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Word: paisiello (lookup in dictionary) (lookup stats)
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...contain a scholarly aspect. She has made concerted efforts during her career to champion marginalized composers and underrated works that are rarely performed for the public. Her impressive commitment to the popularization of early music is evident in her work to bring the compositions of figures such as Scarlatti, Paisiello, Caldara, Caccini, Vivaldi, Gluck, and Salieri to the attentions of contemporary concert-goers and music-lovers...

Author: By Sarah R. Lehrer-graiwer, CRIMSON STAFF WRITER | Title: Concert Review | 3/5/2004 | See Source »

...music today-a burgeoning interest in the baroque and post-baroque. Its leader, Renato Fasano, has played a pioneering role in bringing back Vivaldi and Corelli with his celebrated chamber ensemble Virtuosi di Roma. Now he is doing the same thing for the chamber operas of such composers as Paisiello, Cimarosa and Rossini...

Author: /time Magazine | Title: Music: Pioneering the Old | 4/26/1968 | See Source »

...imported all but one of its seven principals from outside Harvard and turned them loose on a masterpiece that is easily maimed in performance and only too notorious for its structural lapses and dramatic incongruities. Far sounder cases can be made for the recent Lowell productions, House Afire, the Paisiello Barber, and the forthcoming Turn of the Screw, and for the Eliot-Leverett Cosi fantutte of last year...

Author: By Jeffrey B. Cobb, | Title: Don Giovanni | 4/28/1966 | See Source »

...Robert Kettleson (Count) standing agape when Robert Croog (Figars) is singing at him, he has him fall asleep--because of an all-night, we are informal. Thomas Weber (Bartolo) doesn't manage to get dressed until the final scene. And lest anyone suspect him of taking a production of Paisiello's Barber of Seville at all seriously, Schwartz throws in the usual sighs and winks and swaggers...

Author: By Harrison Young, | Title: The Barber of Seville | 3/26/1965 | See Source »

...incendiary dramatic power. Her voice is not exceptional: lighter than most, it does not have a particularly beautiful finish. But, as she demonstrated again last week in Nina, she outdistances most other singers in the way she throws herself into a role. Sciutti so identified herself with Paisiello's heroine that "I started to think I was going completely mad." With every movement of her curvy body and every inflection of her fresh voice, she threw into startling relief the flickering mind of a girl gone mad with grief. "An almost perfect execution!" glowed Milan's Corriere...

Author: /time Magazine | Title: Music: Piccolo Collos | 1/27/1961 | See Source »

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