Anagram & Information om | Engelska ordet AMOROSI

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• His first book of affetti amorosi (1608) is in the most modern canzonetta style, using affective chromaticism and continuo.
• Among the prose works are Discorsi degli animali, derived from the animal fables of Aesop and the Panchatantra; Dialogo delle bellezze delle donne (Dialogue of the beauty of women), also translated into French; Ragionamenti amorosi, a series of short tales in the manner of Boccaccio, rivalling him in elegance and in licentiousness; Discacciamento delle nuove lettere, a controversial piece against Giangiorgio Trissino's proposal to introduce new letters into the Italian alphabet; a free version or adaptation of The Golden Ass of Apuleius, which became a favorite book and passed through many editions; and two comedies, I Lucidi, an imitation of the Menaechmi of Plautus, and La Trinuzia, which in some points resembles the Calandria of Cardinal Bibbiena.
• The opera he composed for the Roman Teatro d’Alibert, in the Carnival of 1740, was not presented due to the sudden death of Pope Clement XII, but on Perez's return to Naples he staged an opera buffa, I travestimenti amorosi and a serenata L’amor pittore for the court, and an opera seria, Il Siroe, for the Teatro San Carlo.
• His activity as a poet went on with Canzonette mortali (1987), Versi guerrieri e amorosi (1990), Ogni terzo pensiero (1993, with which he won the Viareggio Prize for poetry), Quare tristis (1998), and Barlumi di Storia (2002).
• Il ballo delle ingrate was published as part of Monteverdi's Eighth Book of Madrigals (Madrigali guerrieri, et amorosi) in 1638.
• Il gondoliere veneziano o sia Gli sdegni amorosi, The Venetian Gondoliere or the Lover's Scorn (1733).
• Following the conventions of the operatic theatre of the time the company was usually supposed to consist of a couple of female singers to take the roles of prima and seconda donna (first and second ladies); a couple of musici ("musicians", a euphemistic term for "castrati"), who might be replaced by women en travesti, for the roles of first and second amorosi ("lovers"); a baritenor (or, if there was no alternative, a bass) for the roles of father, general or rival – if the characters were good – or, more often, the villain; and probably other singers used in the tertiary roles, of little importance and often even lacking independent arias.

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