Gym And Fitness Gymnasium

Gym and Fitness Gymnasium
Project Proposal
e–Learning: Use of Gym Equipment
Client: Health and Fitness Gymnasium NSW Tafe's Randwick Campus Client Contact: John Smith Project
Manager: John Klyza Project Start Date: 22 July 2008 Projected Finish Date: 02 December 2008 John
Klyza 8/15/2008
Table of Contents
Executive Summary 1.0 Introduction 1.1 Project Description 1.2 Project Objectives 1.3 Target Audience
2.0 Concept and Ideas 2.1 User interface 3.0 Proposed Work Schedule 4.0 Recommendations References
i 1 2 2 3 3 4 5 7 9
Tables
Table 1.0 Estimate time of completion 6
List of Figures
Figure 1.0 Mind Map showing the concept and the various ideas for implementing the product. Figure 2.0
The products navigation path. Figure 2a Scenario Interface Figure 2b ... Show more content on
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Virtual worlds show promise in education particularly among traditional age students who have grown up
in an electronic culture. Scenarios are more–or–less realistic scenes that set the stage for an interaction
between a digital media product and a user. The learner
1
navigates through by choosing options and is given feedback based upon their choice. Scenario based
learning makes information and knowledge available to those who need it, when they need it.
1.1 Project Description
This report is in response to the health and fitness gymnasium located at New South Wales TAFE's
Randwick Campus (the client). The client wish's to evaluate the potential of using scenario–based training
allied with interactive digital media technologies (the product).
1.2 Project Objectives
The aim of this project was clarified after consultation with the client and subject matter expert
(gymnasium's manager). JKlyza Graphics is to provide the client with a product (CD/DVD) containing the
following:

i) A narrated video tour of the fitness studio that highlights the equipment groupings. ii) Information on
the rules for using the studio with a scenario–based training application to enable customers to test their
knowledge of these rules in a variety of situations. iii) Images of a range of equipment for exercising a
selected muscle group (Legs, Arms, etc.) and a quiz for matching the equipment required to exercise
specific muscles within the group. The shoulders have
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Analysis Of Richard Wagner's Views Of Jewish Artists And...
One of Wagner's main arguments against Jewish artists and their music were that the musicians could only
produce inferior derivations of pure European art they could never fully express themselves Wagner
seemingly held the belief that Jewish musicians were not able to fully comprehend modern European
languages because they were "merely learnt" by Jewish artists and therefore "have remained...a foreign
tongue" (Wagner, 7). Wagner's impression was that Jewish artists works' expressivity was limited due to
the fact that, from Wagner's perspective, Jewish artists didn't fully understand the complexities of modern
European languages and therefore lacked the ability to properly use European languages to convey
profundity or significance within their musical works. The other main argument from Wagner was that
Jewish artists' nature, appearance, and the overall tones in their speech and music were innately vexing to
true Europeans solely because the artist was Jewish. This ad hominem argument from Wagner stems from
his thought that Jewish artists' ... Show more content on Helpwriting.net ...
Wagner felt that Mendelssohn's music was incapable of grasping the listeners' deepest feelings and
emotions; only being able to allow the listeners to superficially enjoy the music as a fleeting fancy instead
of a deeply emotional experience that true European musicians were able to extract through their works
(Wagner, 11–12). Wagner writes his views in a way that almost seems to, at first, compliment
Mendelssohn's attempt to extract true emotion from his listeners but his condescending praise morphs into
a "We have only been able to feel engrossed where nothing beyond our more or less amusement–craving
Phantasy was roused...as in the kaleidoscope's changeful play of form and colour...but never where those
figures were meant to take the shape of deep and stalwart feelings of the human

Key Function Of Baroque Opera
dramatic "art of the future", is a reality experienced by anyone who has surrendered to Wagner.
In contrast to Gesamtkunstwerk is Baroque Opera music the key function of Baroque opera is moody.
Music in which a solo vocalist songs the melody of the song while other instruments provide
accompaniment. Mood was a distinctively important element to Baroque music, distinguished from the
polyphony– based vocal music of the Renaissance period. Baroque opera com posers were more precise
and specific in their compositions than previous creators of Vocal music,"6specifying particular
instruments or combinations of instruments intended to suit the emotional tone of each scene in the
opera."
In clear contrast it is noticeable that the Baroque era required complex instrumentation, high volumes of
exaggeration and ornamentation whilst Gesamtkunstwerk ... Show more content on Helpwriting.net ...
It is surely well know that in many of these sources the text was entered in advance of the melody. The
music scribe then had the task of adjusting as well as possible to the predetermined spaces allotted to him.
Often it seems that matters of text underlay depends at least as much on oral tradition as on the MS
evidence. We find, furthermore, that there are instances in which differences in melody transmission affect
matters of text underlay."
The relationship between music and text are based on various assumptions. Opera poses several problems
in addition to vocal music especially with regards to libretto, it does not only require the need for a
singable text but also require that literature should be suitable for the musical stage.
Libretto requires the modification and drastic shortening of the text, 'multiplications and heightening of
climaxes, suppression of elaborate or close reasoning, and language which is to be felt in song rather than
understood word by

Comparing The And The Church Today
While it seems very easy to compare the church in 1700–1750 to the church today, the cantata in Leipzig
during that time is much more like a contemporary pop artists' concert. A certain status comes from being
seen at popular concerts, whether it is in person or via social media, much like the importance of being
seen and socializing at the worship services in Leipzig. For many reasons the congregants of 18th century
churches were much like the attendees of the 21st century concerts; these similarities are apparent when
laid out next to one another.
Just as "people sang by heart the sixteenth–century hymns of Luther and other reformers"(183)
individuals who attend concerts today know the words and sing along to every song. Much like how many
occupations were present at each service then, many occupations are present at concerts today, with the
wealthy being the most prominent. Similarly to the placement of seats with the most affluent seated
towards the front in the Leipzig churches, the more wealthy individuals get to stand on the front row at the
Justin Bieber concert. Individuals would show up late to the performance in time to hear the cantata and
leave once it had concluded. Today concertgoers arrive after the opening act has performed, only to attend
the performance of the main artist.
In both the 18th century Cantata and the 21st century pop concert people attend for social reasons, talking
to their friends throughout the entire performance. The richly decorated

Authentic Performance Essay
Introduction
Messiah is an oratorio, written in English and composed by George Frideric Handel in 1741, with a
scriptural text compiled by Charles Jennens from the King James Bible and the version of the Psalms
included with the Book of Common Prayer. It was first performed at the Great Music Hall, Fishamble
Street in Dublin on 13th April 1742. From this modest premiere, it gained huge popularity and has
become one of the most well–known and regularly performed pieces of Western choral music. This essay
will discuss whether it is possible to produce an authentic performance of the work and if that is desirable.
Authentic Performance ("AP")
The concept of Authentic Performance ("AP") is an artistic ideal involving playing a piece of music as ...
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Nor do newspaper reports really help us understand how it was performed– they simply report it as a
"triumph" and a "delight".
Specifically
There is also a specific conundrum with an AP of Messiah– we need to decide which performance we are
trying to replicate, as there is no single, definitive version of the oratorio. In total Handel created
altogether nine different versions of the work, and forty–three versions of the fifteen different solos. Every
single one of the nine different versions that Handel wrote is unique, and all have a wide variety of
approaches. Handel re–orchestrated the piece almost every time he re–performed it over the years before
his death in 1759, introducing new movements and re–writing others, as well as increasing the number of
performers/instrumentalists and making adjustments to suit the songs to the different singers'
competences. For example, at the London premiere on 23 March 1743, Handel wrote a new setting of
"And lo, the angel of the Lord for a new soprano, Kitty Clive, and added a new song ("Their sound is
gone out") for his favourite tenor, John Beard. For performances in 1750, he composed new versions of
the original bass arias "But who may abide" and "Thou art gone up on high" for the male (castrati) alto,
Gaetano

George Wilfred Handel's Messiah
For this analysis I chose George Friedrich Handel's Messiah (https://youtu.be/71NCzuDNUcg). Handel, a
German composer various different forms of orchestral works, operas, organ concertos, anthems and
oratorios who accomplished great success in England, was born on February 23rd 1685 and died on April
14th 1759. In 1741 he stopped composing operas, and focused on oratorios with his greatest composition,
Messiah however, before he wrote the Messiah, he had seriously considered going back to Germany. But
instead of giving up, he turned more strongly to God. This was during a time when illiteracy was
widespread and written copies of the Bible were expensive and difficult for the ordinary citizen to acquire,
Handel became excited about Jennens' ... Show more content on Helpwriting.net ...
Jennens' libretto which is "The text of a dramatic musical work such as an opera, including the lyrics to be
sung and sometimes interpolated spoken passages; A book containing such a text."; showed his
understanding of the Biblical account as he revealed the comprehensive story of God's salvation of His
people Handel's Messiah is arranged into three parts. The first presents the recounts the prophecy of the
Virgin Birth , the promise of salvation and the birth of Christ as the Messiah. The second part describes
the Passion of Christ, his death, resurrection and ascension as well as the work of redemption of
humankind. The third part looks to the final consummation of God's purpose of salvation in the future and
ends praise to Christ and His triumph over sin and death. Two movements in Messiah are wholly
instrumental: the overture and the Pifa; written into the strings that resembles shepherd's that became
known as the "Pastoral Symphony; and only a few movements are a duet or a combination of solo and
chorus. The solos are typically a combination of recitative and aria. The arias

Essay on Mozart and Die Zauberflöte
Wolfgang Amadeus Mozart, the Austrian wunderkind, was an accomplished and magnificently gifted
musician. He is attributed with the composition of 22 operas in his 35–year life, but his most successful
theatre work was his last. Die Zauberflöte, completed in 1791, was written specifically for the Theater auf
der Wieden in Vienna. The theatre housed a troupe of actors led by Emmanuel Schikaneder, a versatile
actor and writer who crafted the libretto of Zauberflöte and portrayed Papageno at its premiere.
Zauberflöte was written in the singspiel operatic style; the libretto is in the vernacular – German –
language, spoken dialogue is interspersed with recitative and aria, and there is a folk–like strophic style in
the music. Schikaneder had ... Show more content on Helpwriting.net ...
The rest of the orchestra enters; the high woodwinds take the fugue theme while the lower instruments
emphasize each downbeat with familiar chordal movement. The fugue enters the development section and
twists through a variety of major and minor tonalities. Mozart delays the recapitulation by inserting three
Adagio major chords repeated three times. Now the 'magic number' is made blatantly apparent. The
second Allegro opens, in Bb this time, and the anticipation build as Mozart introduces dramatic dynamic
contrast and contrapuntal texture. The overture ends in its original key, with three pronounced Eb major
chords accentuating the triumphant conclusion. The curtain rises on a rocky terrain with a frightened
Prince Tamino crying for help ('Zu Hilfe!). A terrible serpent is pursuing him, and the key of c minor
emphasizes his fear. The orchestra lays the scene with descending scales and sudden dynamic changes
until the Prince succumbs to his fright and passes out. Three handmaidens of the Queen of the Night slay
the serpent and resurrect the key of Eb ('Triumph!'). As they inspect the fallen Tamino, each maiden
develops a love for him and a brief Allegretto in 6/8 time ensues. Mozart shifts to G major for this section,
possibly because this key rests a third above Eb major. This forms a quasi–tonal triangle, which began in c
minor, ascended a third to Eb major, and rose a third time to G major.

Symptoms And Treatment Of Schizophrenia And Bipolar Disorder
Abstract
Risperidone has been utilized as an atypical antipsychotic and prescribed since 1994. It is mainly used for
treatment in those with schizophrenia, bipolar disorder, attention deficit hyperactivity disorder, and
irritability in autism spectrum disorder. Risperidone has multiple types of administration and the most
common is oral tablet form. This can be used in adults or adolescents, but is closely monitored when used
with children. The side effects for Risperidone should be taken into consideration by both prescribers and
prescribed. Finally, Risperidone should not be used while pregnant or nursing due to potential side effects
carried from mother to child. This second generation antipsychotic has been used for many years and will
continue to be prescribed in practice.
Antipsychotics are generally used to treat psychosis in mental disorders. These disorders include
schizophrenia and bipolar disorder (Thyssen et al., 2010). Risperidone is known as an atypical second
generation antipsychotic and used in the treatment of a multitude of disorders. This medication can often
challenge behavioral problems that are associated with schizophrenia, autism spectrum disorder, bipolar
disorder, or attention deficit hyperactivity disorder (Schatzberg & Nemeroff, 2013). It is important for the
prescriber to be aware of the side effect and any possible adverse reactions that may occur. There can be
many detrimental side effects that someone may not enjoy,

Madama Butterfly Essay
Un Bel Di, one of the most well–known arias from Madama Butterfly, was composed by Giacomo Puccini
in 1903. In Italian, Un Bel Di translates to,"one fine day", and is sung by the protagonist, Cio Cio San, at
the beginning of the second act. During this act, Cio Cio–san depicts her powerful emotions of love
towards her American husband named Benjamin Pinkerton, who is soldier that leaves Cio Cio–san to
marry another woman in America without her own knowledge of his affair with an American woman.
Furthemore, Puccini composed this opera in a libretto, which is a type of operatic style that tells an
original story from a book through opera. Furthemore, this opera was composed in the key of G♭major.
This aria also consists the dynamics between crescendos and decrescendos as well as the inclusion of
several embellishing and passing tones. ... Show more content on Helpwriting.net ...
It was Puccini who eventually decided to transform the novel and play into an opera. This libretto became
to be known as one Puccini's masterpieces of the twentieth century. Hence, the result of how the
production of Madama Butterfly became a libretto.
Moreover, throughout this aria, measures six, seventeen through nineteen, forty seven through fifty, and
fifty eight through sixty four all show the dynamics of crescendo and decrescendo. This is one of the
major dynamics that can be seen throughout Un Bel Di because this dynamic expresses the enhancement
of mixed feelings of angst and hope through the voice of Cio Cio–san as she

Informative Essay On Baroque Music
Baroque music was first constructed between 1600s through 1750. Baroque music originates in Rome,
and Italy, thought out time the music migrated across Europe. The word Baroque is Italian for bizarre,
which corresponds with the music because it is very lively and energetic. I choose the baroque period
because the music is very interesting and one of a kind, that is not played anymore in our time. There are
many different parts that make up the Baroque Opera, from composers to the actual Opera itself. There
were many composers during the baroque era that wrote operas, like Claudio Monteverdi; an early
Baroque composer. Monteverdi composed mostly sacred and secular music, he created two styles of
composition "heritage Renaissance polyphony ... Show more content on Helpwriting.net ...
The first opera house was opened in Venice, 1673. Composers would preform their operas for the wealthy
in theaters that would not be available for the less fortunate, or be hired to perform in the wealthy's homes.
Baroque music was also very popular for the ability to dance to it. There are five different dances that
were created during the Baroque period. The first one is "Gavotte", it is a "French dance in a moderately
quick quadruple meter, this formed one of the movements in the classical suite, usually following the
saraband." Another Baroque dance is called "Bourree", this dance is similar to gavotte; bourree starts on a
different beat giving the dance a different feel, usually played at a moderate tempo. "Passepied" is also
another dance made from the baroque era, this dance is a fast paced dance usually played at a triple meter.
Another dance is the "Minuet", this dance is one of the best know dances. This dance can start on any
beat, making it more enjoyable to dance to due to multiple beats. The last dance is "Rigaudon" this dance
is a French dance similar to bourree, but has more of a rhythmic feel to it. During this period the church
was also a big part in of the Baroque era. The church also started to get involved into the opera and
instruments known as cantata. Singing in the church created a variety of voices known as soprano, alto,
and many more. There are many forms of singing for example there were, recitative, duets, and arias that
were sung in the church. All the voices singing in unison created a melody that would allow others to sing
along, creating a homophonic

History Of Wolfgang Amadeus Mozart ( La Finta Giardiniera )
Wolfgang Amadeus Mozart (La finta giardiniera)
An opera can be defined as a dram a set of music which is made of vocal pieces having orchestral
accompaniment as well, as orchestral overtures and interludes. In this discussion, I am going to write
about Opera which was written in 1775 by Mozart (La finta giardiniera). The opera is assumed to be the
first opera that was done by Mozart as part of his opera buffa which is of significance. La finta giardiniera
can be translated as "The Pretend Garden–Girl". The opera was written in "Munich when Mozart was 18
years old and the first performance was done on January 13, 1775, at the Salvator Theatre in Munich"
(Cantrell 22, 27). There has been a serious debate on who write the libretto for the opera with most people
ascribing to Calzabigi while others attributing the libretto to Giuseppe Petrosellini. There are also a lot of
questions on whether the style of libretto is for Giuseppe (Cantrell 53).
Mozart was subjected to write a lavish music and set the severe time limit on mass settings but he
protested doing so but was letter on obliged to observe. At the end of the year, "he was commissioned to
write an opera buffa, La finta giardiniera for the Munich carnival season in 1775 where it was success".
The commissioning was done by Maximilian III and it was the first comic opera of Mozart since his
childhood. The language that was used in composing the opera was in Italian but in 1780, Mozart
converted it to German Singspiel Die

The Triumph Of Love During Handel 's Giulio Cesare
The Triumph of Love in Handel's Giulio Cesare
An Examination of the Character Cleopatra Through Motive and Music
In George Frideric Handel's masterful 18th century opera, Giulio Cesare, one may find many examples of
the classic operatic archetype of power, particularly in relation to love and fear in how they are both tools
that are oftentimes used to gain power. In this specific opera, Handel heralds the greater power–seizing
potency of love when compared to its counterpart–– terror. In this essay, I plan to examine how the
Egyptian character Cleopatra utilizes the power of love in order to achieve her own political and personal
gains. I shall use text examples from the libretto to show how she triumphs over the darker forces of her
enemies, Ptolemy and his great general named Achillas. In order to demonstrate the success that was
achieved by Cleopatra in her quest to take power over Egypt as well as to take the hand of the Roman
emperor, Julius Caesar, it is necessary to show exactly what kind of individual she was required to take
power over–– namely the tyrannical emperor of Egypt named Ptolemy. Ptolemy also happened to be
Cleopatra's brother. In the first act of the opera, Ptolemy has his general Achillas present Caesar with the
disembodied head of Caesar's enemy–– Pompey. Caesar had originally planned on allowing Pompey to
live as long as he asked for Caesar's pardon. This was at the request of Pompey's wife, Cornelia, and his
son, Sextus, who both came to Caesar

The Haitian Revolution In Langston Hughes's 'Troubled Island'
Forward:
Contextualizing Troubled Island The Haitian Revolution (1791–1804) is history's only successful slave
revolt, and African enslaved persons managed a monumental feat on a largely insignificant island in the
Caribbean under French control. Naturally, numerous persons were and are inspired by the Haitian
Revolution in facets of life from aggravating social change to creating high art. The story even remains
impactful without racial influence; considering, the dominated persons were long subjugated and
unprepared for battle, yet they defeated a world power for their freedom. Concentrating on elevated art
forms, Langston Hughes (1902–1967) wrote the libretto Troubled Island grounded in the Haitian
Revolution's aftermath and Haiti coming into its own as a nation. By following the revolution's leader
Jean–Jacques Dessalines, Troubled Island stresses Haiti's need to cope with the tribulations of banding
together and organizing an emerging nation. Moreover, the libretto highlights intraracism among the
Haitians following independence, including France's cultural influence continuing to divide Haitians.
Nevertheless, Troubled Island is not a total retelling of actual, historical events, for persons creating a
show often alter or add events to fit the operatic stage and emphasizes significant themes. Fundamentally,
William Grant Still (1895–1978) composed the music and Langston Hughes wrote the libretto for
Troubled Island. In 1931, Hughes briefly visited Haiti,

Who Is The Mock-Wagnerian Operas, Or Homosexuality?
Salome is an opera libretto composed by Richard Strauss, which is based off a play written by Oscar
Wilde. Strauss's first two operas ridiculed Wagnerian ideas and themes, by choosing Salome, Strauss
"broke his attempt to write mock–Wagnerian operas" (Gilman 37). This mock–Wagnerian break allowed
Strauss to identify with the "moderns," and Salome can be seen as Strauss's first "modern" opera (37).
Strauss, in his writings, acknowledges that Salome is a "Jewish" opera (39). Jewish people at the time
were seen as outsiders, and Strauss's "association of the Jew with the cultural avant–garde influences his
selection of the Salome libretto" (39). The author Oscar Wilde was homosexual and his popularity
declined in Britain. His convictions and

Summary Of Opera Buffas
In Mary Hunter's book, the second looks particularly at the arias of opera buffas. She clarifies why
exactly, "The is that the aria is by far the most common closed musical number in opera buffa, and any
consideration of how the genre presents its meanings has to take the aria – the basis of the dramaturgy –
into account." The arias illustrated the true meaning of the characters and their character type. The arias
are also used to examine how the characters behave in a social narrative, meaning how specific characters'
act and represent the motifs of the opera. Hunter furthermore finds a unique pattern within all of the arias;
women characters are always used as a way for the audience to sympathize. No male characters are used
in such a way that the female characters are. After looking at arias, Hunter begins to dissect the
ensembles, specifically duets, trios, and quartets, in opera buffas for a chapter. Ensembles are key to opera
buffas for the reason that they symbolize the comedy better than an individual can. Part three opens up
with recalling back to the beginning of the book where Hunter discussed how Le nozze di Figaro
contributed to a theatrical conversation between the composer, librettist, performer, and audience. She
now moves to Cosi fan tutte, another comic opera work by Mozart, which similarly uses theatrical
conversation. Hunter explores the opera and how it invokes the theatrical conversation that Le nozze di
Figaro is able to do. This part is not as vital

Identifying The Individuals Who Will Be Involved
Identifying the individuals who will be involved:
The individuals involved are male and female military services members who exhibit symptoms of PTSD.
These members can be age 18 years old – 70 years old.
Assess the needs of those involved:
When dealing with PTSD, it is important that the disorder is recognized in order to have effective
treatment. Recognition can occur by primary care physician, in general hospital setting, mental health
evaluation, screening and assessment after deployment. Being able to recognize symptoms and diagnosis
is the first step in assessing the needs of those involved and the first step in the treatment process. The
next step is assessment and coordination of care. Assessments of those military members ... Show more
content on Helpwriting.net ...
Treatment is typically offered once a week. Drug treatment is also used for PTSD in addition to cognitive
behavioral therapy.
Developing Objectives:
The objective of this project is to find the most effective treatment program for soldiers with PTSD. By
finding effective treatment, the soldier will be able to reintegrate into society.
Develop well–organized content:
Program evaluation as "the systematic collection of information about the activities, characteristics, and
outcomes of programs to make judgments about the program, improve program effectiveness, and/or
inform decisions about future program development" (Patton, 1997). This project will focus on the best
treatment plan for soldiers with PTSD. The goal is to find effective treatment so that soldiers can
successfully reintegrate back into society. Researcher intends to evaluate current programs that treat
PTSD. Identifying the programs goals, objectives, collecting information about the program will assist in
the program evaluation. Also, program evaluation can include different types of evaluation that identify
needs assessments, accreditation, cost/benefit analysis, effectiveness, goal–based, and outcomes of the
programs. This information will help identify best program available and also serve to help improve
current programs of PTSD treatment.
Identifying the best way to deliver the intervention (e.g., individually, in groups, live or on DVD, in
person or online, manual,

British Politics: The Licensing Act (1739)
British politics was corrupt as unqualified men were promoted to positions out of their reach. This was
happening because politicians were getting caught for prior mistakes, and these mistakes were being used
as leverage to politicaly unqualified men. However, this was only one theme of corrupt that was occurring
at the time with British politics. Absurd laws were being enforced that did not make the public happy.
"Judge of my delight when I heard, a month ago, that Ko–Ko had been condemned to death for flirting!"
(1. 80) A ficticious setting with fictitious, ridiculous laws; only portraying the absurd laws that were being
reinforced at the time. The Licensing Act (1739) had changed theatre as it controlled and censored what
was being said

Describe The Story Of Nabucco
Before Verdi wrote his opera, the story of Nabucco appeared on the Italian stage for the first time in 1819.
Nabucco was a play by Florentine dramatist Giovanni Battista Niccolini. In its published edition,
Niccolini`s play carried a complex key for the understanding the political allusion in the work. The second
story of Nabucco again appeared on the Italian stage, this time in the form of five–act ballet written by
Antonio Cortesi and performed at La Scala in 1838. The work was written and performed for the
Coronation Season at La Scala. Commemorating the crowning of Austrian Emperor Ferdinand as King of
Lombardy and Venetia, an event that marked the high point of Austrian domination in Italy. Temistocle
Solera appears to have based his libretto to this scenario, and it was with its scenery and costume that
Marelli first staged Verdi`s opera.
The opera was based on a plot taken from the Old Testament of the Bible, Daniel 4:29–33, the story of
Zechariach and the Jews suppressed by Babylon's King Nebuchadnezzar whose name for purposes of
song is reduced to Nabucco and his resentful daughter, ... Show more content on Helpwriting.net ...
Viewed on a more complex level, the symbolism of Nabucco offers an intricate relationship between the
characters and political events. In this view, King Nabucodonosor might represent Napoleon, and his two
daughters, one legitimate, symbolizing Italy, and another illegitimate Austria. The Babylonian religion and
the high priest of Baal, ironically represent the Pope and the Catholic Church. The parallels between the
opera`s subject matter and Italy`s situation in 1840s are easy to discern: the opera was about a chosen
nation dreaming of freedom from foreign domination, the Hebrews slaves represented the Italians
struggling against their Austrian

Bus 335 Wk 4 Assignment 1
BUS 335 WK 4 Assignment 1 – Staffing Plan for a Growing Business
Purchase here
http://homeworkonestop.com/BUS%20335/bus–335–wk–4–assignment–1–staffing–plan–for–a–growing–
business
Product Description
Please choose from one (1) of the scenarios below. Note: The scenario that you choose in this assignment
will be the one (1) with which you continue for Assignment 2.
Scenario 1
You are a Human Resources Manager of an expanding technology company consisting of 170 employees
that develops and distributes small electronic devices. Over the past two (2) years, a research group
formed, designed, and built prototypes of small remote surveillance cameras used for security.
Recently, your company won a contract to build and ... Show more content on Helpwriting.net ...
You have decided that this is a good opportunity to expand your day care business as you have received
many inquiries for childcare. In order to comply with your home state regulations, you will require a
larger facility and will need to hire additional staff in order to sustain the larger demand for day care. This
staff will consist of five (5) Certified Day Care Professionals, one (1) Registered Nurse Professional, five
(5) After–School Assistants and one (1) Office Support Paraprofessional. You have secured approval for a
bank loan and qualify for future loans for future expansion if your current endeavor is successful.
Meanwhile, the state in which you operate has requested that you provide a staffing plan before it will
issue licensure for your expanded capacity.
Note: You may create and / or make all necessary assumptions needed for the completion of these
assignments.
Select one (1) of the scenarios and write a four to five (4–5) page paper in which you:
1. Identify two (2) types of staffing models that could apply to your chosen scenario and determine which
model would be best suited for efficiency, productivity, and possible future growth. Examine the
significant effect of each identified staffing model on processes that may be occurring within the
organization (e.g., outsourcing, contingent workers, consulting firms, etc.)
BUS 335 WK 4 Assignment 1 –

John Adams 'Cantata Young As We Are'
The most striking feature of the cantata 'Young as We Are' is composer John Adams' characteristic
approach – 'a different way of providing a new take on a canonical genre (Richards, 2014)'. Firstly, 'Young
as We Are', a dramatic centre piece in the song cycle of John Adams iconic opera 'Nixon in China',
provides a fascinating structure. The piece features a treble Petrarchan sonnet, the first two of which
precede a turn, following the second rhyming couplet. Each sonnet includes an octave consisting of two
quatrains, which rhyme ABABABAB with a sestet which rhyme CDCDCD. The turn is structured in the
form of a Sonnetina Uno consisting of ten lines. Goodman's use of Iambic Pentameter maintains a dark
mood.
Following the structure of this piece a further striking feature is Adams' song setting. The composer brings
together Alice Goodman's libretto with the voices of three mezzo sopranos accompanied by an orchestra.
'Young as We Are' holds a rhythmic drive with repeating patterns featuring a turn that includes a recitativo
accompagnato noted for its alliteration. These striking features of John Adams work are audible in later
politically driven works, The Dharma at Big Sur (2003) and Doctor Atomic (2007).
Furthermore, the canonical status of 'Nixon in China' appears in Adams' addition of a synthesiser plus
hand ... Show more content on Helpwriting.net ...
This would be inappropriate as the Three Secretaries await the return of their captor. Instead, Adams (an
avid student of Schubert's work) uses word setting to grasp the audience's attention. The final three
stanzas are a repetition of the same four lines as the sixth. The mezzo soprano's comfortably deliver
perfect timbre and texture, during a heightened register expanding their tessitura. Repetition of the
recitative emphasises the message of 'Young as We Are' which ends with an abrupt double entendre
suggesting either a return of their captor or the death of an injured

Summary Of Lin Manuel Miranda's Hamilton: The Revolution
Lin Manuel Miranda's Hamilton: The Revolution tells the story of how the cast and crew of Hamilton
worked impossibly hard to accomplish a miraculous feat: create a Tony award–winning musical
comprising of mostly hip–hop music. Starting at the beginning, it acknowledges Ron Chernow's novel
Alexander Hamilton, Miranda's inspiration and basis for the musical, and the work Chernow put into
editing the musical so it would be historically accurate. Hamilton: The Revolution pays homage to the
hard–working cast and crew, and helps the reader understand everything that went into the making of the
musical Hamilton. Hamilton: The Revolution provides the reader with information about the cast,
directors, musicians, dance choreographers, and everyone else who had a critical role in producing the
musical. In these stories, Miranda shares his personal relationships with the cast and crew, how he
individuality met each member, and what their role in the musical is. Miranda also shares personal
anecdotes with the people he is ... Show more content on Helpwriting.net ...
Miranda mixes references to older hip–hop music in with his musical, which allows people who don't
listen to traditional musical theater to enjoy the musical references. He also used hip–hop to influence his
casting decisions. In a traditionally white–dominated field, Miranda's use of hip–hop in his soundtrack
allowed him to cast musical roles that are filled with people of color. This, in part, played a big role in
making the musical a success, as more people were able to feel a connection with the founding fathers,
figures who had seemed unreal and out of reach for many people of color. Daveed Diggs, the actor who
plays the roles of both Marquis de Lafayette and Thomas Jefferson, mentions in the book how if he had
seen a black actor playing people in such power, citing the roles of Jefferson, Madison, and Washington,
his life would have been

Guys And Dolls : Rocking The Broadway Boat
Guys & Dolls: Rocking the Broadway Boat In 1951, Frank Loesser's Guys & Dolls opened and received
what were said to be "the most unanimously ecstatic set of reviews in Broadway history" (Block 200). For
a show whose development included disappointing librettos from eleven different writers, this feat was
truly unbelievable (Lewis 73). The unprecedented success of Guys & Dolls and its ability to remain
culturally significant, as a popularly revived piece, is the product of several attributes unique to this show.
The unusual writing progression that led to a truly integrated libretto in terms of the relationship of the
score to the text, Loesser's assimilation of a unified, yet distinctive style of speech into his lyrics for the ...
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Integrating several plot lines and characters presented a significant challenge in addition to connecting
these separate elements to Loesser's score. The story of Guys and Dolls takes place in New York City in
the 1920s and follows four main characters: Sarah Brown and her struggling branch of the Salvation
Army, Nathan Detroit, charged with finding secret locations for the highly illegal "oldest established
permanent floating crap game in New York," famed gambler, Sky Masterson, who is challenged to seduce
Sarah Brown and falls hopelessly in love in the process, and Nathan's fiancé of fourteen years, Miss
Adelaide, a show girl at a popular club seeking commitment from Nathan (Loesser).
The interconnectedness of these character arcs generates an extremely complex plotline, and for this
reason, it makes sense that the conventional Broadway musical writing sequence would perhaps not have
been the most effective way to create this story, and this was not an issue the writers and production teams
had faced before in the realm of musical theatre. Instead of, tone and theme were fully dictated by the
score rather than the text, following the trials and tribulations of several main and supporting characters
who come together in a unified narrative. Had the script portion of the libretto been created first, the depth
and wit of Loesser's music and lyrics might have

Diva Viva Verdi: Concert Report
For my concert report, I decided to see an opera show called Diva Viva Verdi! at the First Christian
Church of Pomona on Saturday, July 18, 2015. Diva Viva Verdi! is an Italian opera concert that was
composed by Giuseppe Verdi. Based on what I watched, the people who I saw performed was a group
named the Repertory Opera Company. This company is created by a group of singers and musicians. In
this concert, I heard they played different types of play. Basing on their performance, I saw that Diva Viva
Verdi! is an opera play that consisted a variety of music from different opera blockbusters.
Based on my concert experience, the first piece that I am going to discuss are the compositions that they
played in the first part before intermission. In this part, the opera consisted ... Show more content on
Helpwriting.net ...
In my opinion, I believe that the second performance was very different from the first performance. The
second part of the concert had a variety of melodies and more people sung than during the first part of the
concert. Some may consist a dramatic, happy, love, suspense, and others melody. For example, one of the
play that they sung that really interested me was the end of the opera music that they sung called La
Traviata by Giusseppe Verdi during the romantic period. During this performance, it consisted a solo
pianist, two soloists singers which is a man and a woman, and a chorus which is all the cast of the
Repertory Opera Company. La Traviata by Giusseppe Verdi is a libretto opera that was inspired from the
novel by Alexandre Dumas. I believe that this piece fits the style of the romantic period because based on
their performance, the play consisted arias which the singer sung the music piece beautifully, lively, and
happy. And lastly, the libretto allowed the audience understand what is happening during the play. Having
a staged also allowed us to see the play in a more realistic

The Fashion Channel Pros & Cons Essay
Overview
At the completion of this assignment you will achieve the following module objective: 1. Measure the
profit impact of marketing segmentation strategies.
Instructions
You will be responsible for analyzing the corresponding case and posting your individual work in your
group discussion forum by the specified due date (see course calendar for details). Post your answers to
the case questions # 2 to 3 directly in the forum, it will save you and your teammates some time, and
attach the corresponding excel spreadsheet with the financial analysis.
A word of advice: Read the case questions before reading the case. Focus only on the information you
need to answer the questions. Do your assignment in Word and always ... Show more content on
Helpwriting.net ...
|to 1.2% |1.0% to 1.2 % and average CPM from $2.00 |
| |Keeps executives calm "why fix something |The average CPM would increase from $2.00 to |to $2.50 |
| |that's not broken" |$3.50 |With this new segmentation TFC could |
| |Hits the target market of valuable 18–34 |It would help compete against Lifetime because |differentiate
its programming from its |
| |females in all clusters. |50% of fashionistas are between the ages of |current and future competition by |
| |Will not drive any existing loyal viewers |18–34. |producing programs specific to this |
| |because not much will change. | |audience. |
| |Delivers $40 million more in terms of net | | |
| |income compared to 2007 base number. |

Evaluating Ethical Solutions Associated With Real Life...
This paper is a reflection on the experience of a group assignment which challenged the group to consider
ethical solutions associated with real life situations. Although, individuals have different goods in which
they protect and promote sometimes this limits agreement concerning what is right. (Arnett, Harden, and
Bell 2008, p. 25) In addition, this paper will also demonstrate how group members can learn from each
other, and consider the challenges, if any, a member might experience.
Overall, I absorbed an abundant of information from this project, which may be applied to my daily life.
As a participant of a group, I thought it was motivating to listen to another person's perspective when it
comes to constructing ethical communication decisions. In fact, I believe, this project should be utilized in
the employment industry. In the event of my group partner making a suggestion for the second scenario,
he expressed, that he learned the technique while being in the military. Although, I'm aware that people
have different beliefs and values, I acknowledged that collaborating ideas is beneficial, and operates as a
learning tool, only if you are willing to listen and learn. Nevertheless, making a decision about the
scenarios were not difficult, we were able to identify similar ethical ideas, yet, I was concern about
mentioning Charlie's action to purchase an alcoholic beverage during lunch, and my partner suggested that
it should be mentioned. Granting that I did not mention

The Beggar's Opera Essay
The Beggars Opera by John Gay was written in 1728 as a response to the political state in London. Gay
moved to London with no expectation of writing a satirical musical. Coming from no money, no title, and
no useful contacts he tried to find his own destiny. He took a job as an apprentice to a silk merchant in an
attempt to build his status. After realizing that he did not want to pursue a career in silk, he moved on to
working in a theater. He was then offered a jobs working for different nobilities in London, gaining
substantial connections with various members of the arts community. Through his time with the upper
crust of London, he noticed a flaw in society. His view on the upper class along with his connections, his
love for music, and his ability to write poetry led to the writing of The Beggar's Opera. By definition a
musical has five essential elements: music and lyrics, a book/libretto, choreography, staging, and a
physical production. If this is the true standard of a musical, then I believe The Beggar's Opera by John
Gay is the first musical. First, various composers wrote the music for The Beggar's Opera because it was
really just a collection of songs that have been previously written with new lyrics. The show contains
sixty–nine songs, of those songs forty–one of them ... Show more content on Helpwriting.net ...
The Beggar's Opera broke many boundaries during its time including running for sixty–two performances.
This was a huge step for musical theater. Not only was the show a huge success but also the show caused
many spin offs such as, The Threepenny Opera. Not only was The Beggar's Opera the first show written to
satisfy all the categories of creating a musical, but it exceeded it's requirements and went on to change
theater all

Mozart, Don Giovanni Act I : Excerpt From Opening Scene (...
Wolfgang Amadeus Mozart, Don Giovanni Act I: Excerpt from Opening Scene (1787).
Don Giovani Act I: Excerpt from Opening Scene, composed by Wolfgang Amadeus Mozart, and libretto
by Lorenzo da Ponte. This opera appeared at the original National Theatre in Prague on October 29, 1787.
Don Giovanni is a seductive but ruthless nobleman who will stop at nothing to satisfy his sexual appetite.
Don Giovanni's comic servant, Leporello, is a grumbling accomplice who dreams of being in his master's
place. In this excerpt the Don attempts to rape a young noblewoman, Donna Anna; her father, the
Commendatore (Commandant), challenges him to a duel. Don Giovanni kills the old man. (Kamien, 2015)
Scene one and the opening scene, is Don Giovanni is attempting to seduce a woman Donna Anna, while
his servant Leporello is keeping watch outside, but complaining of his position as a servant, in F major
which is his main key, using a march rhythm. The orchestral introduction is molto allegro; with sudden
fortes. The strings remain constant, creating agitation but moves to violas and second violas marking the
end of Andante, transforming into an open Allegro. (The Metropolitan Opera Guild, 2016) Leporello sings
in a light staccato comic aria, bass sings in a rapid fire patter and in one note. Moving to the next
interaction, are lyrical passages ornamented, as heard in the two trios, Donna Anna with Don Giovanni in
the form ABB. Both are singing alternative and then imitative lines. (Hung, J.,

George Frederic Handel
George Frederic Handel, one of the greatest composers of the late baroque period. He was born February
24, 1685 in Halle, Saxony, Germany. Handel's parents were very religious and highly respected people
since his dad worked as barber–surgeon. His father really wanted his son to study civil law, and in 1702,
Handel started studying law. However, everyone around saw him as a genius musician. When Frederic
was only eleven, he was already playing a pipe organ. He also learned to play the violin, clavichord,
harpsichord, and oboe. His father realized that his son was a talented at music allowed him to be a
musician. When young Handel turned 18 in 1703, he went to Hamburg, where he worked as a violinist at
the Hamburg Opera and gave private lessons. ... Show more content on Helpwriting.net ...
The similarities are that both opera and oratorio have soloists, ensemble, distinguishable characters, arias,
and choirs. Most of the arias in opera are very similar in musical style, form, nature of the musical ideas,
and technique of expressing affects to the arias in oratorios. Handel's arias in operas have strictly Da Capo
structure which makes them longer because of repeating. Since many people didn't like the idea of using
of Da Capo and the fact that after the character is done singing exited the stage, both of these things were
abandoned. Today arias are in strophic form as in ballad opera. One more big similarity between opera
and oratorio is that they both have librettos and recitatives that could be performed not only by a male, but
by a female as well. Handel also preferred to write operas and two oratorios in Italian

Gristan Und Isolde Analysis
Richard Wagner changed the world's understanding and perception of opera when he composed, "Tristan
und Isolde". This opera is based on the romantic legend, "Tristan", by Gottfried von Strassburg. What
distinguishes this particular work from anything else of its time is the foundation and meaning of love and
the untraditional love story that unfolds. Wagner does not hesitate to violate the collective regard for the
love of life and, in turn, the life of love. By writing his own libretto, Wagner's opera symbolizes what
"perfect love" is and the way in which it contributes to eternal life and death. Over the course of his life,
Wagner was regarded as a determined and somewhat controversial individual. His compositional works
are no exception to these characteristics. This is largely due to the fact that his libretto writing is reflective
of his own experiences and feelings. When he had written "Tristan und Isolde", Wagner was coping with
drama and complication in his personal life. At this point of his life he was married to Minna Planner.
Their relationship faced some hardship and developed into a rigid partnership. During this time, Wagner
was a very vulnerable being and took comfort in his companion, Mathilde Wesendonk. Her husband, Otto
Wesendock, was a very wealthy banker and a patron of Wagner's work. He provided Wagner with a small
villa to reside in to continue composing and inventing. Eventually, Mathilde moved in next door to
Wagner. As their relationship continued to flourish, they progressed from a teacher and student dynamic to
adulterous lovers. Unfortunately, the situation resulted in a crisis, exposing their inappropriate relationship
in the process. This turn of events inspired Wagner to write the libretto of "Tristan und Isolde" as he was
left with dissatisfaction and unfulfilled passion. This turn of events in his life prompted Wagner to stop
writing another one of his most highly–regarded pieces, "Der Ring des Nibelungen", to begin writing
"Tristan und Isolde". One of the more notable pieces of inspiration of his libretto resulted after meeting
philosopher, Arthur Schopenhauer. Many of Schopenhauer's ideas were eye opening and impactful on
Wagner's general perception. His first form

Research Paper On Hansel And Gretel
Hansel & Gretel: The witch "Fairytales tell us what we cant forget; That we are always children, to expect
the witches' woods of trauma and neglect" this verse explains the art, music, and literature of fairytales.
Tales can sound magical and even take you out of reality for selected moments but it will direct you back
to reality. They will show you even in these magical, fairy, utopian scenarios you can take a life lesson
from them. Although now fairytales are read to children and in some homes are a big part of growing up.
Originally, fairytales were usually meant to target adult audiences . Hansel & Gretel is an opera by
Engelbert Humperdinck whose libretto was written by his sister Adelheid Wette. The libretto was created
based on the

L. V. Beethoven 's Four Different Overtures For The Opera,...
L. v. Beethoven's four different overtures for the opera, Leonore/ Fidelio Op. 72
Introduction
Hook
– Beethoven's commentary regarding his only opera, Leonore/Fidelio.
It starts with the origin of opera in 1804 with explanation about libretto, the cancellation to compose
music for opera libretto of Vestas Feuer and compositional process.
I will mention what is the opera, Leonore/Fidelio to him with Ernest W. Bergel 's article regarding self–
reflection between all male characters of Fidelio and composer, and Nicholas Mathew's book for political
view.
Explanation for three versions of the opera and four versions of overture for the opera.
Four overture's names and the compositional dates of four overtures.
I will assert the necessary of examination why Beethoven struggled to provide an appropriate overture for
his opera, revising it four times for topic.
Thesis
– the compositional process for the overture is more significant for him than composing opera music.
Hypothesis he opera revised overture four times for reasons, the self–dissatisfaction of each overture until
last appropriate version. the immaturity regarding opera genre especially overture with programmatic
idea.
Methodology
In the first section of body, it provides the compositional process of the four overtures with historical
evidences through the chronological order of the dates and titles to show Beethoven's self–dissatisfaction
of overtures.
The second section of body offers the analytical

Amadeus Mozart Research Paper
The Magic Flute
Wolfgang Amadeus Mozart was born January 27, 1757 and died on December 5, 1791. He did not have
a long life at all; nevertheless; he was a musical genius. He was born into a musical family and started at
the mere age of three playing the keyboard. Mozart composed so many different works and genres and
that is why he's well known all over the world. Although he is considered a musical genius, he started way
too early. His childhood was rushed and he was forced to grow up. This led to many problem such as him
having trouble managing his money and was constantly leading a life of fluctuating prosperity and
poverty.
Mozart composing style was essentially operatic, even though Salzburg gave him no opportunity to use
his gift in ... Show more content on Helpwriting.net ...
Their range was so amazing and sounded as if it required a lot of practice. I admire them for lasting the
whole show with spotless vocals. You most definitely have to have an acquired taste for the style of music
that they were singing, but not to appreciate it. Throughout the opera I had to constantly remind myself to
keep a positive outlook on the performance; nevertheless, I developed a great reverence for opera singers
by the end of the opera.
The title opera was The Magic Flute and the main character Tamino had a magic flute as a prop. The prop
wasn't a real flute though it was a pretend flute made out of a wooden stick. I am mentioning this because
it was so impressive how every time the Tamino went to play the pretend flute the real flute player that
was in the pit played along in perfect timing. It was so amazing how the musicians stayed right in time
with
the actors and actresses. They were right on time for every scene, song, and shuffle made by the actors!
I also absolutely loved the costumes they were so cute and they stood out. Each and every costume
conveyed the character's role perfectly. If the role was dark and mysterious the costumes to portrayed it

La Boheme Essay
La Boheme
Music affects our emotions and has much to do with our everyday lives. Music has always and will be a
part of my life. I would have to say that without music there is no life –– something is missing in our lives
without music. If there were no music society we would only have people speaking to each other, and
there would be no entertainment. The form of musical entertainment that I attended was the opera, La
Boheme, composed by Giacommo Puccini and Libretto by Giuseppe and Luigi Illica. The opera took
place at The New City Opera on November 10, 2001. La Boheme takes place in 1830, 19th century Paris
around Christmas time. This opera tells the tragic love story of a young Bohemian, Rodolfo, who finds a
love interest in ... Show more content on Helpwriting.net ...
They greatly improved the intensity and helped the theme and plot of the story move along smoothly. My
favorite part of the opera would have to be the duet present in Act I, shared between the two main
characters, Rodolfo and Mimi. To hear these two characters singing in unison was "music to my ears".
Mimi, the soprano, hit all her notes beautifully and seemed to run smoothly through her parts. Rodolfo,
who represented a tenor, expressed emotion and great character. This piece was where I seemed to become
engulfed in their early blossoming relationship. I became entranced in their vocals and at times I would
replace my self with Mimi's character. The orchestra and the singers flowed together in a way
indescribable creating a level of great intimacy. I have always been extremely impressed with the human
voice. I value it as one of the most treasured instruments. The main attraction for myself was the non–
evident combined aria and recitative in the production. In most opera there is an aria, or overflow of
melody following the recitative. This helps express the appropriate feelings needed for the audience to
grasp the key aspects of the opera. Also, it helps bring the plot to a halt and the characters then are able to
reflect upon what is occurring in the story. Puccini was much more concerned with his librettos and would
rather use the same material in each of his acts. At the conclusion of many songs I caught myself wanting
to stand to my

Marriage Of Figaro
The Marriage of Figaro, or Le Nozze di Figaro as originally titled in Italian, is a light–hearted opera buffa
in four acts with musical setting by Wolfgang Amadeus Mozart and libretto by Lorenzo Da Ponte. The
libretto is based on La folle journée, ou le Mariage de Figaro (The Madcap Day, or the Marriage of
Figaro), a comically titled stage play by Pierre Beaumarchais. Mozart's opera is in fact part of a trilogy.
The Marriage of Figaro continues the story of The Barber of Seville, another of Beaumarchais' plays
adapted for opera by Paisiello. Composed in 1786 and originally a reasonable success, The Marriage of
Figaro's acclaim has grown much greater and is celebrated and performed today around the world, so
widely successful that it has even ... Show more content on Helpwriting.net ...
In anticipation of attending the performance, I read up on the opera's plot and watched videos of key
moments. I became familiar with the characters and formed expectations of each. For instance, I expected
Count Almaviva to be foolishly arrogant, with an I–expect–to–be–obeyed attitude. However, I was
surprised and shocked to discover how very "human" each personage really was. A typical novel is told in
the point of view of one individual with whom we, the audience, tend to sympathize with. We know their
thoughts and feelings and we "cheer them on", while despising the antagonists. In Guth's The Marriage of
Figaro, I found myself wishing for good closure for each and every one of the characters despite the fact
that they are the source of each other's misery.
Despite a solid effort from all voice parts and some disconcertingly beautiful standout arias, overall, I
found the libretto and Guth's atmospheric changes to be much too disconnected, resulting, for me, in a
somewhat disappointing Marriage of Figaro. Those hoping to experience the classical brilliance of a
Mozart–Da Ponte opera will come out of the theatre dissatisfied. On the other hand, those wanting a
glimpse of traditional operatic music and dialogue with added psychological depth will take immense
pleasure in viewing COC's 2016 production of The Marriage of

James Levine Essay
Capping a career spanning 40 years as musical director for the Metropolitan Opera, with over 2,500
performances and 85 operas conducted, James Levine is to conduct one of his favorite operas, Die
Entführung aus dem Serail as his final work before retiring to the new position of Musical Director
Emeritus. In the final dress rehearsal, on the twentieth of April, Levine conducted the piece with the
energy, eccentricity, and excellence known nearly exclusively to him in his field. In the rehearsal, Levine,
as well as the standout coloratura soprano Albina Shagimuratova as Konstanze and bass Hans–Peter
König as Osmin, displayed the gravitas and mastery of the Mozart opera to perfection. When W. A.
Mozart was a young boy, he was toured around Europe's courts as a prodigy by his father, Leopold
Mozart. Although tumultuous and nerve–wracking for the young boy, his traveling did provide him with
the different styles and sounds from ... Show more content on Helpwriting.net ...
The set designer, Jocelyn Herbert, through various pastel colors and Arabic architectural motifs, very
clearly articulates the middle–eastern atmosphere. The set is also designed perfectly in a fashion so that it
does nothing to subtract from the context of the opera itself, but rather adds color and substance to the
action without requiring the audience to suspend very much disbelief. The costumes for the opera, also
designed by Ms. Herbert, were brilliant; the colors of the clothes of the Turks matched their colorful
surroundings, whilst the European characters were dressed in more monochrome, but elegant garments
that clearly distinguishes between the two. Along with the setting and costume, the blocking of the opera
is also very well done. The stage manager, John Dexter, was very clear to make each movement sensical,
whether it be for the libretto or the music, as opposed to some operas in which movements are extremely
grandiose and

The Establishment Of The Kingdom Of Italy
The Risorgimento, 19th–century, was a movement aiming for Italian unification that culminated in the
establishment of the Kingdom of Italy in 1861. The Risorgimento was an ideological and literary
movement that helped to arouse the national consciousness of the Italian people, and it led to a series of
political events that freed the Italian states from foreign domination and united them politically
("Risorgimento," n.d.). Giuseppe Verdi was a significant contributor to the political reunification of Italy.
One of his most famous operas, Nabucco not only pioneered a new musical style to establish Verdi 's
reputation as a composer, but it also reflected the political struggles of Italian states ("Risorgimento",
n.d.).
In Nabucco's overture in 1842, Verdi gave voice to Hebrew slaves lamenting the loss of their homeland,
but they were in secret dialogue with their audience. Verdi's real intentions were honoring the place of
music in the Age of Revolutions. The Italians knew that the true purpose of the chorus was as an
expression of sensitively contemporary Italian feeling about their nation–state, at that time under the
oppression of foreign domination (Risorgimento, n.d.). In no other Verdi's opera, the nation, as a political,
and religious institution occupy the stage so continuously. Or the individual characters often act as
symbols of political and religious reality (Kimbell, page 447). The overture of Nabucco, involved a March
music, with the sound of a brass, and a

Literary Criticism Of Rusalka
A masterpiece of operatic literature, Antonín Dvořák's Rusalka steadily rises to international recognition
and popularity. With its lush melodies, beautiful orchestration, and poetic text, Rusalka continues to
transcend the idea that it exists strictly as a Czech opera unable to be understood by foreign audiences.
Though it remains the only of Dvořák's operas to receive international fame (and is arguably the greatest),
the romanticism and universal appeal of the story aide in securing a place for Dvořák in history as not
only a great orchestral composer, but also a gifted composer of opera. Rusalka tells the story of a water
nymph (Rusalka) who falls passionately in love with a human prince. She makes a deal with a witch to
become a human herself, so that she might experience love. However, this compromise comes at a price.
First, Rusalka will not be able to use her voice to communicate with humans. Second, if she fails to win
the Prince's affections, she will be pulled back by the water, forever cursed to exist as a bludička, or will–
o'–the–wisp, a soulless light moving erratically over the water and luring men to their deaths in the
swamps. Though Rusalka is initially successful in winning the Prince's love, he grows increasingly
frustrated with her inability to speak to him and is seduced by a foreign princess. Rusalka, betrayed,
returns to the water to accept her fate. As Rusalka laments her fate, the witch returns with a knife to tell
her she can avoid a soulless

The Two Act Comic Opera Barbier Von Bagdad
Haixu Liu
Professor Rena C. Mueller
History of European Opera
Tuesday, December 9, 14
Barbier Von Bagdad The two–act comic opera Barbier Von Bagdad is a two–act opera composed by Peter
Cornelius to a German Libretto by the composer in 1858. The libretto is based on two stories, The Tale of
the Tailor and The Barber's Stories of his Six Brothers from The Arabian Nights, as commonly known as
One Thousand and One Nights. This collection of Middle Eastern, Indian, and North and Western African
stories of unknown date and authorship was written in 9th century, when the Arabs were rapidly
expanding their territories and the influence of Islam. The stories in the collection praised the virtues from
the Arabians' standard and spread their value around the world. As one of the most well known Middle–
Eastern literature, One Thousand and One Nights has not only set the story of Barbier Von Bagdad in an
exoticized world, but also fit into the German people's typical view of Arab, ensuring that the audience
could easily accept the characters. The composer Peter Cornelius was born in mainz into a family with
theatrical background. His career started off as an actor, but later Cornelius studied violin and learnt
composition with Heinrich Esser in Berlin. In Cornelius' early life, he was initially interested in literature,
instead of music. This explained why he later became a prolific critic. In 1849, Cornelius accomplished
his first libretto for a one–act short comic opera. Even though

George Frideric Handel And Music For Voices Summary
Handel, G. F., Boughton, W., St. Michael's Singers., & English Symphony Orchestra (Worcester,
England). (2003). Messiah. Wyastone Leys, Monmouth: Nimbus Records.
Getzinger, D. and Felsenfeld, D. (2004). George Frideric Handel and Music for Voices. Morgan Reynolds
Pub., Call number:780.92 HAN GET
This book covers the biography of George Frideric Handel, from how he started music at an early age and
strived to pursue his passion on music despite the fact the his father, who was a physician on that time,
showed great disapproval. In addition, as he moves to different places like Hamburg, where he took part
as a harpsichordist and innovator of organ concerto , travelled in Italy to learn and produced more
oratorios. He then uimoved and continued his career in England that includes the most notably Messiah
(1742) that became controversial and became his next steps to be known, making its debut in Ireland and
internationally. On his last years, Handel went back to England, composes Jeptha , his last oratorio. He
later undergoes surgery, offered most of his money to charity and his friends and on April 14, 1759,
Handel died in London.
Hicks, A. (2014). "Handel, George Frideric." Grove Music Online. Oxford Music Online. Oxford
University Press. Retrieved from
http://www.oxfordmusiconline.com.myaccess.library.utoronto.ca/subscriber/article/grove/music/40060pg10
George Frideric Handel's Oratorios and Musical Drama found in the Grove Musical Online Encyclopedia
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