Word: rosina
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...London tabloid. Others were British soldiers on leave from their units in West Germany. The ferry was about three- fourths of a mile from the harbor when something went very wrong. "All of a sudden there was the shock of the boat shaking and listing," recalled Passenger Rosina Summerfield. "It continued to fall over until it was completely flat on its side. The people were screaming...
...eldest of their three children. When the television show The $64,000 Question called, trying to book Jimmy for an appearance, they declined. When Comedian Sam Levenson wanted to cast him as a musical genius in a TV show, they turned him down. When the legendary piano teacher Rosina Lhévinne of the Juilliard School first heard Jimmy play and said, "I must have this child," they told her to wait until he was older. Says Levine: "My parents handled all the critical decisions of my early life sensationally well...
...Barber of Seville (which comes in the first half) is a comedy, in which the intelligent barber aids a romantically inclined count (James Bundy) to gain the hand of the object of the count's affection, stealing the beautiful Rosina from under the nose of her nasty guardian (Ralph Zito). All ends well, he who laughs last laughs best, and--though we are left with a measure of sympathy for the ward-less guardian--the curtain closes on the first half with great good humor...
...least as presented in this version, is a little less cutesy. To begin with, there's a major shift in mood: Figaro is not straight comedy, which The Barber certainly is. Instead, it is a fairly cynical look at marriage (the four-years-later episode of Count Almaviva and Rosina's romance), the master-servant relationship (the Count repays Figaro's first act help by demanding the droit du signeur of Figaro's bride), all made more complicated than necessary by intrigues and mishaps. The cast manages generally to overcome the mood-change by keeping the tone as lighthearted...
...taken over by Rossini and the other by Mozart, and the operas effectively put a smokescreen over the originals. Cutting and combining the two plays gives the whole show a fascinating irony. The first play was lighter-hearted, and ended happily with the Count marrying the girl, Rosina. But in the second play, the situation changes--the Count, the hero of the first part, is trying to make off with his servant Figaro's intended bride. In the first play the servant had an alliance with the master; here he plots against his master. That was a revolutionary thing...