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Journal articles on the topic 'Nozza'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

Żurek, Antoni. "Zaślubiny ziemskie i zaślubiny duchowe w tajemnicy chrztu według św. Jana Chryzostoma." Vox Patrum 53 (December 15, 2009): 83–93. http://dx.doi.org/10.31743/vp.4456.

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Nelle catechesi di Giovanni Crisostomo viene usato il concetto delle „nozze spirituali” per approfondire il tema del battesimo. Alcuni particolari delle nozze scelti da Crisostomo gli servono a far vedere i diversi aspetti del mistero battesimale. In modo particolare nei catechesi viene sviluppata la relazione tra lo sposo e la sposa che nella visione di Cristosomo diventa l’imagine del Cristo e l’anima umana. Molto interessante è il modo in cui l’autore delle catechesi tratta i costumi nuziali. Di solito Crisostomo biasima questi costumi, ma mostrando le „nozze spirituali” si ferma sugli as

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2

Schweikert, Uwe. "MIT DEM RASENMÄHER." Opernwelt 64, no. 4 (2023): 38–39. http://dx.doi.org/10.5771/0030-3690-2023-4-038.

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3

Hagmann, Peter. "WELCHE WONNE, WELCHE LUST." Opernwelt 63, no. 8 (2022): 51–52. http://dx.doi.org/10.5771/0030-3690-2022-8-051.

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4

Rushton, Julian, Mozart, Bryn Terfel, et al. "Le nozze di Figaro." Musical Times 136, no. 1824 (1995): 109. http://dx.doi.org/10.2307/1193647.

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5

Ashbrook, W. "Nozze istriane. Antonio Smareglia." Opera Quarterly 18, no. 3 (2002): 434–36. http://dx.doi.org/10.1093/oq/18.3.434.

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6

Otten, Jürgen. "IM HUSCH DA, IM HUSCH VORÜBER." Opernwelt 64, no. 12 (2023): 35–36. http://dx.doi.org/10.5771/0030-3690-2023-12-035.

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7

Mariotti, Claudio. "Le nozze di D’Annunzio. Per una lettura dell’alcaica Per nozze in Primo Vere." Italica Wratislaviensia, no. 6 (October 8, 2015): 135. http://dx.doi.org/10.15804/iw.2015.06.08.

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8

Lücker, Arno. "MÄNNER mit und ohne Schatten." Opernwelt 64, no. 9-10 (2023): 10–13. http://dx.doi.org/10.5771/0030-3690-2023-9-10-010.

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9

Castelvecchi, Stefano. "Sentimental and Anti-Sentimental in "Le nozze di Figaro"." Journal of the American Musicological Society 53, no. 1 (2000): 1–24. http://dx.doi.org/10.2307/831868.

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The article explores the complex relationship between Le nozze di Figaro (1786) and aspects of eighteenth-century sentimental culture. On the one hand, the opera parodies recognizable elements of that culture, thus joining a well-established anti-sentimental trend (an attitude largely inherited from its literary source, Beaumarchais's comedy Le Mariage de Figaro). In other respects, however, Le nozze di Figaro can be seen to make a direct appeal to sentiment. The tension between the sentimental and the anti-sentimental is one of the driving forces behind this work, and one of the most fascinat

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10

Heartz, Daniel. "Constructing Le nozze di Figaro." Journal of the Royal Musical Association 112, no. 1 (1987): 77–98. http://dx.doi.org/10.1093/jrma/112.1.77.

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Lorenzo Da Ponte is our main witness as to how he and Mozart put together their three operas. His memoirs, first published in 1823, mystify the topic more than they illuminate it. Some additional light is shed by an earlier publication entitled An Extract from the Life of Lorenzo Da Ponte, with the history of several dramas written by him, and among others, II Figaro, II Don Giovanni e La Scuola degh Amanti set to music by Mozart. Whoever translated this from Da Ponte's original Italian worked from a text different in many details from what was published four years later as the Memorie. The we

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11

Baxter, R. "Mozart: Le nozze di Figaro." Opera Quarterly 21, no. 2 (2005): 400–402. http://dx.doi.org/10.1093/oq/kbi033.

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12

Otten, Jürgen. "Himmel und Hölle." Opernwelt 63, no. 3 (2022): 8–9. http://dx.doi.org/10.5771/0030-3690-2022-3-008.

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13

D'Achille, Paolo. "Muso franco e maronè: dubbi lessicali da un Figaro all’altro." XI, 2019/4 (ottobre-dicembre) 11, no. 4 (2019): 23–25. http://dx.doi.org/10.35948/2532-9006/2020.3255.

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Ci sono pervenute due richieste di chiarimento sul significato dell’espressione muso franco, che si trova nel libretto delle Nozze di Figaro, e del termine maronè, documentato nel Barbiere di Siviglia.

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14

Otten, Jürgen. "Ein toller Tag." Opernwelt 66, no. 7 (2025): 26–27. https://doi.org/10.5771/0030-3690-2025-7-026.

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Lotte de Beer blickt an der Volksoper Wien mit Esprit, Energie und erklecklichem Erfindungsreichtum auf Mozarts «Le nozze di Figaro», Omer Meir Wellber setzt bei seinem Abschied ein dickes Ausrufezeichen VON JÜRGEN OTTEN

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15

Albright, Willliam. "Le Nozze di Figaro, K.492." Opera Quarterly 8, no. 3 (1991): 128–29. http://dx.doi.org/10.1093/oq/8.3.128.

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16

McKee, David. "Le nozze di Figaro, K. 492." Opera Quarterly 8, no. 3 (1991): 129–30. http://dx.doi.org/10.1093/oq/8.3.129.

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17

Albright, William. "Le nozze di Figaro, K. 492." Opera Quarterly 8, no. 3 (1991): 181–97. http://dx.doi.org/10.1093/oq/8.3.181.

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18

Otten, Jürgen. "Pfahl im Fleische, Türen ins Nichts." Opernwelt 65, no. 6 (2024): 20–23. http://dx.doi.org/10.5771/0030-3690-2024-6-020.

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Unterschiedlicher geht es kaum: Kirill Serebrennikov versetzt «Le nozze di Figaro» an der Komischen Oper Berlin in die kapitalistische Spätmoderne, Julien Chavaz belässt Mozarts Buffa am Theater Magdeburg an Ort und Stelle VON JÜRGEN OTTEN

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19

Weidringer, Walter. "MATTE SCHEIBEN." Opernwelt 64, no. 5 (2023): 28–30. http://dx.doi.org/10.5771/0030-3690-2023-5-028.

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Wiens März-Premieren vermögen kaum zu überzeugen: Mozarts «Le nozze di Figaro» bedient an der Staatsoper Klischees, Webers «Freischütz» verliert sich am Musiktheater an der Wien im Videowald, und Moritz Eggerts «Letzte Verschwörung» ist an der Volksoper flach wie eine Flunder VON WALTER WEIDRINGER

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20

Sadie, Stanley, Mozart, and Alan Tyson. "Le nozze di Figaro: Eight Variant Versions." Musical Times 131, no. 1769 (1990): 365. http://dx.doi.org/10.2307/965751.

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21

Fairleigh, James P., Tim Carter, and Thomas Bauman. "W. A. Mozart: Le nozze di Figaro." Notes 47, no. 3 (1991): 787. http://dx.doi.org/10.2307/941909.

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22

Glasow, E. Thomas. "Le nozze di Figaro. Wolfgang Amadeus Mozart." Opera Quarterly 11, no. 1 (1994): 136–38. http://dx.doi.org/10.1093/oq/11.1.136.

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23

McKee, David. "Le nozze di Figaro. Wolfgang Amadeus Mozart." Opera Quarterly 11, no. 3 (1995): 151–53. http://dx.doi.org/10.1093/oq/11.3.151.

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24

Hamilton, David. "Le nozze di Figaro. Wolfgang Amadeus Mozart." Opera Quarterly 6, no. 4 (1989): 107–11. http://dx.doi.org/10.1093/oq/6.4.107.

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25

Stevens, Jane R. "Review: Rhythmic Gesture in Mozart: Le nozze di Figaro and Le nozze di Figaro by Wye Jamison Allanbrook." Journal of the American Musicological Society 38, no. 2 (1985): 393–99. http://dx.doi.org/10.2307/831573.

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26

Nedbal, Martin. "Mozart's Figaro and Don Giovanni, Operatic Canon, and National Politics in Nineteenth-Century Prague." 19th-Century Music 41, no. 3 (2018): 183–205. http://dx.doi.org/10.1525/ncm.2018.41.3.183.

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After the enormous success of Le nozze di Figaro at Prague's Nostitz Theater in 1786 and the world premiere of Don Giovanni there in 1787, Mozart's operas became canonic works in the Bohemian capital, with numerous performances every season throughout the nineteenth century. These nineteenth-century Prague Mozart productions are particularly well documented in the previously overlooked collection of theater posters from the Czech National Museum and the mid-nineteenth-century manuscript scores of Le nozze di Figaro. Much sooner than elsewhere in Europe, Prague's critics, audiences, and opera i

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27

Schofield, Richard. "A Humanist Description of the Architecture for the Wedding of Gian Galeazzo Sforza and Isabella D'Aragona (1489)." Papers of the British School at Rome 56 (November 1988): 213–40. http://dx.doi.org/10.1017/s0068246200009624.

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LA DESCRIZIONE DI UN UMANISTA DELLA “ARCHITETTURA” ALLESTITA PER LE NOZZE DI GIAN GALEAZZO SFORZA ED ISABELLA D'ARAGONA (1489)Stefano Dulcino, nel suo libro “Nuptiae Illustrissimi Ducis Mediolani” (Milano 1489), descrisse l'architettura effimera in legno che fu realizzata per le nozze di Gian Galeazzo Sforza ed Isabella d'Aragona. L'architettura comprendeva delle arcate decorate da un'elaborata decorazione fogliata ed un tiburio, di fronte al duomo di Milano. Qui si è ricostruito questo tiburio e si è discussa la problematica relativa si suoi significati ed al suo progettista. Sebbene rapprese

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28

Sankovič, Samo. "Grobišče iz mlajšega žarnogrobiščnega obdobja na Tišini v Prekmurju." Arheološki vestnik 75 (June 14, 2024): 525–49. http://dx.doi.org/10.3986/av.75.17.

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V članku je predstavljeno manjše grobišče, odkrito v vasi Tišina zahodno od Murske Sobote. Najdenih je bilo 12 grobov, ki časovno sodijo v mlajše obdobje kulture žarnih grobišč. Obravnavane so grobne najdbe, tako keramično posodje kot tudi drugi predmeti, in sicer nakit, železna noža in drugo. Med njimi izstopa okrašena bronasta tulasta sekira. Najdbe iz grobov kažejo podobnost z grobovi ruške skupine kulture žarnih grobišč.

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29

Arosio, Laura, and Elisabetta Ruspini. "Unico, indimenticabile, da sogno. Il viaggio di nozze tra mito ed esigenze di mercato." SOCIOLOGIA URBANA E RURALE, no. 92 (February 2011): 123–43. http://dx.doi.org/10.3280/sur2010-092009.

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In questo saggio, utilizzando la tecnica dell'analisi documentaria applicata a cataloghi di viaggio riservati a sposi e spose, cercheremo di capire come vengono tematizzate e proposte le mete turistiche abbinate ai viaggi di nozze. Sono diverse le domande alle quali vorremmo rispondere: come sono presentate queste mete? Quale linguaggio viene utilizzato e quali immagini accompagnano i testi? Quale modello di coppia costituisce il target di riferimento, e come vengono (o non vengono) recepite le trasformazioni della famiglia contemporanea? Uno dei piů interessanti risultati emersi dalla nostra

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30

Platoff, John. "Myths and realities about tonal planning in Mozart's operas." Cambridge Opera Journal 8, no. 1 (1996): 3–15. http://dx.doi.org/10.1017/s0954586700002822.

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An assumption widespread in twentieth-century analyses of Mozart's operas is that ‘high-level tonal planning’ – that is, a network of relationships among the tonic keys of separate numbers of an opera – contributes significantly to structure and meaning. A relatively recent example can be found in writings by Daniel Heartz and Tim Carter on Act I of Le nozze di Figaro, which concludes in C major with Figaro's aria ‘Non più andrai’.

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31

Franklin, Margaret. "Silencing Female Reason in Boccaccio’s Teseida delle nozze d’Emilia." Medieval Feminist Forum 52, no. 1 (2015): 42–59. http://dx.doi.org/10.17077/1536-8742.1988.

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32

AKIMOTO, Masato, Yamato OKADA, Kazumasa OGAWA, Hiroyuki NAKAGAWA, and Motoaki KIMURA. "Control of lifted flame using DBD-PA burner nozzl." Proceedings of Mechanical Engineering Congress, Japan 2020 (2020): S05109. http://dx.doi.org/10.1299/jsmemecj.2020.s05109.

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33

Hye Lyun Pyun. "Le nozze d'Enea e Lavinia : Monteverdi's Lost Venetian Opera." 이화음악논집 14, no. 1 (2010): 35–51. http://dx.doi.org/10.17254/jemri.2010.14.1.002.

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34

Castelvecchi, Stefano. "Sentimental and Anti-Sentimental in "Le nozze di Figaro"." Journal of the American Musicological Society 53, no. 1 (2000): 1–24. http://dx.doi.org/10.1525/jams.2000.53.1.03a00010.

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35

LEESON, DANIEL N. "MOZART’S LE NOZZE DI FIGARO: A HIDDEN DRAMATIC DETAIL." Eighteenth Century Music 1, no. 2 (2004): 301–4. http://dx.doi.org/10.1017/s147857060400017x.

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In two earlier articles I have written of finding identical or very similar themes in two different compositions, either in two works of the same composer or in the work of two different composers. The conclusion presented was that such events are rarely meaningful, that citing a particular melodic affinity to assert some kind of relationship between the two compositions is almost always misguided. The amount of melodic duplication that may be found when comparing any two pieces (by any two composers from any two eras) is so considerable that one might conclude it is largely meaningless and ac

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36

Link, Dorothea. "The Fandango Scene in Mozart's Le nozze di Figaro." Journal of the Royal Musical Association 133, no. 1 (2008): 69–92. http://dx.doi.org/10.1093/jrma/fkm011.

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This article concerns the use of dance in the Act 3 finale of Mozart's Le nozze di Figaro, starting from the problem articulated by Alan Tyson in his Mozart: Studies of the Autograph Scores. Tyson points out that the absence of the fandango from the Viennese musical sources is at odds with Da Ponte's statement that the dance scene was restored at the emperor's command. New evidence shows that the fandango was performed for the three performances that constituted a première at this time in Vienna and was then removed from the score. However, before its removal, the score with the fandango intac

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37

Alonge, Tristan. "Le nozze interrotte di Ifigenia da Racine a Euripide." Studi Classici e Orientali 2, no. 65 (2019): 297–310. http://dx.doi.org/10.12871/978883339221922.

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38

Rosand, Ellen. "Operatic ambiguities and the power of music." Cambridge Opera Journal 4, no. 1 (1992): 75–80. http://dx.doi.org/10.1017/s0954586700003621.

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‘Pur sempre su le nozze canzoneggiando vai.’ Arnalta's remark to Poppea (L'incoronazione di Poppea, Act II scene 10), occasioned by Poppea's lyrical exultation over the death of Seneca, provokes the closing sententia of Edward T. Cone's recent exploration of the ambiguous world of opera and its inhabitants. Translating the nurse's comment as ‘You're forever going around singing songs about your wedding’, Cone concludes that ‘this is just what characters in opera do: they go around singing songs all the time’.

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39

Tibiletti, Carlo. "Q.S.F. Tertulliano, Le uniche nozze, a cura di Renato Uglione." Augustinianum 34, no. 2 (1994): 522–24. http://dx.doi.org/10.5840/agstm199434226.

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40

Cicchini, Marco. "Marco Cavina, Le nozze di sangue. Storia della violenza coniugale." Crime, Histoire & Sociétés 16, no. 2 (2012): 111–13. http://dx.doi.org/10.4000/chs.1368.

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41

Romano, Angelo. "Di una rara miscellanea per nozze di Leone Vicchi (1872)." Colloquium 9788879168946 (October 2019): 359–68. http://dx.doi.org/10.7359/894-2019-roma.

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42

Degórski, Bazyli. "Le nozze di Cana nell'esegesi di san Gaudenzio di Brescia." Vox Patrum 44 (March 30, 2003): 285–99. http://dx.doi.org/10.31743/vp.8079.

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Artykuł uwypukla nauczanie św. Gaudentego z Brescii odnośnie do boskości Ducha Świętego na podstawie egzegezy biblijnej Godów w Kanie Galilejskiej. Zważywszy, iż perykopa ta była chętnie wyjaśniana przez Ojców Kościoła, artykuł stara się także porównać egzegezę Biskupa Brescii z egzegezą innych Ojców czy pisarzy kościelnych, aby w ten sposób jeszcze wyraźniej ukazać wartość nauczania św. Gaudentego. Według Biskupa Brescii, gdy nadeszła pełnia czasów, Chrystus pojawił się na weselu w Kanie Galilejskiej, którą to Kanę św. Gaudenty nazywa possessio gentium, ziemią pogan. Wokół pana młodego znajdu

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43

Pupio, María Alejandra. "Emma Nozzi, School Teacher and Provincial Collector (Buenos Aires, Argentina)." HoST - Journal of History of Science and Technology 10, no. 1 (2016): 11–32. http://dx.doi.org/10.1515/host-2016-0002.

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Abstract The practice of archaeology in Argentina involved the participation of provincial amateurs who played a relevant role in the search, collection and exhibition of findings until the mid-twentieth century. This paper analyses Emma Nozzi’s practices as a collector and provincial amateur scientist during the decades of the 1940s and 1950s, focusing especially on her gender and the less frequent participation of women in the social network of collectors in the province of Buenos Aires at that time.

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44

TYSON, A. "THE 1786 PRAGUE VERSION OF MOZART'S 'LE NOZZE DI FIGARO'." Music and Letters 69, no. 3 (1988): 321–33. http://dx.doi.org/10.1093/ml/69.3.321.

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45

Mahmoud, Hatem H., Altaf A. Ezzat, T. El-Sayed Ali, and Abeer El Samman. "Fisheries management of cichlid fishes in Nozha Hydrodrome, Alexandria, Egypt." Egyptian Journal of Aquatic Research 39, no. 4 (2013): 283–89. http://dx.doi.org/10.1016/j.ejar.2013.12.006.

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46

Bartolozzi, Luca, and Saverio Rocchi. "In memoria di Piero Abbazzi." Memorie della Società Entomologica Italiana 98, no. 1 (2021): 93–96. http://dx.doi.org/10.4081/memoriesei.2021.93.

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Piero Abbazzi nasce a Firenze il 21 febbraio1928. Effettua studi classici preso l’Istituto degli Scolopie si laurea in Farmacia presso l’Università degliStudi di Firenze il 21 novembre 1957. Trova presto impiegonella propaganda medica per l’industria farmaceuticaRichter, impiego che manterrà fino alpensionamento. Il 2 agosto 1959 convola a nozze conMaria Scarselli e la coppia avrà tre figli: Alessandra,Giovanni e Laura. Piero Abbazzi si spegne a 92 anni l’8marzo 2020 in ospedale a Firenze, dove era stato ricoveratoper l’aggravarsi delle sue precarie condizioni disalute, circondato dall’affetto

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47

Schaarwächter, Jürgen. "Fragen an den Kompositionsprozeß und die Dramaturgie von Mozarts „Le nozze di Figaro”." Die Musikforschung 48, no. 2 (2021): 144–53. http://dx.doi.org/10.52412/mf.1995.h2.1066.

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Über die Betrachtung des Notentextes lassen sich Rückschlüsse auf die Entstehung und die Dramaturgie von Mozarts <Le nozze di Figaro> ableiten. Insbesondere die Reihenfolge der Szenen der letzten beiden Akte läßt sich durch sie in Frage stellen. Vor allem jedoch ist die Entfernung des Accompagnato-Recitativs <Tutto è disposto> vor Bindung der Partitur von eminenter Bedeutung und kann dramaturgisch den IV. Akt neu strukturieren. Die Struktur des III. Aktes änderte sich wohl vor allem durch die Doppelbesetzung der Rolle des Antonio/Bartolo, aber auch durch dramaturgische Gründe. (Sch

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48

Lurgo, Elisabetta. "Diplomazia informale e strategie di resilienza. Il matromonio fra Carlo Emanuele II di Savoia e Mademoiselle de Valois nelle lettere di Margherita di Lorena, duchessa D’Orléans, a Cristina di Francia." Librosdelacorte.es, no. 23 (December 23, 2021): 85–113. http://dx.doi.org/10.15366/ldc2021.13.23.004.

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Il presente articolo propone un'analisi della corrispondenza fra Margherita di Lorena, vedova di Gastone d'Orléans (1615-1672) e Cristina di Francia, vedova del duca Vittorio Amedeo I di Savoia, in occasione delle negoziazioni per le nozze tra la figlia di Margherita, Mademoiselle di Valois, e Carlo Emanuele II, duca di Savoia. L'obiettivo è quello di mostrare le opportunità offerte da una multicentrica società di corte a una principessa dallo statuto controverso, per sviluppare una forma di resilienza ed esercitare un'influenza informale sulle strategie matrimoniali di una dinastia regnante.

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49

SIKORA, JANUSZ W. "Granulator knife wedge angle effect on constructional efficiency of the extrusion process with polyethylene granulating." Polimery 47, no. 03 (2002): 196–200. http://dx.doi.org/10.14314/polimery.2002.196.

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50

Cole, Malcolm S., and Wye Jamison Allanbrook. "Rhythmic Gesture in Mozart: Le Nozze di Figaro and Don Giovanni." Eighteenth-Century Studies 18, no. 3 (1985): 459. http://dx.doi.org/10.2307/2738731.

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