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3.1.2 Scene 2. 3.2 Act 1. 3.2 ... is a translation into German of the Old ... Valhalla with gods and heroes visible as described by Waltraute in Act I, Scene 3. A new ...
"Va tacito e nascosto" (Italian; translation, "Silently and stealthily") is an aria written for alto castrato voice in act 1 of George Frideric Handel's opera Giulio Cesare in Egitto, composed in 1724 to a libretto by Nicola Francesco Haym. Sung by the character Julius Caesar, it features extensive solos for natural horn.
Prelude to Act 3 - Walkürenritt (The Ride of the Valkyries) Scene 1. The Valkyries congregate on the mountain-top, each carrying a dead hero and chattering excitedly. Brünnhilde arrives with Sieglinde, and begs her sisters for help, but they dare not defy Wotan. Sieglinde tells Brünnhilde that without Siegmund she no longer wishes to live.
The best known of these was the insertion of "Una furtiva lagrima" and the duet between Adina and Nemorino in the first act, "Chiedi all'aura lusinghiera". The melody to the duet "Io son ricco e tu sei bella" in act 2, scene 1 recurs in the final scene of the opera sung by Dulcamara as a solo aria with new scabrous lyrics.
Che di calma un'ombra and his duet with Publius (Act 1, scene 1), the Septimus and Argelia's duet (Act 1, scene 3), the final trio of the act 1, for which the work owes much of its popularity in the nineteenth century, the Murena's mad scene in Act 2 and the duet between Argelia and Murena, also in act 2.
Tchaikovsky's friend Konstantin Shilovsky contributed M. Triquet's verses in Act 2, Scene 1, while Tchaikovsky himself arranged the text for Lensky's arioso in Act 1, Scene 1, and almost all of Prince Gremin's aria in Act 3, Scene 1. [1] Eugene Onegin is a well-known example of lyric opera, to which Tchaikovsky added music of a dramatic nature ...
The opera is regarded as a leading example of the bel canto genre, and the soprano prayer "Casta diva" in Act 1 is a famous piece. Among the well known singers of Norma of the first half of the 20th century was Rosa Ponselle who played the role in New York and London.
Debussy decided to remove four scenes from the play (act 1 scene 1, act 2 scene 4, act 3 scene 1, act 5 scene 1 [18]), significantly reducing the role of the serving-women to one silent appearance in the last act. He also cut back on the elaborate descriptions that Maeterlinck was fond of.