which characterised Ravel's work. The next movement features solid writing for a chorus of brass instruments, after which high violins are heard over a very low accompaniment. This section also features many solos for"
"(2 sopranos, mezzo-soprano, tenor, bariton, bass) and a mixed chorus (SATB). The orchestra consists of piccolo, flutes, oboes, clarinets (in B), bassoons; trumpets (in F), trombone (in F), bass trombone (ophicleide); harp; timpani, gran cassa, piatti; strings. The opera is divided in Italian manner into separate musical numbers: recitativos, arias, duets, quartets, choruses and intermezzi. La Croce d'oro La croce d’oro (Italian for ""The Golden Cross"") is an opera in 3 acts by Henrique Oswald to an Italian libretto. It was composed in 1872. No performances of it are registered. The work remains unpublished. ""The Golden Cross"" was the first"
"Act 2, although some of them such as the Marquis Attavanti and Queen Maria Carolina are alluded to in the opera. The gathering at the Farnese Palace in the presence of Queen Maria Carolina, Act 2 of the play, was eliminated completely. The setting of Act 2 and the events of Acts 3 and 4 in the play were then combined into the second act of the opera, which involved several significant changes. Unlike the play, Scarpia shows Tosca the Marquise Attavanti's fan in Act 1, where Puccini's librettists contrive to have her return to the church following the departure"
"Ascanio in Alba Ascanio in Alba, K. 111, is a pastoral opera in two parts ("""") by Wolfgang Amadeus Mozart to an Italian libretto by Giuseppe Parini. It was commissioned by the Empress Maria Theresa for the wedding of her son, Archduke Ferdinand Karl, to Maria Beatrice d'Este on 15 October 1771. It was first performed at the Teatro Regio Ducal in Milan on 17 October 1771. The opening scene introduces Venus and Ascanio, the son she had by Aeneas. (In most classical sources, Venus/Aphrodite is the mother of ""Aeneas"".) The goddess vaunts the charms of Alba and invites her"
"(the opera ""Artaserse""). In all, Mysliveček completed six more operas for the Teatro San Carlo before his death in 1781, which meant that more of his works were performed there during the 1770s than those of any other composer. This was quite a distinction, since the San Carlo was the most prestigious venue for the performance of Italian ""opera seria"" in the world. The cast of ""Romolo ed Ersilia"" included three distinguished singers: Gaspare Pacchierotti, Anna de Amicis-Buonsolazzi, and Giuseppe Tibaldi. Act I, scene 1 - Chorus, ""Sul Tarpeo propizie, e liete"" <br> Act I, scene 2 - Aria of"
"L'avaro (Anfossi) L'avaro (""The Miser""), is an opera (""dramma giocoso"") in three acts composed by Pasquale Anfossi. The libretto by Giovanni Bertati is based on Molière's 17th-century comedy ""The Miser"". Considered one of Anfossi's best operas, it premiered at the Teatro San Moisè in Venice in the autumn season of 1775 and was subsequently performed throughout Italy and in other European cities. Anfossi was a prolific composer. ""L'avaro"" was the 25th of his 70 or more operas and one of the three which he had composed for the 1775 season at Venice's Teatro San Moisè. His librettist Giovanni Bertati was"
"on the Operabase list of the most-performed operas worldwide in the five seasons between 2008 and 2013. There are a large number of recordings. It contains the popular tenor aria ""Una furtiva lagrima"", a ""romanza"" that has a considerable performance history in the concert hall. Donizetti insisted on a number of changes from the original Scribe libretto. The best known of these was the insertion of ""Una furtiva lagrima"" and the duet between Adina and Nemorino in the first act, ""Chiedi all'aura lusinghiera"". The melody to the duet ""Io son ricco e tu sei bella"" in act 2, scene 1"
"play, was set by Giacomo Cordella and premiered in 1814 at the Teatro de' Fiorentini, Naples. L'avaro (Anfossi) L'avaro (""The Miser""), is an opera (""dramma giocoso"") in three acts composed by Pasquale Anfossi. The libretto by Giovanni Bertati is based on Molière's 17th-century comedy ""The Miser"". Considered one of Anfossi's best operas, it premiered at the Teatro San Moisè in Venice in the autumn season of 1775 and was subsequently performed throughout Italy and in other European cities. Anfossi was a prolific composer. ""L'avaro"" was the 25th of his 70 or more operas and one of the three which he"
"doctor to save her, but it is too late. Fedora dies in Loris's arms. ""Amor ti vieta"" (""Love forbids you"") is the most famous aria from the opera and is often sung by tenors in recitals, especially as an encore piece. This short aria (approximately 1:51 minutes) is sung by Count Loris when he declares his love to Fedora in Act II. An immediate favourite with the audience, it was encored by Enrico Caruso on the opera's opening night. Caruso can be heard singing the aria, accompanied on the piano by Giordano himself, on Volume 1 of ""Enrico Caruso -"
"the second by a lone recorder, the last only by the continuo. The chorale is arranged as a chorale fantasia in the manner of Pachelbel; every line is first prepared in the lower voices, then the soprano sings the cantus firmus, while the other voices interpret the words, for example by fast movement on """" (joy). The closing chorus is, according to conductor John Eliot Gardiner, ""a sprightly choral dance that could have stepped straight out of a comic opera of the period"". Himmelskönig, sei willkommen, BWV 182 ' (King of Heaven, welcome), ', is a church cantata by Johann"
"was not large enough, his singers were not good enough, his chorus and orchestra were small and weak."" Even with this truncated version of the opera, many compromises and cuts were made, some during rehearsals, and some during the run. The new second act was the ""Chasse Royale et Orage"" (""Royal Hunt and Storm"") [no. 29], an elaborate pantomime ballet with nymphs, sylvans, and fauns and a chorus. Since the set change for this scene took nearly an hour, it was cut, despite the fact its staging had been greatly simplified with a painted waterfall, rather than one with real"
"interest today. The opera tells the story of Pharnaces II; according to the uses of the time there is no historical accuracy since the fate of Pharnaces is quite different from the one in history books. Farnace, King of Pontus, has been defeated, and to avoid their falling into the hands of the enemy, he commands his wife, Tamiri, to kill their son and then herself. Tamiri's mother, Berenice, hates Farnace and is in cahoots with Pompey, the Roman victor, to kill him. Selinda, Farnace's sister, is taken captive by the Roman Aquilius, who falls in love with her, as"
"work in a concert version with mezzo-soprano Sophia Steffan in the title role and Judith Raskin as Ginevra. Charles Cudworth has discussed the influence of French dance music in the opera. Winton Dean has noted that act 2 of the opera, in its original version, is the only act in a Handel opera which ends with accompanied recitative. The German-born Handel had brought Italian opera to London stages for the first time in 1711 with his opera ""Rinaldo"". An enormous success, ""Rinaldo"" created a craze in London for Italian opera seria, a form focused overwhelmingly on solo arias for the"
"II, scene 9 - Quartet of Ersilia, Romolo, Acronte, and Curzio, ""Deh, invitati serba"" [a non-Metastasian text] Act III, scene 1 - Aria of Ersilia, ""Sponde felici, addio"" [a non-Metastasian text] <br> Act III, scene 5 - Aria of Valeria, ""L'augellin dal visco uscito"" <br> Act III, scene 6 - Chorus, ""Serbate, o numi"" <br> Act III, scene 6 - Cavatina of Romolo, ""De' Numi clementi"" [a non-Mestastasian text] <br> Act III, scene 9 - Aria of Curzio, ""Ah, non più padre ti sono"" [a non-Metastasian text] <br> Act III, scene 9 - Chorus, ""Numi, che intenti siete"" The overture"
"virtute in ogni cor"" (Chorus). The music for the leading soprano, Ginevra, is ""outstanding"", according to Paul Henry Lang, moving from joy to despair and back again to happiness. Also of note is the ""exquisite"" duet for her with Ariodante, ""Prendi, prendi da questa mano"" and the beautiful pastoral music that concludes the first act. Among a series of remarkable arias for the title role, sung in the first performance by the castrato Carestini, are the mournful aria with bassoon obbligato ""Scherza infida"", ""one of Handel's greatest arias"" and the joyful ""Dopo notte"" with astonishing vocal acrobatics and huge range."
"is also the first example of accompanied recitative in all of Mozart's music. Apollo et Hyacinthus Apollo et Hyacinthus is an opera, K. 38, written in 1767 by Wolfgang Amadeus Mozart, who was 11 years old at the time. It is Mozart's first true opera (when one considers that ""Die Schuldigkeit des ersten Gebots"" is simply a sacred drama). It is in three acts. As is suggested by the name, the opera is based upon Greek mythology as told by Roman poet Ovid in his masterwork ""Metamorphoses"". Interpreting this work, Rufinus Widl wrote the libretto in Latin. After notable success"
"amongst other acclaimed opera companies/houses around the world and international music festivals. His extensive repertoire includes Figaro in ""Le nozze di Figaro"", Escamillo in ""Carmen"", Filippo II in ""Don Carlos"", Silva in ""Ernani"", Pimen in ""Boris Godunov"", Sarastro in ""Die Zauberflöte"", Oroveso in ""Norma"", Basilio in ""Il barbiere di Siviglia"", Daland in ""Der fliegende Holländer"", Banquo in ""Macbeth"", Don Giovanni, Masetto and Leporello in ""Don Giovanni"", Il Conte Walter in ""Luisa Miller"", Lodovico in ""Otello"", Padre Guardiano in ""La forza del destino"", Selim in ""Il turco in Italia"", Orest in ""Elektra"", Colline in ""La bohème"", Timur in ""Turandot"" , Mephistopheles"
"or used in subsequent performances of the opera. The premiere production included a ballet at the end of Act I, ""Un bassà turco"" (A Turkish Pasha), and one at the end of Act II, ""Pantomimo tra Pulcinella, Arlecchino e Coviello"" (Pantomime between Pulcinella, Harlequin and Coviello). The opera was also preceded by a festive dance while a cantata was sung in honor of King Ferdinand I (also composed by Mysliveček). The ballets were choreographed by their leading dancer, Gennaro Magri. The opera was revived in Siena in spring of 1767 and Prague in carnival of 1768. A notation on a"
"into the 1700s. Thus, the San Carlo was inaugurated on 4 November 1737, the king's name day, with the performance of the opera Domenico Sarro's ""Achille in Sciro"", which was based on the 1736 libretto by Metastasio which had been set to music that year by Antonio Caldara. As was customary, the role of Achilles was played by a woman, Vittoria Tesi, called ""Moretta""; the opera also featured soprano Anna Peruzzi, called ""the Parrucchierina"" and tenor Angelo Amorevoli. Sarro also conducted the orchestra in two ballets as intermezzi, created by Gaetano Grossatesta, with scenes designed by Pietro Righini. The first"
"in the flames. In parallel with the end of Act I, Paavali's mother has come for her son. Paavali dies as the house collapses. The last scene sees the villagers consoling Elsa and the children and recalling Paavali. Elsa says at the end that Paavali lives in the hearts of the people. Kuolema Kuolema (""Death"") is a drama by the Finnish writer Arvid Järnefelt, first performed on 2 December 1903. He revised the work in 1911. The play is notable for its incidental music: a group of six compositions created by the author's brother-in-law, Jean Sibelius. The most famous selection"