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The Thieving Magpie (La Gazza Ladra) is a double live album by the British neo-prog band Marillion.It was named after the introductory piece of classical music the band used before coming on stage during the Clutching at Straws tour 1987–1988, the overture to Rossini's opera La gazza ladra, which translates as "The Thieving Magpie".
The Thieving Magpie is best known for the overture, which is musically notable for its use of snare drums. This memorable section in Rossini's overture evokes the image of the opera's main subject: a devilishly clever, thieving magpie. Rossini wrote quickly, and La gazza ladra was no exception. A 19th-century biography quotes him as saying that ...
"La Gazza Ladra" ("The Thieving Magpie", Abridged) (Gioachino Rossini) 5:50: Not actually commissioned for the movie, but inspired by the movie's use of the orchestral version. "Theme from A Clockwork Orange (Beethoviana)" 1:44: The title theme reset in the style of Beethoven and played using flute-like tones. "Ninth Symphony: Second Movement" 4:52
The second soundtrack album contains a synthesiser version of Rossini's "La Gazza Ladra" (The Thieving Magpie); the film contains an orchestral version. In 1998, a digitally-remastered album edition, with tracks of the synthesiser music was released.
La gazza ladra, an 1817 opera by Rossini; La gazza ladra, 1934 short by Corrado D'Errico; La gazza ladra (animated film) , 1964 Italian animated film about a "real" thieving magpie with soundtrack based on Rossini's opera; Thieving Magpie , 1848 novel by Alexander Herzen about a production of the French play in a Russian serf theatre; Thieving ...
2013年撮影. Emanuele Luzzati (3 June 1921 – 26 January 2007) was an Italian painter, production designer, illustrator, film director and animator.He was nominated for Academy Awards for two of his short films, La gazza ladra (The Thieving Magpie) (1965) and Pulcinella (1973).
Samuel Ramey (born March 28, 1942) is an American operatic bass. [1] [2] At the height of his career, he was greatly admired for his range and versatility, having possessed a sufficiently accomplished bel canto technique which enabled him to sing the music of Handel, Mozart and Rossini but with enough vocal power to handle the more overtly dramatic roles in Verdi, Puccini, and Meyerbeer operas.
The book was considered by critics to be an antithesis of the previous Tintin ventures. [33] Michael Farr, author of Tintin: The Complete Companion, stated that in The Castafiore Emerald, Hergé permits Haddock to remain at home in Marlinspike, an ideal that the "increasingly travel weary" character had long cherished, [34] further stating that if Hergé had decided to end the Tintin series ...