furioso


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fu·ri·o·so

 (fyo͝or′ē-ō′sō, -zō)
adv. & adj. Music
In a tempestuous and vigorous manner. Used chiefly as a direction.

[Italian, from Latin furiōsus, furious; see furious.]

furioso

(ˌfjʊərɪˈəʊsəʊ) music
adj, adv
(Music, other) in a frantically rushing manner
n, pl -sos
(Music, other) a passage or piece to be performed in this way
[C19: Italian, literally: furious; see fury]
References in periodicals archive ?
AnalizzerAaAaAeA in particolare due t le piAaAaAeA famose di queste riscritture cinquecentesche: quella di Ita Calvino dell'Orlando Furioso e quella della Gerusalemme Liberata di Alfredo Giuliani.
El banquete de la Alameda fue interrumpido por un chubasco furioso, y tambien impidio la iluminacion.
Por otro lado, la actriz sigue apostando por papeles de mala, y ya ha confirmado que sera la nueva villana de Rapido y furioso.
Contract notice: Transport service of art works for the exhibition "orlando furioso 500 years.
Matthieu Chapman's essay on Robert Greene's adaptation of Orlando Furioso takes up the issue of slavery, and Todd A.
Abstract: Teaching the Orlando furioso in general-education courses, both in its entirety in English translation and in selections in Italian language courses, is energizing and challenging.
Esos policias extranjeros (tambien los hay espanoles) han venido actuando con un desparpajo cada vez mayor, como lo puso en evidencia la operacion Rapido y Furioso, que entrego a las mafias una gran cantidad de armas, a ciencia y paciencia del gobierno mexicano.
Angelica reminds the Inspector of the beautiful character in Ludovico Ariosto's romance, Orlando Furioso, with whom he "fell in love" as a youth.
In Ariosto's epic poem, Orlando Furioso he continues the story of Orlando, a warrior of Charlemagne who has returned from the Orient and is madly in love with Angelica, the daughter of the King of Cathay.
For decades, Vivaldi's best-loved opera--and long considered one of his masterpieces--has been Orlando Furioso, written for Venice in 1727.
Antonio Vivaldi's opera Orlando furioso, first produced in 1727, was his second opera to he adapted from the eponymous poem by Ariosto about the paladin Orlando driven mad by his unrequited love for the princess Angelica.
Among the perspectives are the talent of the distributed author, authorship and inspiration in Late Medieval Central European commentaries on the Book of Psalms, a quest for the author in the universe of Orlando Furioso, the Old Norse eddic author's distributed creativity in The Lay of Thrymr and Skirnir's Journey, and the medieval artist and the conditions of authorship.