Da Ponte


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Da Pon·te

 (də pŏn′tē, dä pōn′tĕ), Lorenzo 1749-1838.
Italian-born American poet and educator who wrote librettos for Mozart's Marriage of Figaro (1786), Don Giovanni (1787), and Così fan tutte (1790).

Da Ponte

(Italian dɑ ˈpɔnte)
n
(Biography) Lorenzo (loˈrɛntso), real name Emmanuele Conegliano 1749–1838, Italian writer; Mozart's librettist for The Marriage of Figaro (1786), Don Giovanni (1787), and Cosi fan tutte (1790)

Da Pon•te

(də ˈpɒn ti; It. dɑ ˈpɔn tɛ)
Lorenzo (Emanuele Conegliano), 1749–1838, Italian librettist, in the U.S. after 1805.
References in periodicals archive ?
Composers Mozart and Salieri are the subject of Rimsky-Korsakov's opera of that name, but Mozart librettist Lorenzo Da Ponte gets one all to himself in Tarik O'Regan and John Caird's The Phoenix.
A Kumar), The Complete Poetry (bilingual edition), The Lorenzo da Ponte Italian Library, University of Toronto Press: Toronto, Buffalo, NY and London, 2018; 208 pp.: ISBN 9781487503765, US$65.00 (HBK), ISBN 9781487522865, ISBN 9781487518714, US$24.95 (PBK), US$24.95 (eBK)
Ja na figura 5, Leonhard Euler conseguiu demonstrar essa possibilidade criando um grafo da ponte, onde cada ponto, no final das linhas, representaria possiveis lugares de chegada; e cada linha, os possiveis caminhos a serem percorridos nas pontes, chegando a conclusao de que nao era possivel atravessar todas as pontes sem repetir nenhuma.
Importa referir, para Portugal, o caso paradigmatico da Escola da Ponte. Nao podemos deixar tambem de referir as experiencias bem recentes de inovacao inspiradas pelas novas tecnologias de que sao exemplo as chamadas "salas de aula do futuro".
By no means his first opera, La Finta Semplice was composed when Mozart was all of 12, and probably forced on him when his grasping father Leopold mistook a throwaway remark for a commission (what, no contract?), Its plot is typical opera buffa silliness, by Goldoni out of the commedia dell'arte, but we do get one presage of the mature Mozart when he was to work with the brilliant librettist da Ponte: the resourcefulness of serving-maids (think Susanna, think Despina).
Sugere-se a interpretacao desta obra, colocando o alpendre como expressao do icone da Ponte. Ela conecta o mundo intimista do interior da casa enigmatica, com um espaco maior de luz e respiracao.
It was to be the third and final collaboration between Mozart and librettist Lorenzo Da Ponte. It was to be a comedy of manners with a look into the dark side of human nature.
Mozart and his librettist Lorenzo da Ponte described the opera as a "dramma giocoso", a jolly drama - and you can see their point with a buffo servant, comic songs and outrageous deceptions, but, on the other hand, ladies suffering almightily from love and a supernatural visitor sending the main character to Hell.
There are important memoirs by Andre Gretry, a leading opera composer who goes on to occupy himself almost entirely with phi losophical reRections; by Lorenzo da Ponte, Mozart's most important librettist; by G.