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And Much More
L IVE V ICENZA AND ITS V ILLAS L IVE V ICENZA AND ITS V ILLAS ENGLISH PROVINCIA DI VICENZA Vicenza TheVillas and much more L IVE V ICENZA AND ITS V ILLAS L IVE V ICENZA AND ITS V ILLAS Vicenza... The Villas and much more This small structured guide to routes aims to be an instrument of easy consultation for those wishing to discover the Vicentine villas, combining their visit with the other offers of the rich territory: from museums to wine roads, from castles to typical productions. Here below you will not merely fi nd a list of villas since those which most represent the defi nition of tourist interest have been carefully selected. Every route is subdivided into two sections: “the villas” and “much more”, in order to indicate that besides the villas there are other attractions for the visitor. The villas in the fi rst section are generally usable, from the point of view of opening and accessibility to the visitor. 1 itinerary_1 Pedemontana Vicentina and High Vicentino itinerary_1 Pedemontana Vicentina and High Vicentino Romano d'Ezzelino Pove del Grappa Mussolente 12 BASSANO The Villas DEL GRAPPA Santorso Lonedo MAROSTICA Zugliano 11 7 2 - VillaRosà Ghellini, Villaverla Description 6 10 Nove SCHIO BREGANZE CartiglianoBegun in 1664 designed by Pizzocaro, the works were in- 1 CALDOGNO - VILLA CALDOGNO Sarcedo 14 terrupted in 1679, date engraved in two places of the main 2 VILLAVERLA - VILLA GHELLINI THIENE 13 3 VILLAVERLA - VILLA VERLATO PUTIN 8 9 façade, and never restarted because of the death of the archi- 4 MOLINA DI MALO - VILLA PORTO THIENE 4 15 Longa tect. -
Roméo Et Juliette a Guide for Educators
GOUNOD Roméo et Juliette A Guide for Educators ken howard / met opera Roméo et Juliette THE WORK An opera in five acts, sung in French William Shakespeare’s Romeo and Juliet is filled with some of the best- Music by Charles Gounod known images in literature: young lovers on a balcony, bathed in moonlight as they express their newfound passion; a secret wedding Libretto by Jules Barbier and Michel Carré that flies in the face of longstanding familial strife; a desperate plan to Based on the play Romeo and Juliet be together in spite of hatred and exile; and a tragic finale in a dark by William Shakespeare tomb. For Charles Gounod, a composer in 19th-century France, these First performed April 27, 1867, indelibly dramatic scenes were the perfect seeds for an opera, and his at the Théâtre Lyrique, Paris music for Roméo et Juliette offers a thrilling, rapturous, and heartbreaking PRODUCTION counterpart to Shakespeare’s transcendent poetry. In adapting Romeo and Juliet for the operatic stage, Gounod was Bartlett Sher taking part in a long tradition of retelling and reimagining Shakespeare’s Production work. Yet even Shakespeare was but one link in a chain of transmission Michael Yeargan Set Designer connecting an Italian novella from the first half of the 16th century to Catherine Zuber a ballet by Sergei Prokofiev, the 1957 Broadway musical West Side Story, Costume Designer and film adaptations by Franco Zeffirelli and Baz Luhrmann. Nor are Jennifer Tipton Lighting Designer Shakespeare’s lovers unique in the canon of world literature: Tragic stories Chase Brock of impossible love are found around the globe, including the ancient Choreographer Babylonian Pyramus and Thisbe, the medieval Perso-Arabic Layla and B. -
The Legend of Romeo and Juliet
ROMEO AND JULIET The Legend of Romeo and Juliet By OLIN H. MOORE Professor of Romance Languages The Ohio State University THE OHIO STATE UNIVERSITY PRESS COLUMBUS 1950 GRADUATE SCHOOL MONOGRAPHS CONTRIBUTIONS IN LANGUAGES AND LITERATURE, NO . 13 Second in the Romance Language Series Copyright 1950 The Ohio State University Columbus Printed in United States of America ACKNOWLEDGMENTS M y interest in the novella goes back to "Comp. Lit. 17 hf" a half-course given at Harvard University in 1909-10 by Professor J. D. M . Ford, who later encouraged me to publish an article on "The Origins of the Legend of Rome o and Juliet in Italy" in Speculum. Thanks for valuable advice are due also the following scholars: Professor R . Altrocchi, of the University of California (Berkeley); Emeritus Professor F . Baldensperger, of the Sor bonne; the late Professor Walter L. Bullock, of the University of Manchester; the late Giulia Celenza, of the University of Florence corsi estivi; the late Professor Gustav Gruenbaum, of Johns Hop kins University; the late Professor Henri Hauvette, of the Sor bonne; Emeritus Professor Kenneth McKenzie, of Princeton University; the late G . L . Passerini, of the Laurenziana Library, Florence; and Professor John Va n Home , of the University of Illinois. 1 a m especially indebted to the following scholars: m y colleague at The Ohio State University, Professor Don L. Dem orest; Professor Allan H . Gilbert, of Duk e University; and Pro fessor Urban T. Holmes, of the University of North Carolina. Of course, none of these scholars is responsible for the opinions expressed in this study. -
Romeo & Juliet, Reinvented
ROMEO & JULIET, REINVENTED JUST AS WE SHOULD EXPECT By Byron Woods hy do artists and audiences return — again and again — trying to make something that is neither a concert nor a play — some- to plays now more than four centuries old? The question thing different than either of them.” Romeo and Juliet is Llewellyn’s sec- is particularly pertinent for Romeo and Juliet. Scholar Jill ond such endeavor with the North Carolina Symphony; his first proj- WLevenson notes that it has inspired both the largest and ect in the same vein of play-and-concert hybrid was the immensely most diverse collection of adaptations of any of William Shakespeare’s successful production of A Midsummer Night’s Dream in 2015, also con- works. The famous tale of “star-cross’d lovers” has been transformed into ceived with Forsman. more than 20 operas, 10 ballets, 23 films, innumerable theatrical adap- So, how does one merge two fundamentally different art forms, simul- tations including a legendary Broadway musical — and the new work taneously, on the same stage? you’re about to experience tonight. “The cheeky answer is, ‘carefully,’” Forsman notes. “There are times when It is entirely fitting that Grant Llewellyn, Music Director of the North the music is telling the story, and times where the language is taking Carolina Symphony, and Carl Forsman, a faculty member, stage direc- the show; moment by moment, you’re choosing which takes the lead. tor, and former Dean of Drama at the Grant and I get into a really fun dia- University of North Carolina School logue about how that balance works: of the Arts, have created a fusion of where the orchestra comes forward genres in this musical and theatrical and where the language needs to be retelling. -
Romeo & Juliet
STUDY GUIDE compiled by SOPHIE SIEGEL-WARREN edited by DAVID KENNEDY, ASSOCIATE ARTISTIC DIRECTOR Education Sponsor The Graham Foundation of Connecticut, Inc. Education Initiative made possible with support from The David and Geri Epstein Private Foundation and the National Endowment for the Arts Theater Audience Etiquette Speaking to your students about theater etiquette is important. Students should be aware that this is a LIVE performance and that they should not talk during the show. Students may respond to the strong emotions elicited by theater in different ways, and appropriate audience reactions are warmly encouraged. But please take the time to address and discuss proper behavior in the theater with your students. This will enhance their appreciation of the work and allow other audience members to enjoy the performance at the same time. We have provided the following guidelines: • Please do not bring food or drink into the theater. • Turn off all cellular phones and pagers or anything that makes noise or lights up. • No texting, please. • Please talk only before or after the performance or during intermission. • Remember that this is a live performance, and that in addition to being disruptive to your neighbors, unruly behavior can be heard by the actors on stage. • Act with maturity during romantic, violent or other challenging scenes. • Open your eyes, ears and mind to the world on stage. Theater has the power to transport us to another place; open your heart to that experience. • Thank you for your help, and we hope that you enjoy the show! 2 The Plot In the city of Verona, Italy, the Capulets and the Montagues are locked in a longstanding feud.