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The opera libretto from its inception (c. 1600) was written in verse, and this continued well into the 19th century, although genres of musical theatre with spoken dialogue have typically alternated verse in the musical numbers with spoken prose. Since the late 19th century some opera composers have written music to prose or free verse libretti.
Today, a new trend is the Marconi multimedia patented interactive electronic libretto technology, installed in 2011 in the Royal Opera House Muscat, [4] Sultanate of Oman and in 2013 at the Musiktheater Linz, Wiener Staatsoper Austria and Stavros Niarchos Cultural center ( Athens). The event on stage become an interactive and multimedia ...
The American company called Figaro Systems established by Patrick Markle, Geoff Webb, and Ron Erkman developed the first assistive technology for individualized libretto-reading for audiences. [12] This technology allows the audience to select their preferred language from a list or simply turn it off, watching the performance without surtitles.
The FAST ecosystem has several layers. The best-known FASTs are the aggregators, which fall into three categories. FASTs owned by major media companies: Paramount's Pluto TV, Fox's Tubi, Charter Communications and Comcast's Xumo Play, Dish Network's Sling Freestream, ITV’s ITVX service, NEW ID's BINGE Korea, [3] Allen Media Group's Local Now, and Gray Television and National Association of ...
It is not uncommon for critics to describe the libretto of The Magic Flute as being of dreadful quality. Thus Bauman writes, "The libretto has been generally regarded, in Dent's words, as "one of the most absurd specimens of that form of literature [i.e. libretti] in which absurdity is regarded as matter of course."
Domenico Lalli, author of the Argippo libretto, which had previously been set as Il gran Mogol by Francesco Mancini (1713). Argippo is an opera libretto by Domenico Lalli, which in Giovanni Porta's setting premiered in Venice in 1717. Claudio Nicola Stampa's reworked version of the libretto was set as L'Argippo by Andrea Stefano Fiorè .
Amadis, title page. Amadis or Amadis de Gaule (Amadis of Gaul) is a tragédie en musique in a prologue and five acts by Jean-Baptiste Lully to a libretto by Philippe Quinault based on Nicolas Herberay des Essarts' adaptation of Garci Rodríguez de Montalvo's Amadis de Gaula.
When the operas of Christoph Willibald Gluck and Wolfgang Amadeus Mozart—focusing more on psychology and less on virtuoso singing—came into vogue, a new style of libretto was needed (Mozart did use an old Metastasio libretto for his renowned opera La clemenza di Tito, but, it was substantially re-written for the purpose). The demise of ...