Relevant bibliographies by topics / Teatro Verdi di Busseto

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Teatro Verdi di Busseto'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2025

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Teatro Verdi di Busseto.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Teatro Verdi di Busseto"

1

Fabris, Dinko. "Circolazione dell’opera italiana attraverso i teatri non europei del Mediterraneo: Il caso degli italiani al Cairo intorno alla prima dell’ Aida del 1871." Artigrama, no. 36 (December 9, 2022): 223–40. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.2021368108.

Full text
Abstract:
Per un secolo e mezzo, l’episodio della prima dell’Aida di Verdi al Cairo nel 1871 hacatturato l’attenzione degli studiosi, che non hanno mai esplorato sistematicamente il contestooperistico —allo stesso tempo locale e globalizzato— in cui quella vicenda si era inserita. Inrealtà l’Egitto stava vivendo una fase di grande interesse per l’opera e per i teatri all’europea,condivisa da molti altri territori dell’impero ottomano a cominciare dalla capitale Costantinopoli. Compagnie di cantanti italiani avevano già portato il repertorio più aggiornato dell’operaitaliana prima ad Alessandria e poi al
APA, Harvard, Vancouver, ISO, and other styles
2

Dragonetti, Raffaele, Carmine Ianniello, Francesco Mercogliano, and Rosario A. Romano. "The "Teatro di San Carlo" in Naples and its smaller clone "Teatro Verdi" in Salerno." Journal of the Acoustical Society of America 123, no. 5 (2008): 3097. http://dx.doi.org/10.1121/1.2932948.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Lucca, Jeniffer Esteves de. "Entrevista com Maria Filippi, figurinista italiana." Modapalavra e-periódico 8, no. 15 (2015): 82–96. http://dx.doi.org/10.5965/1982615x08152015082.

Full text
Abstract:
A figurinista Maria Filippi nasceu em Roma, capital de seu país. Veio muito jovem para o mundo do teatro, sendo as óperas e os espetáculos de balé as categorias teatrais que mais lhe emocionam. Tem em seu histórico profissional trabalho nos maiores teatros italianos, tendo ao seu lado figurinistas de renome internacional, como Raimonda Gaetani, Santuzza Cali, Carlo Savi, Nana Cecchi, Pedro Moreno, Anna Anni e outros. Além do ambiente teatral, ela estagiou por pequenas temporadas em importantes alfaiatarias italianas, como a Sartoria Farani de Luigi Piccolo, a Alfaiataria do Teatro Massimo de P
APA, Harvard, Vancouver, ISO, and other styles
4

Buroni, Edoardo. "IL BELCANTO E LA CANZONE NELL’INSEGNAMENTO DELL’ITALIANO L1 E L2. CONSIDERAZIONI GENERALI ED ESPERIENZE DIDATTICHE." Italiano LinguaDue 14, no. 2 (2023): 191–219. http://dx.doi.org/10.54103/2037-3597/19657.

Full text
Abstract:
I testi per musica offrono molteplici spunti e stimoli per l'insegnamento e l'apprendimento della lingua italiana. I due generi principali, l'opera lirica e la canzone, consentono di approfondire anche lo sviluppo storico del nostro idioma e di affrontare le varietà stilistiche e sociolinguistiche del passato e del presente; inoltre il modo di fruizione principale e più genuino di questi testi verbali (quello che, appunto, li unisce all'esecuzione canora e musicale) è per sua natura multimodale, tratto che in anni più recenti ha acquisito ulteriori potenzialità grazie allo sviluppo della multi
APA, Harvard, Vancouver, ISO, and other styles
5

Toutant, Ligia. "Can Stage Directors Make Opera and Popular Culture ‘Equal’?" M/C Journal 11, no. 2 (2008). http://dx.doi.org/10.5204/mcj.34.

Full text
Abstract:
Cultural sociologists (Bourdieu; DiMaggio, “Cultural Capital”, “Classification”; Gans; Lamont & Foumier; Halle; Erickson) wrote about high culture and popular culture in an attempt to explain the growing social and economic inequalities, to find consensus on culture hierarchies, and to analyze cultural complexities. Halle states that this categorisation of culture into “high culture” and “popular culture” underlined most of the debate on culture in the last fifty years. Gans contends that both high culture and popular culture are stereotypes, public forms of culture or taste cultures, each
APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic "Teatro Verdi di Busseto"

1

Suman, Viviana <1993&gt. "Il marketing e la promozione nei teatri : il caso della promozione della stagione di prosa del Teatro Verdi di Padova." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12533.

Full text
Abstract:
La mia tesi analizza le attività di marketing e promozione che svolgono i teatri per promuovere la stagione di prosa, in particolare mi concentrerò ad analizzare la promozione della stagione di prosa 2017-2018 del Teatro Verdi di Padova
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Teatro Verdi di Busseto"

1

Carmassi, Massimo. Il restauro del Teatro Verdi di Pisa. Pacini, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Carmelo, Di Gennaro, ed. La Scala nell'età di Verdi. Il polifilo, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Giovanni, Vitali, ed. Teatro Verdi: 150 anni di spettacolo italiano dalle quinte di un teatro fiorentino. Giunti, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Festival Verdi. (1989 : Parma, Italy), ed. La Civiltà musicale di Parma: Spettacoli e concerti di introduzione al Festival Verdi : 6-13 settembre 1989 : Busseto, Colorno, Fidenza, Parma, Roncole Verdi. Fondazione Verdi Festival, Comitato per l'organizzazione del Festival Verdi, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

(Italy), Terni, ed. Il restauro del pronao del Teatro Verdi di Terni. Comune di Terni, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Carlo, Teatro di San, ed. Verdi a Napoli, Verdi al San Carlo: Il San Carlo nel mondo. Skira, 2016.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Mioli, Piero. Il teatro di Verdi: La vita, le opere, gli interpreti. Biblioteca universale Rizzoli, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Ogliari, Francesco. La Milano di Giuseppe Verdi: Piccole e grandi storie, incontri e scontri, affetti e passioni del Cigno di Busseto all'ombra della Madonnina. Selecta, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

1965-, Ferrari Emanuele, ed. Estetica e drammaturgia della Traviata: Tre studi sul teatro d'opera di Verdi. CUEM, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Martini, Laura. Una sera al Verdi: Il teatro di Casciana Terme ed altre storie, 1913-2012. Tagete, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Teatro Verdi di Busseto"

1

Arienta, Sonia. "Scene di duello nel teatro d’opera ottocentesco. Evoluzione o involuzione del senso dell’onore?" In Studi. Società Editrice Fiorentina, 2025. https://doi.org/10.35948/sef/978-88-6032-781-9.16.

Full text
Abstract:
Nell’opera lirica italiana ottocentesca, genere molto seguito all’epoca, la rappresentazione del duello è una delle forme attraverso le quali emerge la centralità del concetto di onore. Il trattamento riservato ai personaggi in questo genere di scene implica un corrispettivo giudizio sollecitato nel pubblico, in un’epoca in cui le sfide a duello erano una prassi, benché vietata, nella quotidianità. L’analisi di questi due aspetti mostra se e come gli autori cambino nel tempo le modalità di rapporti fra sfidanti, i tratti dei protagonisti e con quali conseguenze sul messaggio inviato. L’articol
APA, Harvard, Vancouver, ISO, and other styles
2

Budden, Julian. "Un Giorno Di Regno." In The Operas of Verdi. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198162612.003.0004.

Full text
Abstract:
Abstract Then follows the curious mis-statement that his wife Margherita and two children died within three months of each other during the summer of 1840. In fact the first child died in 1838 when Verdi was still at Busseto; the second during the rehearsals of Oberto the following year. However, an entry in the diary of Antonio Barezzi for June 1840 attests: ‘In Milan at midday on the feast of Corpus Christi my beloved daughter Margherita died in my arms of some terrible disease perhaps unknown to medical science; she was in the flower of her years and at the height of her good fortune, for s
APA, Harvard, Vancouver, ISO, and other styles
3

Budden, Julian. "The Prison Years." In Verdi. Oxford University PressNew York, NY, 2018. http://dx.doi.org/10.1093/oso/9780195323429.003.0016.

Full text
Abstract:
Abstract in 1858 verdi wrote to countess maffei, ‘ever since nabucco I haven’t known an hour’s peace and quiet, sixteen years of hard labour.’ The expression ‘anni di galera’ has been picked up by his biographers and used to designate that period between the triumph of Ernani and the moment when Verdi settled in his own property in Busseto and could accept or reject commissions as he felt inclined. During this time his power of self-renewal could not always keep pace with the demands made upon him; and though he never repeated himself, one sometimes senses the language of Nabucco and Ernani ap
APA, Harvard, Vancouver, ISO, and other styles
4

Budden, Julian. "Nabucco." In The Operas of Verdi. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198162612.003.0005.

Full text
Abstract:
Abstract The failure of Un Giorno di Regno was the bitterest moment of Verdi’s career: a career which, up till then, had been far from easy. The Milan Conservatoire had rejected him. His time as Director of the Music School at Busseto was poisoned by faction. He had had to wait at least three years for the production of his first opera. Now it seemed that the progress so hardly achieved had been wiped out, and this just after he had lost the wife for whose sake he had remained at Busseto when he might have been furthering his career as an opera composer. Meanwhile time was passing. At twenty-s
APA, Harvard, Vancouver, ISO, and other styles
5

Parker, Roger. "Oberto, conte di San Bonifacio." In The New Grove Guide to Verdi and His Operas. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195313130.003.0003.

Full text
Abstract:
Abstract Verdi’s first opera has a chequered history. As we first hear of it in 1836, it was called Rocester, with a libretto by Antonio Piazza. After unsuccessful attempts to have the work put on in Milan and Parma, and after a lengthy hiatus during which the composer was employed in his home town of Busseto, Verdi-with the help of the librettist Temistocle Solera-revised and renamed the opera for its La Scala premiere. Oberto was moderately successful and was revived a number of times during the next three years, Verdi taking the opportunity to add various new numbers to the score. For Milan
APA, Harvard, Vancouver, ISO, and other styles
6

Parker, Roger. "Un giorno di regno." In The New Grove Guide to Verdi and His Operas. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195313130.003.0004.

Full text
Abstract:
Abstract Melodramma giocoso in two acts set to a libretto by Felice Romani (probably revised by Temistocle Solera) after Alexandre Vincent Pineu-Duval’s play Le Faux Stanislas; first performed in Milan, Teatro alla Scala, on 5 September 1840. The cast at the premiere included Antonietta Ranieri Marini (Marchesa), Luigia Abbadia (Giulietta), Lorenzo Salvi (Edoardo), and Raffaele Fer lotti (Belfiore). Verdi’s second opera, his only outright comic work until the end of his long career, was written at great speed.
APA, Harvard, Vancouver, ISO, and other styles
7

Parker, Roger. "La battaglia di Legnano." In The New Grove Guide to Verdi and His Operas. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195313130.003.0016.

Full text
Abstract:
Abstract Tragedia lirica in four acts set to a libretto by Salvadore Cammarano after Joseph Mery’s play La Bataille de Toulouse; first performed in Rome, Teatro Argentina, 27 January 1849. The cast at the premiere included Filippo Colini (Rolando), Teresa De Giuli Borsi (Lida), and Gaetano Fraschini (Arrigo). The revolutions that swept through Italy and much of the rest of Europe in 1848-and in particular Milan’s ‘cinque giornate’, when in five days of tough street fighting the Milanese forced the Austrians temporarily from their city-inspired Verdi to attempt an opera in which the theme of pa
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Teatro Verdi di Busseto' for particular source types:
Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography