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The Merchant of Venice is a play by William Shakespeare, believed to have been written between 1596 and 1598.A merchant in Venice named Antonio defaults on a large loan taken out on behalf of his dear friend, Bassanio, and provided by a Jewish moneylender, Shylock, with seemingly inevitable fatal consequences.
Il trovatore ('The Troubadour') is an opera in four acts by Giuseppe Verdi to an Italian libretto largely written by Salvadore Cammarano, based on the Spanish play El trovador (1836) by Antonio García Gutiérrez.
In act 1, scene 3, Shylock finally agrees to lend Bassanio three thousand ducats they all agree to the loan, Bassanio offers Shylock to eat with him, but he denies the offer on the grounds of eating with Christians. After a long debate about the Jewish versus Christian morality of charging interest on loans, Shylock decides to add a clause that ...
(The Merchant of Venice 1.1/126–128) Bassanio then proceeds to tell Antonio of his depleted financial state due to his own excesses, making sure to note that he is aware he already owes him money. He laments his ill-fortune but cheers at the thought of solving his problems by marrying Portia, a woman who has come into a sizeable inheritance ...
Act 4, scene 1 1. Ivan Khovansky at home, being entertained 5 August 1880 2. Dance of the Persian Slaves 16 April 1876 Orchestrated by Rimsky-Korsakov, with Mussorgsky's approval, within his lifetime 3. Shaklovity arrives; song in honor of Ivan Khovansky; Khovansky murdered 5 August 1880 Act 4, scene 2 1. Golitsin's exile 23 May 1880
Simon Boccanegra (Italian: [siˈmom ˌbokkaˈneːɡra]) is an opera with a prologue and three acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on the play Simón Bocanegra (1843) by Antonio García Gutiérrez, whose play El trovador had been the basis for Verdi's 1853 opera, Il trovatore.
Scene 2: A monastery nearby. Set design for Act 2 Secene 2 by Carlo Ferrario for La forza del destino (Milan 1869) Outside the monastery of the Madonna of Angels, Leonora, seeking sanctuary and solitary atonement, has come to take refuge in the monastery intending to live the rest of her life as a hermit (Son giunta! Grazie, o Dio!
The innkeeper's 'Song of the Drake' (Act 1, Scene 2) The revised Terem Scene (Act 2), which presents the title character in a more tragic and melodramatic light, and includes new songs and new musical themes borrowed from Salammbô [58] The conventionally operatic 'Polish' act (Act 3) The novel final scene of anarchy (the Kromï Scene—Act 4 ...