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"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.
What a gentle little Zephyr) is a duettino, or a short duet, from act 3, scene X, of Wolfgang Amadeus Mozart's 1786 opera The Marriage of Figaro, K. 492, to a libretto by Lorenzo Da Ponte. In the duettino, Countess Almaviva (a soprano ) dictates to Susanna (also a soprano) the invitation to a tryst addressed to the countess' husband in a plot ...
Act 3 scene 2 of Robert at the Paris Opéra (Salle Le Peletier), 1831 By April 1834 the opera had received over 100 performances in Paris. [ 19 ] Nourrit sang the role of Robert until 1837, when he was replaced as premier tenor at the Opéra by Gilbert Duprez , whom, however, Meyerbeer did not like in the role; nor did he approve of an ...
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:
Act 2, Scene 1: The Parlor of Dr. Gaines Act 2, Scene 2: View in Front of the Great House Act 2, Scene 3: A Sitting-Room in the house of Dr. Gaines Act 3, Scene 1: Sitting-Room Act 3, Scene 2: The Kitchen- Slaves at Work Act 3, Scene 3: Sitting Room Act 3, Scene 4: In the Forest near Dr. Gaines's Property Act 3, Scene 5: Room in a Small Cottage ...
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".
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The three-act structure is a model used in narrative fiction that divides a story into three parts , often called the Setup, the Confrontation, and the Resolution. It has been described in different ways by Aelius Donatus in the fourth century A.D. and by Syd Field in his 1979 book Screenplay: The Foundations of Screenwriting .