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Contrary to popular belief, the words are not Caesar's last in the play, as he says "Then fall, Caesar" right after. [2] The first known occurrences of the phrase are said to be in two earlier Elizabethan plays: Henry VI, Part 3 by Shakespeare , and an even earlier play, Caesar Interfectus , by Richard Edes . [ 3 ]
A rehearsal of act 3, scene 2, including the stabbing of Riccardo, is featured in the closing scene of Bernardo Bertolucci's 1979 film La Luna. It also confused Leslie Titmuss in John Mortimer's novel Titmuss Regained; when a friend said that she was going to see Un ballo in maschera at Covent Garden, he replied "never been one for dancing".
"Friends, Romans": Orson Welles' Broadway production of Caesar (1937), a modern-dress production that evoked comparison to contemporary Fascist Italy and Nazi Germany "Friends, Romans, countrymen, lend me your ears" is the first line of a speech by Mark Antony in the play Julius Caesar, by William Shakespeare.
"Di quella pira" ("Of that pyre") is a short tenor aria (or more specifically, a cabaletta) sung by Manrico in act 3, scene 2, of Giuseppe Verdi's opera Il trovatore. It is the last number of the act.
Il dolce suono" ("The Sweet Sound") is the incipit of the recitativo of a scena ed aria taken from Act III scene 2, Lucia di Lammermoor by Gaetano Donizetti. It is also commonly known as the " mad scene " sung by the leading soprano, Lucia.
Set design for act 3, scene 3 by Francesco Bagnara, circa 1844 (Civica Raccolta Stampe Bertarelli Milan) Scene 1: Wolfcrag [12] Enrico visits Edgardo to challenge him to a duel. He tells him that Lucia is already enjoying her bridal bed. Edgardo agrees to fight him. They will meet later by the graveyard of the Ravenswoods, near the Wolf's Crag.
Act 3, scene 1: Yerma is found at Dolores's house. Dolores and the old woman have been praying over Yerma all night in the cemetery. Juan accuses Yerma of deceit, and she curses her blood, her body, and her father "who gave me his blood, enough for a hundred children." [1] Act 3, scene 2:
Thus, scene two is a variation on a single note, B ♮, which is heard continuously in the scene, and the only note heard in the powerful orchestral crescendos at the end of act 3, scene 2. Scene 3 is a variation on a rhythmic pattern, with every major thematic element constructed around this pattern.