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The Coro di Zingari (Italian for "Gypsy chorus"), [1] known in English as the "Anvil Chorus", is a chorus from act 2, scene 1 of Giuseppe Verdi's 1853 opera Il trovatore.It depicts Spanish Gypsies striking their anvils at dawn – hence its English name – and singing the praises of hard work, good wine, and Gypsy women.
The Anvil Chorus is one of the most-recognized pieces of classical music. It "has transcended the opera itself" and is often played in non-opera concerts. It appears in many cultural references as well. [50] Restored version of Berliner Gramophone matrix 0572 ("Miserere").
Notes Works cited References External links 0-9 S.S. Kresge Lunch Counter and Soda Fountain, about 1920 86 Main article: 86 1. Soda-counter term meaning an item was no longer available 2. "Eighty-six" means to discard, eliminate, or deny service A A-1 First class abe's cabe 1. Five dollar bill 2. See fin, a fiver, half a sawbuck absent treatment Engaging in dance with a cautious partner ab-so ...
By the 1950s, the chorus of the song (with revised lyrics) had become popular in Irish and Scottish communities as being part of "The Celtic Song", sung by the fans of Glasgow Celtic in Scotland and later other teams. Glen Daly recorded an "official version" of "The Celtic Song" that is commonly played at Celtic Park prior to matches. [12]
We mean it. Read no further until you really want some clues or you've completely given up and want the answers ASAP. Get ready for all of today's NYT 'Connections’ hints and answers for #618 on ...
Move over, Wordle, Connections and Mini Crossword—there's a new NYT word game in town! The New York Times' recent game, "Strands," is becoming more and more popular as another daily activity ...
Nearly one in three Americans over the age of 60 — roughly 19 million people — take aspirin daily, according to a 2021 study in Annals of Internal Medicine.. Should you be among that group?
In the new kind of musical drama, he wrote, the traditional operatic norms of chorus, arias and vocal numbers would have no part. [22] The vocal line would, in Gutman's words, "interpret the text emotionally through artificially calculated juxtapositions of rhythm, accent, pitch and key relationships". [ 23 ]