voler la botte piena e la moglie ubriaca - определение. Что такое voler la botte piena e la moglie ubriaca
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Что (кто) такое voler la botte piena e la moglie ubriaca - определение

ARIA FROM THE OPERA RIGOLETTO BY GIUSEPPE VERDI
La donna e mobile; La Donna è Mobile; La donna mobile; La Donna e Mobile; La Donna Mobile; La Donna E Mobile; La Donna A Mobile; La Donna è mobile; LDEM
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La donna è mobile         
"" (; "Woman is fickle") is the Duke of Mantua's canzone from the beginning of act 3 of Giuseppe Verdi's opera Rigoletto (1851). The canzone is famous as a showcase for tenors.
La rosa bianca e la rosa rossa         
  • Prison in a fortress, set design by [[Antonio Basoli]] for ''La rosa bianca e la rosa rossa'' (1819)
OPERA BY SIMON MAYR
La Rosa bianca e la rosa rossa
(The White Rose and the Red Rose) is an opera in two acts composed by Simon Mayr to an Italian libretto by Felice Romani. It premiered at the Teatro Sant'Agostino, Genoa, on 21 February 1813.
Tru-la-lá         
ORGANIZATION
Tru-la-la
Tru-la-lá is one of the best known cuarteto bands in Argentina.Revista de música latinoamericana Vol.

Википедия

La donna è mobile

"La donna è mobile" (pronounced [la ˈdɔnna ˌɛ mˈmɔːbile]; "Woman is fickle") is the Duke of Mantua's canzone from the beginning of act 3 of Giuseppe Verdi's opera Rigoletto (1851). The canzone is famous as a showcase for tenors. Raffaele Mirate's performance of the bravura aria at the opera's 1851 premiere was hailed as the highlight of the evening. Before the opera's first public performance (in Venice), the aria was rehearsed under tight secrecy: a necessary precaution, as "La donna è mobile" proved to be incredibly catchy, and soon after the aria's first public performance it became popular to sing among Venetian gondoliers.

As the opera progresses, the reprise of the tune in the following scenes contributes to Rigoletto's confusion as he realizes from the sound of the Duke's lively voice coming from the tavern (offstage) that the body in the sack over which he had grimly triumphed was not that of the Duke after all: Rigoletto had paid Sparafucile, an assassin, to kill the Duke, but Sparafucile had deceived Rigoletto by indiscriminately killing Gilda, Rigoletto's beloved daughter, instead.