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The première of Meyerbeer\'s Le Prophète in the Hungarian National Theatre on June 12th 1850 was an event of unprecedented importance in the short history of professional opera in the Hungarian language. In my paper I am going to demonstrate the role of the orchestra in the success of this work. I shall combine this with the presentation of other outstanding aspects of the performance so that we shall be able to fairly judge the orchestra\'s contribution to the success.

A presente pesquisa tem como finalidade apresentar uma leitura da obra poética de Giacomo Leopardi, com um olhar atinente à estilística. A fim de abrir horizontes, no sentido de novas pesquisas e perspectivas da poética leopardiana, escolheu-se fazer um cotejo entre poemas selecionados e as suas traduções em língua portuguesa do Brasil, paralelamente, de modo que a análise estilística, feita em etapas, contribua para mostrar o sentido presente no texto poético, sentido esse que pode estar alterado na versão traduzida. Quatro foram os poemas escolhidos: Il passero solitario, Linfinito, Canto notturno di un pastore errante dellAsia e La ginestra, o il fiore del deserto, representando um conceito que circula há tempo, mas que se acredita manter a sua importância, referente às fases do pessimismo leopardiano: individual, histórico, cósmico e heroico. / The present study is to present a reading of the poetry of Giacomo Leopardi, with a look regards on the stylistic. In order to open horizons to new research and perspectives of Leopardi´s poetry we chose to make a comparison between the selected poems and their translations into Portuguese of Brazil, in parallel, so that the stylistic analysis, done in stages contributes to show the sense in this poetic text, meaning that it can be altered in the translation. Four poems were chosen: Il passero solitario, Linfinito, Canto notturno di un pastore errante dellAsia e La ginestra, o il fiore del deserto, representing a concept that circulate for some time, but believed to remain important, on stages of Leopardi´s pessimism: individual, historical, cosmic and heroic.

The songs of Puccini provide another approach to understanding the composer's musical development. The objective of the study is twofold; first to provide a discussion of the musical style of Puccini's songs; and second, to show how Puccini utilized and integrated the preexistent material into the operas. The songs are grouped and characterized in three stylistic periods. In each period, Puccini was concerned with different issues in text setting. They anticipated or corresponded to the musical style of his operas, and this is evident by his use of the earlier songs in the later operas. Three examples of such cases are examined. The details involved in the transformation of self-borrowing are illustrated in terms of recomposition, expansion of the vocal line and orchestration. Each case illustrates the textual and/or musical consideration by Puccini of the original source for the new dramatic context of the opera. The borrowed material, often incorporated with new themes and expressive orchestration, blooms as an effective dramatic piece of music in his operas. In addition to the lecture recital, based on the dissertation and given on June 23, 1997, three other public recitals were performed. The first, on February 27, 1989, included works of Schubert, Brahms, Wolf, and Strauss. The second program, an operatic performance of The Queen of Spades by Tchaikovsky, was given on April 20, 1991. The third recital was performed on February 20, 1995, and included works by Handel, Mozart, Stravinsky, Schubert, Poulenc, and Turina.

A presente pesquisa tem como finalidade apresentar uma leitura da obra poética de Giacomo Leopardi, com um olhar atinente à estilística. A fim de abrir horizontes, no sentido de novas pesquisas e perspectivas da poética leopardiana, escolheu-se fazer um cotejo entre poemas selecionados e as suas traduções em língua portuguesa do Brasil, paralelamente, de modo que a análise estilística, feita em etapas, contribua para mostrar o sentido presente no texto poético, sentido esse que pode estar alterado na versão traduzida. Quatro foram os poemas escolhidos: Il passero solitario, Linfinito, Canto notturno di un pastore errante dellAsia e La ginestra, o il fiore del deserto, representando um conceito que circula há tempo, mas que se acredita manter a sua importância, referente às fases do pessimismo leopardiano: individual, histórico, cósmico e heroico. / The present study is to present a reading of the poetry of Giacomo Leopardi, with a look regards on the stylistic. In order to open horizons to new research and perspectives of Leopardi´s poetry we chose to make a comparison between the selected poems and their translations into Portuguese of Brazil, in parallel, so that the stylistic analysis, done in stages contributes to show the sense in this poetic text, meaning that it can be altered in the translation. Four poems were chosen: Il passero solitario, Linfinito, Canto notturno di un pastore errante dellAsia e La ginestra, o il fiore del deserto, representing a concept that circulate for some time, but believed to remain important, on stages of Leopardi´s pessimism: individual, historical, cosmic and heroic.

The aim of this thesis is twofold: it explores Giacomo Leopardi's (1798-1837) interpretation of, and engagement with, Greek pessimistic thought and, through him, it investigates the complex and elusive phenomenon of Greek pessimistic thought itself. This thesis contends that Greek pessimistic thought – epitomised by but not limited to the famous wisdom of Silenus, the µὴ φῦναι topos – is an important element of Greek thought, a fundamental part of some of Greece's greatest literary works, and a vital element in the understanding of Greek culture in general. Yet this aspect of ancient thought has not yet received the attention it deserves, and in the history of its interpretation it has often been forgotten, denied, or purposefully obliterated. Furthermore, the pessimistic side of Greek thought plays a crucial role in both the modern history of the interpretation of antiquity and the intellectual history of Europe; I argue that this history is fundamentally incomplete without the appreciation of Leopardi's role in it. By his study of and engagement with ancient sources Leopardi contributed to the 19th century rediscovery of Greek pessimistic wisdom, alongside, though chronologically before, the likes of Arthur Schopenhauer, Friedrich Nietzsche, and Jacob Burckhardt. Having outlined some fundamental steps in the history of the reception of Greek pessimism, this thesis examines the cardinal components of Leopardi's reception of it: his use of Greek conceptions of humanity to undermine modernity's anthropocentric fallacy, his reinterpretation of the Homeric simile of the leaves and its pessimistic undertones, and his views on the idea that it would be best for man not to be born.

by Cheung Ki Kitty. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1998. / Includes bibliographical references (leaves 123-126). / Abstract also in Chinese. / Chapter 1 --- Introduction --- p.1 / Chapter 2 --- La boheme (Mimi) --- p.7 / Chapter 3 --- Tosca (Tosca) --- p.26 / Chapter 4 --- Madama Butterfly (Cio Cio San) --- p.45 / Chapter 5 --- Conclusion --- p.62 / Appendix --- p.68 / Bibliography --- p.123

Thesis (D. Mus. Arts)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 100-102).

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Thesis (Ph. D.)--University of Hawaii at Manoa, 2005. / Includes bibliographical references (leaves 257-269). / Also available by subscription via World Wide Web / ix, 269 leaves, bound ill., music 29 cm