 ... not a positive rule, it was at least a practice hardly ever departed from, to make them all lovers ; — a practice, the too slavish adherence to which introduced feebleness and absurdity into some of the finest works of Metastasio. The principal...  Hood's Magazine - Página 361848Visualização completa - Sobre este livro
 | 1841 - 616 páginas
...submit. " In the structure of an Italian opera," says Mr. Hogarth, speaking of the period in question, " the number of characters was generally limited to...hardly ever departed from, to make them all lovers. The principal male and female singers were each to have airs of all the different kinds. The piece... | |
 | George Hogarth - 1851 - 396 páginas
...constructed according to a model from •which no deviation was permitted. In the structure of an opera the number of characters was generally limited to...absurdity into some of the finest works of Metastasio. 2 The principal male and female singers were, each of them, to have airs of all the different kinds... | |
 | Miss Ludlow - 1851 - 486 páginas
...society. In France, however, it had then obtained no footing whatever. In the structure of an opera, the number of characters was generally limited to six, three of each sex. The piece was to be divided into three acts, and not to exceed a certain number of verses. The air... | |
 | Daniel Huntington - 1838 - 492 páginas
...society. In France, however, it had then obtained no footing whatever. In the structure of an opera, the number of characters was generally limited to six, three of each sex. The piece was to be divided into three acts, and not to exceed a certain number of verses. The air... | |
 | 1875 - 486 páginas
...society. In France, however, it had then obtained no footing whatever. In the structure of an opera, the number of characters was generally limited to six, three of each sex. The piece was to be divided into three acts, and not to exceed a certain number of verses. The air... | |
 | 1879 - 512 páginas
...society. In France, however, it had then obtained no footing whatever. In the structure of an opera, the number of characters was generally limited to six, three of each sex. The piece was to be divided into three acts, and not to exceed a certain number of verses. The air... | |
 | Miss Ludlow - 1879 - 494 páginas
...society. In France, however, it had then obtained no footing whatever. In the structure of an opera, the number of characters was generally limited to six, three of each sex. The piece was to be divided into three acts, and not to exceed a certain number of verses. The air... | |
 | Henry Edward Krehbiel - 1898 - 296 páginas
...Aria di Strepito, and Aria Infuriatd), and Aria di Bravura (ord'agilita): In the structure of an opera the number of characters was generally limited to...of them, to have airs of all the different kinds. The piece was to be divided into three acts, and not to exceed a certain number of verses. It was required... | |
 | Percy Carter Buck - 1904 - 374 páginas
...number of characters was generally limited to six, three of each sex ; and if it were not a~positive rule it was at least a practice hardly ever departed...each of them to have airs of all the different kinds -. The piece was to be divided into three acts, and not to exceed a certain number of verses. It was... | |
 | William Henry Hadow - 1904 - 368 páginas
...which, though well known, is worth reproducing as a summary. ' In the structure of an opera,' he says, ' the number of characters was generally limited to six, three of each sex ; and if it were not a positive rule it was at least a practice hardly ever departed from to make them all lovers... | |
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