This examination essay is a study of the aria Ritorna vincitor! from the opera Aida by composer Giuseppe Verdi. The aim of this study is to address the vocal and interpretational questions that may arise while learning the aria. My work with this essay has included searching for information about Verdi, the opera Aida and the cultural, political and musical climate wherein the opera was born. I have also watched the opera and listened to several versions of the aria. I concentrated especially on the interpretations of Mirella Freni, Leontyne Price and Maria Callas. I also created a musical analysis of the aria. Throughout the process of writing this essay I have kept in my mind my own perspective as a singer. I have formed my study from the information I find useful in the process of approaching a new piece of music. The process of writing this essay has provided me with a lot of insight into the musical ideals and ideas behind Verdi’s work. Writing this essay made me aware of the dilemma of fulfilling the vocal expectations of the tradition and at the same time interpreting the drama convincingly. I have found a lot of useful material for a singer’s artistic development and all that I have learned will certainly come into use in my future vocal studies.

The leading baritone roles in the operas of Giuseppe Verdi, known as Verdi baritone roles, presented new challenges for the singers who first interpreted these roles. Their demanding tessitura and complex characterizations tested the skill of a generation of singers who began their careers singing the roles of Gioacchino Rossini, Gaetano Donizetti, Saverio Mercadante, Vincenzo Bellini and Giovanni Pacini in the lighter, bel canto style. The purpose of this study is to examine the careers of singers active in Italy between 1830 and 1845 and to provide insight as to which roles written before the premiere of Verdi's Nabucco contained similar vocal and characterization demands. Through examination of available Italian opera house annals, ten singers were identified by the author as precursors to the Verdi baritone, and are categorized into three groups: the pre-Verdi baritones, the transitional baritones and the established Verdi baritones. A brief biography of each singer is included, as well as an appendix for each singer that includes roles performed, dates and locations of the performances. The title role in Donizetti's Torquato Tasso and the role of Manfredo in Mercadante's Il giuramento were determined to be the roles most similar to Verdi's Nabucco. Each role is analyzed in terms of characterization and tessitura demands, and is compared using tessitura charts that account for the frequency and duration of individual pitches. The roles are divided into sections, and each section is designated by its overall range, primary tessitura, secondary tessitura, and weighted pitches. These designations provide quantifiable evidence that each role presents similar challenges for the baritone.

Thesis (D.M.A.)--Ohio State University. / Includes bibliographical references (leaves 122-125). Available online via OhioLink's ETD Center.

This thesis try to contribute a legal research of the commercial arbitration system in Mainland China . With the developing of the Mainland China¡¦s economy, China¡¦s government is devoted to establish the legal system of the foreign investors don¡¦t trust the legal system of PRC. The commercial arbitration is a common and important way of the international disputes resolution. It will be more popular in the future.This article discusses about the international arbitration and the China¡¦s new commercial arbitration system. Not only introduces the arbitration law of PRC, but also discusses the internati -onal arbitration,for example UNCITRAL MODEL LAW and THE NEW YORK CONVENTION. This article also discusses relation between arbitration and the courts.

The diploma work is focused on analysis of particular stagings of Verdi´s La traviata that have been assessed independently, without being influenced by other sources (reviews), on the basis ov videorecordings of life performances. These opera performances are compared from singer´s, director´s and staging point of view. All opera versions are sorted out into various parts according to common aspects and then are analysed. A brief description of Verdi´s work compiled chronologically as well as a historical portfolio of the opera La traviata (its first night both in Venice and in our country) are included.

The master’s thesis deals with the theme creation of the opera production of Giuseppe Verdi with the focus on his opera Falstaff and deals with significant important interpretations of this opera. This dissertation is supposed to bring a complete picture of Verdi’s opera production pointing out some details which are not commonly known nor from the public nor in the professional music world. What appears in this work is Verdi’s correspondence (letters). I consider these letters an authentic source to understand Verdi’s creative and artistic intentions. Hereafter I portray an idea of how to perceive opera Falstaff not only from my point of view but I used the lead from the Italian reviews and musicology.

This thesis aims to provide an analytical study of the Giuseppe Verdi's last dramatic opera, Otello. We have tried to condense the most prominent contributions in the academic world in relation to this opera with two purposes: on the one hand to offer them for the first time in Spanish language and on the other hand to use them as a basis for our own study. Once we followed the steps Verdi's Otello run from the original idea to its crystallization, and once we examined the content of composer and librettist correspondence, we were able to provide three different nature analysis. The first one focuses on the comparison between the opera's text and the Shakespearian drama in the François Victor Hugo version -on which Boito based his adaptation- in order to elucidate which content from the original work remains in the one of the librettist. We concentrated then our study in the strictly musical subject, by clearing up which is the language employed by the composer in order to develop the work, and the resources he uses in order to build his music. Finally, we offer an integrated analysis focused on the relationship between music and text that establishes which are the dynamics employed to connect and supply dimension to the drammaturgy of the work. This thesis demonstrates that Verdi uses a new style when composing this opera, underlying a desire to break with the Ottocento traditional musical form, without sacrificing his irrefutable hallmark. / Esta tesis pretende realizar un estudio analítico de la última ópera dramática de Giuseppe Verdi, Otello. En ella se han tratado de condensar las aportaciones más notables en el mundo académico respecto a esta ópera con dos fines: por un lado, ofrecerlas por primera vez en lengua española, y por otro, como base para nuestro propio estudio. Después de seguir los pasos que recorrió el Otello de Verdi desde el nacimiento de la idea hasta la cristalización de la misma y de examinar el contenido de la correspondencia entre el compositor y su libretista, se proporcionan tres análisis de diferente naturaleza. El primero de ellos se centra en la comparación entre el texto de la ópera y el drama shakespeariano en la versión de François Victor Hugo -sobre la cual Arrigo Boito basó su adaptación-, para dilucidar qué es lo que queda del drama original en el libreto. A continuación focalizamos nuestro estudio en la parte estrictamente musical, precisando cuál es el lenguaje que emplea el compositor para desarrollar la obra y qué recursos utiliza para construir su música. Finalmente, ofrecemos un análisis integrado que atiende a la relación entre música y texto, para establecer las funciones que desempeñan ambos elementos y extraer cuáles son las dinámicas utilizadas para conectar y dimensionar la dramaturgia de la obra. La tesis demuestra que Verdi utiliza un lenguaje novedoso en la composición de esta ópera, reflejándose en la búsqueda latente de romper con las formas tradicionales del Ottocento, sin renunciar a su sello irrefutable. / Aquesta tesi pretén realitzar un estudi analític de l'última òpera dramàtica de Giuseppe Verdi, Otello. Hem tractat de condensar les aportacions més notables del món acadèmic respecte d'aquesta òpera amb dues finalitats: d'una banda, oferir-les per primera vegada en llengua espanyola, i d'altra, com a base per al nostre propi estudi. Després de seguir els passos que va recórrer l'Otello de Verdi des del naixement de la idea fins a la seua cristal·lització i d'examinar el contingut de la correspondència entre el compositor i el seu llibretista, es proporcionen tres anàlisis de diferent natura. La primera d'elles se centra en la comparació entre el text de l'obra i el del drama shakespearià en la versió de François Victor Hugo -sobre la qual Arrigo Boito va basar la seua adaptació-, per tal de dilucidar què queda del drama original en el treball de Boito. A continuació, hem focalitzat el nostre estudi en la part estrictament musical i hem descobert quin llenguatge utilitza el compositor per a construir la seua música. Per a finalitzar, proposem una anàlisi integrada, centrada en la relació entre música i text, per tal d'establir les funcions que exerceixen ambdós elements i extraure les dinàmiques utilitzades per a connectar i dimensionar la dramatúrgia de l'obra. Aquesta tesi demostra que Verdi utilitza un llenguatge innovador en la composició d'aquesta òpera, que es reflecteix en la cerca latent del trencament amb les formes tradicionals de l'Ottocento, tot i que sense renunciar al seu segell irrefutable. / Ferrando Montalvá, M. (2017). OTELLO: ESTUDIO ANALÍTICO DE LA ÚLTIMA ÓPERA TRÁGICA DE VERDI EN SU CONTEXTO [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90494 / TESIS

The goal of the project was to simulate a typical silicon detectorresponse in an experiment made at the Tandem lab in Uppsala. The plasma delay time was analyzed by simulating the experiment. Three different models of the plasma delay time were introduced and their effects on time of flight measurements were studied. A continuation of the main goal was to see if the inserted PDT models could be extracted from the simulations when being treated as a pseudo experiment, to see theoverall effectiveness of the experiment. When comparing the final simulations with actual measurements, it was concluded that the main properties of the detector response had been featured and that the simulations were successful. The successful extraction of the inserted plasma delay times and their dependencies on energy also proved that the experiment was a good one. The result of the project was that one of the models seemed to have a strong mass dependence, however with no clear dependence on the energy. The other two models showed a somewhat similar dependence on energy. One of the two models also showed a relatively weak mass dependence.

Develop a character, delve into the skin, into the psyche, what the character looks like,how they speak, how they react, what their worries and fears are, what their joys, their goals and their greatest desires are; is not easy. It takes time to think, to observe, to read, to search, to wait. For a singer the search is twofold. We must look for the dramatic but also musical character, as expressed in music in style and vocal technique.In our professional life, time passes in different ways, preparation times are often very short, not to mention substitutions, where many times you have to jump into a production that is already in progress, without time to think, just to do. It was a desire I had for a long time to rediscover my own process, to dedicate time to scrutinize details where I had not been able to before. To observe my path as a student again and have the time to savor learning new things.Violetta seemed like the biggest challenge of my career and I definitely wanted to go to another level. Violetta, a door, a key to develop my strengths as an art and stage professional. The most difficult thing I could find, the strongest challenge that a soprano can face... I put it at the centre of my time and my research.

The objective of this dissertation, inspired by performance experience, was to establish the similarities in the use of recitative style in the music of Claudio Monteverdi and Giuseppe Verdi. To achieve this objective, their use of recitative style was examined through comparative analysis of four scenes from their operas: “Arianna's Lament” from L'Arianna and “Disprezzata regina” from L'incoronazione di Poppea by Monteverdi, and “Condotta ell'era in ceppi” from Il trovatore and “Judgment Scene” from Aida by Verdi. The examination of the similarities included a discussion of the following: (a) the historical influences and cultural backgrounds of the composers; (b) general similarities in their compositional approaches to recitative style; (c) comparable characteristics of the dramatic recitative style in the early Baroque monody and in Verdi's operas; (d) similarities in musical characterization and expression of affective and emotional content through stylistic musical devices; (e) similarities in the composers' approaches to vocal and acting issues with special emphasis on the problems of diction; and (f) some related performance-practice issues. A discussion of the poetic lament and the influence of its form and content on musical setting was also a part of this research. The comparative research revealed numerous similarities in the historical circumstances influencing Monteverdi's and Verdi's choice of musical styles; their motivation; formal and stylistic characteristics of their dramatic recitative scenes; their choice of libretto; their use of the elements of lament; their musical treatment of emotional content of the text; and their prerogatives in vocal and acting issues. Numerous similar characteristics were also established regarding vibrato, tempo, rhythm, and ornamentation in the performance practice of the early Baroque recitative soliloquy and Verdi's dramatic recitative scenes. The similarities of the four scenes' functions, topics, form, and characterization through devices of musical style indicated a fundamental continuity in the development of Italian opera from its inception to the end of the nineteenth century.