niryuu/sni-each-converted huggingface dataset:
Passage: Monteverdi was an established court composer in the service of Duke Vincenzo Gonzaga in Mantua when he wrote his first operas, L'Orfeo and L'Arianna, in the years 1606–08. After falling out with Vincenzo's successor, Duke Francesco Gonzaga, Monteverdi moved to Venice in 1613 and became director of music at St Mark's Basilica, a position he held for the rest of his life. Alongside his steady output of madrigals and church music, Monteverdi continued to compose works for the stage, though not actual operas. He wrote several ballets and, for the Venice carnival of 1624–25, Il combattimento di Tancredi e Clorinda ("The Battle of Tancred and Clorinda"), a hybrid work with some characteristics of ballet, opera and oratorio.
In 1637 fully-fledged opera came to Venice with the opening of the Teatro San Cassiano. Sponsored by the wealthy Tron family, this theatre was the first in the world specifically devoted to opera. The theatre's inaugural performance, on 6 March 1637, was L'Andromeda by Francesco Manelli and Benedetto Ferrari. This work was received with great enthusiasm, as was the same pair's La Maga fulminata the following year. In rapid succession three more opera houses opened in the city, as the ruling families of the Republic sought to express their wealth and status by investing in the new musical fashion. At first, Monteverdi remained aloof from these activities, perhaps on account of his age (he was over 70), or perhaps through the dignity of his office as maestro di capella at St. Mark's. Nevertheless, an unidentified contemporary, commenting on Monteverdi's silence, opined that the maestro might yet produce an opera for Venice: "God willing, one of these nights he too will step onto the stage." This remark proved prescient; Monteverdi's first public contribution to Venetian opera came in the 1639–40 carnival season, a revival of his L'Arianna at the Teatro San Moisè.L'Arianna was followed in rapid succession by three brand new Monteverdi operas, of which Il ritorno was the first. The second, Le nozze d' Enea in Lavinia ("The Marriage of Aeneas to Lavinia"), was performed during the 1640–41 carnival; Monteverdi's music is lost, but a copy of the libretto, of unknown authorship, survives. The last of the three, written for the 1642–43 carnival, was L'incoronazione di Poppea ("The Coronation of Poppea"), performed shortly before the composer's death in 1643.
Output: Where did Monteverdi perform his first opera?
Passage: Monteverdi was an established court composer in the service of Duke Vincenzo Gonzaga in Mantua when he wrote his first operas, L'Orfeo and L'Arianna, in the years 1606–08. After falling out with Vincenzo's successor, Duke Francesco Gonzaga, Monteverdi moved to Venice in 1613 and became director of music at St Mark's Basilica, a position he held for the rest of his life. Alongside his steady output of madrigals and church music, Monteverdi continued to compose works for the stage, though not actual operas. He wrote several ballets and, for the Venice carnival of 1624–25, Il combattimento di Tancredi e Clorinda ("The Battle of Tancred and Clorinda"), a hybrid work with some characteristics of ballet, opera and oratorio.
In 1637 fully-fledged opera came to Venice with the opening of the Teatro San Cassiano. Sponsored by the wealthy Tron family, this theatre was the first in the world specifically devoted to opera. The theatre's inaugural performance, on 6 March 1637, was L'Andromeda by Francesco Manelli and Benedetto Ferrari. This work was received with great enthusiasm, as was the same pair's La Maga fulminata the following year. In rapid succession three more opera houses opened in the city, as the ruling families of the Republic sought to express their wealth and status by investing in the new musical fashion. At first, Monteverdi remained aloof from these activities, perhaps on account of his age (he was over 70), or perhaps through the dignity of his office as maestro di capella at St. Mark's. Nevertheless, an unidentified contemporary, commenting on Monteverdi's silence, opined that the maestro might yet produce an opera for Venice: "God willing, one of these nights he too will step onto the stage." This remark proved prescient; Monteverdi's first public contribution to Venetian opera came in the 1639–40 carnival season, a revival of his L'Arianna at the Teatro San Moisè.L'Arianna was followed in rapid succession by three brand new Monteverdi operas, of which Il ritorno was the first. The second, Le nozze d' Enea in Lavinia ("The Marriage of Aeneas to Lavinia"), was performed during the 1640–41 carnival; Monteverdi's music is lost, but a copy of the libretto, of unknown authorship, survives. The last of the three, written for the 1642–43 carnival, was L'incoronazione di Poppea ("The Coronation of Poppea"), performed shortly before the composer's death in 1643.
Output: What is the name of the person that wrote his first operas in Mantua?
Passage: Monteverdi was an established court composer in the service of Duke Vincenzo Gonzaga in Mantua when he wrote his first operas, L'Orfeo and L'Arianna, in the years 1606–08. After falling out with Vincenzo's successor, Duke Francesco Gonzaga, Monteverdi moved to Venice in 1613 and became director of music at St Mark's Basilica, a position he held for the rest of his life. Alongside his steady output of madrigals and church music, Monteverdi continued to compose works for the stage, though not actual operas. He wrote several ballets and, for the Venice carnival of 1624–25, Il combattimento di Tancredi e Clorinda ("The Battle of Tancred and Clorinda"), a hybrid work with some characteristics of ballet, opera and oratorio.
In 1637 fully-fledged opera came to Venice with the opening of the Teatro San Cassiano. Sponsored by the wealthy Tron family, this theatre was the first in the world specifically devoted to opera. The theatre's inaugural performance, on 6 March 1637, was L'Andromeda by Francesco Manelli and Benedetto Ferrari. This work was received with great enthusiasm, as was the same pair's La Maga fulminata the following year. In rapid succession three more opera houses opened in the city, as the ruling families of the Republic sought to express their wealth and status by investing in the new musical fashion. At first, Monteverdi remained aloof from these activities, perhaps on account of his age (he was over 70), or perhaps through the dignity of his office as maestro di capella at St. Mark's. Nevertheless, an unidentified contemporary, commenting on Monteverdi's silence, opined that the maestro might yet produce an opera for Venice: "God willing, one of these nights he too will step onto the stage." This remark proved prescient; Monteverdi's first public contribution to Venetian opera came in the 1639–40 carnival season, a revival of his L'Arianna at the Teatro San Moisè.L'Arianna was followed in rapid succession by three brand new Monteverdi operas, of which Il ritorno was the first. The second, Le nozze d' Enea in Lavinia ("The Marriage of Aeneas to Lavinia"), was performed during the 1640–41 carnival; Monteverdi's music is lost, but a copy of the libretto, of unknown authorship, survives. The last of the three, written for the 1642–43 carnival, was L'incoronazione di Poppea ("The Coronation of Poppea"), performed shortly before the composer's death in 1643.
Output: What was the full date of the first performanace at the Teatro San Cassiano?
Passage: Monteverdi was an established court composer in the service of Duke Vincenzo Gonzaga in Mantua when he wrote his first operas, L'Orfeo and L'Arianna, in the years 1606–08. After falling out with Vincenzo's successor, Duke Francesco Gonzaga, Monteverdi moved to Venice in 1613 and became director of music at St Mark's Basilica, a position he held for the rest of his life. Alongside his steady output of madrigals and church music, Monteverdi continued to compose works for the stage, though not actual operas. He wrote several ballets and, for the Venice carnival of 1624–25, Il combattimento di Tancredi e Clorinda ("The Battle of Tancred and Clorinda"), a hybrid work with some characteristics of ballet, opera and oratorio.
In 1637 fully-fledged opera came to Venice with the opening of the Teatro San Cassiano. Sponsored by the wealthy Tron family, this theatre was the first in the world specifically devoted to opera. The theatre's inaugural performance, on 6 March 1637, was L'Andromeda by Francesco Manelli and Benedetto Ferrari. This work was received with great enthusiasm, as was the same pair's La Maga fulminata the following year. In rapid succession three more opera houses opened in the city, as the ruling families of the Republic sought to express their wealth and status by investing in the new musical fashion. At first, Monteverdi remained aloof from these activities, perhaps on account of his age (he was over 70), or perhaps through the dignity of his office as maestro di capella at St. Mark's. Nevertheless, an unidentified contemporary, commenting on Monteverdi's silence, opined that the maestro might yet produce an opera for Venice: "God willing, one of these nights he too will step onto the stage." This remark proved prescient; Monteverdi's first public contribution to Venetian opera came in the 1639–40 carnival season, a revival of his L'Arianna at the Teatro San Moisè.L'Arianna was followed in rapid succession by three brand new Monteverdi operas, of which Il ritorno was the first. The second, Le nozze d' Enea in Lavinia ("The Marriage of Aeneas to Lavinia"), was performed during the 1640–41 carnival; Monteverdi's music is lost, but a copy of the libretto, of unknown authorship, survives. The last of the three, written for the 1642–43 carnival, was L'incoronazione di Poppea ("The Coronation of Poppea"), performed shortly before the composer's death in 1643.
Output: What theatre in Venice did Monteverdi perform his opera L'Arianna ?
Passage: Monteverdi was an established court composer in the service of Duke Vincenzo Gonzaga in Mantua when he wrote his first operas, L'Orfeo and L'Arianna, in the years 1606–08. After falling out with Vincenzo's successor, Duke Francesco Gonzaga, Monteverdi moved to Venice in 1613 and became director of music at St Mark's Basilica, a position he held for the rest of his life. Alongside his steady output of madrigals and church music, Monteverdi continued to compose works for the stage, though not actual operas. He wrote several ballets and, for the Venice carnival of 1624–25, Il combattimento di Tancredi e Clorinda ("The Battle of Tancred and Clorinda"), a hybrid work with some characteristics of ballet, opera and oratorio.
In 1637 fully-fledged opera came to Venice with the opening of the Teatro San Cassiano. Sponsored by the wealthy Tron family, this theatre was the first in the world specifically devoted to opera. The theatre's inaugural performance, on 6 March 1637, was L'Andromeda by Francesco Manelli and Benedetto Ferrari. This work was received with great enthusiasm, as was the same pair's La Maga fulminata the following year. In rapid succession three more opera houses opened in the city, as the ruling families of the Republic sought to express their wealth and status by investing in the new musical fashion. At first, Monteverdi remained aloof from these activities, perhaps on account of his age (he was over 70), or perhaps through the dignity of his office as maestro di capella at St. Mark's. Nevertheless, an unidentified contemporary, commenting on Monteverdi's silence, opined that the maestro might yet produce an opera for Venice: "God willing, one of these nights he too will step onto the stage." This remark proved prescient; Monteverdi's first public contribution to Venetian opera came in the 1639–40 carnival season, a revival of his L'Arianna at the Teatro San Moisè.L'Arianna was followed in rapid succession by three brand new Monteverdi operas, of which Il ritorno was the first. The second, Le nozze d' Enea in Lavinia ("The Marriage of Aeneas to Lavinia"), was performed during the 1640–41 carnival; Monteverdi's music is lost, but a copy of the libretto, of unknown authorship, survives. The last of the three, written for the 1642–43 carnival, was L'incoronazione di Poppea ("The Coronation of Poppea"), performed shortly before the composer's death in 1643.
Output: What was the first opera that Monteverdi had wrote specifically for the Venice opera scene?
Passage: Monteverdi was an established court composer in the service of Duke Vincenzo Gonzaga in Mantua when he wrote his first operas, L'Orfeo and L'Arianna, in the years 1606–08. After falling out with Vincenzo's successor, Duke Francesco Gonzaga, Monteverdi moved to Venice in 1613 and became director of music at St Mark's Basilica, a position he held for the rest of his life. Alongside his steady output of madrigals and church music, Monteverdi continued to compose works for the stage, though not actual operas. He wrote several ballets and, for the Venice carnival of 1624–25, Il combattimento di Tancredi e Clorinda ("The Battle of Tancred and Clorinda"), a hybrid work with some characteristics of ballet, opera and oratorio.
In 1637 fully-fledged opera came to Venice with the opening of the Teatro San Cassiano. Sponsored by the wealthy Tron family, this theatre was the first in the world specifically devoted to opera. The theatre's inaugural performance, on 6 March 1637, was L'Andromeda by Francesco Manelli and Benedetto Ferrari. This work was received with great enthusiasm, as was the same pair's La Maga fulminata the following year. In rapid succession three more opera houses opened in the city, as the ruling families of the Republic sought to express their wealth and status by investing in the new musical fashion. At first, Monteverdi remained aloof from these activities, perhaps on account of his age (he was over 70), or perhaps through the dignity of his office as maestro di capella at St. Mark's. Nevertheless, an unidentified contemporary, commenting on Monteverdi's silence, opined that the maestro might yet produce an opera for Venice: "God willing, one of these nights he too will step onto the stage." This remark proved prescient; Monteverdi's first public contribution to Venetian opera came in the 1639–40 carnival season, a revival of his L'Arianna at the Teatro San Moisè.L'Arianna was followed in rapid succession by three brand new Monteverdi operas, of which Il ritorno was the first. The second, Le nozze d' Enea in Lavinia ("The Marriage of Aeneas to Lavinia"), was performed during the 1640–41 carnival; Monteverdi's music is lost, but a copy of the libretto, of unknown authorship, survives. The last of the three, written for the 1642–43 carnival, was L'incoronazione di Poppea ("The Coronation of Poppea"), performed shortly before the composer's death in 1643.
Output: What was the final year Monteverdi was the director of music at St. Mark's Basilica?
Passage: Monteverdi was an established court composer in the service of Duke Vincenzo Gonzaga in Mantua when he wrote his first operas, L'Orfeo and L'Arianna, in the years 1606–08. After falling out with Vincenzo's successor, Duke Francesco Gonzaga, Monteverdi moved to Venice in 1613 and became director of music at St Mark's Basilica, a position he held for the rest of his life. Alongside his steady output of madrigals and church music, Monteverdi continued to compose works for the stage, though not actual operas. He wrote several ballets and, for the Venice carnival of 1624–25, Il combattimento di Tancredi e Clorinda ("The Battle of Tancred and Clorinda"), a hybrid work with some characteristics of ballet, opera and oratorio.
In 1637 fully-fledged opera came to Venice with the opening of the Teatro San Cassiano. Sponsored by the wealthy Tron family, this theatre was the first in the world specifically devoted to opera. The theatre's inaugural performance, on 6 March 1637, was L'Andromeda by Francesco Manelli and Benedetto Ferrari. This work was received with great enthusiasm, as was the same pair's La Maga fulminata the following year. In rapid succession three more opera houses opened in the city, as the ruling families of the Republic sought to express their wealth and status by investing in the new musical fashion. At first, Monteverdi remained aloof from these activities, perhaps on account of his age (he was over 70), or perhaps through the dignity of his office as maestro di capella at St. Mark's. Nevertheless, an unidentified contemporary, commenting on Monteverdi's silence, opined that the maestro might yet produce an opera for Venice: "God willing, one of these nights he too will step onto the stage." This remark proved prescient; Monteverdi's first public contribution to Venetian opera came in the 1639–40 carnival season, a revival of his L'Arianna at the Teatro San Moisè.L'Arianna was followed in rapid succession by three brand new Monteverdi operas, of which Il ritorno was the first. The second, Le nozze d' Enea in Lavinia ("The Marriage of Aeneas to Lavinia"), was performed during the 1640–41 carnival; Monteverdi's music is lost, but a copy of the libretto, of unknown authorship, survives. The last of the three, written for the 1642–43 carnival, was L'incoronazione di Poppea ("The Coronation of Poppea"), performed shortly before the composer's death in 1643.
Output: What was the name of the final opera Monteverdi wrote?
Passage: Monteverdi was an established court composer in the service of Duke Vincenzo Gonzaga in Mantua when he wrote his first operas, L'Orfeo and L'Arianna, in the years 1606–08. After falling out with Vincenzo's successor, Duke Francesco Gonzaga, Monteverdi moved to Venice in 1613 and became director of music at St Mark's Basilica, a position he held for the rest of his life. Alongside his steady output of madrigals and church music, Monteverdi continued to compose works for the stage, though not actual operas. He wrote several ballets and, for the Venice carnival of 1624–25, Il combattimento di Tancredi e Clorinda ("The Battle of Tancred and Clorinda"), a hybrid work with some characteristics of ballet, opera and oratorio.
In 1637 fully-fledged opera came to Venice with the opening of the Teatro San Cassiano. Sponsored by the wealthy Tron family, this theatre was the first in the world specifically devoted to opera. The theatre's inaugural performance, on 6 March 1637, was L'Andromeda by Francesco Manelli and Benedetto Ferrari. This work was received with great enthusiasm, as was the same pair's La Maga fulminata the following year. In rapid succession three more opera houses opened in the city, as the ruling families of the Republic sought to express their wealth and status by investing in the new musical fashion. At first, Monteverdi remained aloof from these activities, perhaps on account of his age (he was over 70), or perhaps through the dignity of his office as maestro di capella at St. Mark's. Nevertheless, an unidentified contemporary, commenting on Monteverdi's silence, opined that the maestro might yet produce an opera for Venice: "God willing, one of these nights he too will step onto the stage." This remark proved prescient; Monteverdi's first public contribution to Venetian opera came in the 1639–40 carnival season, a revival of his L'Arianna at the Teatro San Moisè.L'Arianna was followed in rapid succession by three brand new Monteverdi operas, of which Il ritorno was the first. The second, Le nozze d' Enea in Lavinia ("The Marriage of Aeneas to Lavinia"), was performed during the 1640–41 carnival; Monteverdi's music is lost, but a copy of the libretto, of unknown authorship, survives. The last of the three, written for the 1642–43 carnival, was L'incoronazione di Poppea ("The Coronation of Poppea"), performed shortly before the composer's death in 1643.
Output: What was the final year of the opera season that Monteverdi wrote an opera for?
Passage: Monteverdi was an established court composer in the service of Duke Vincenzo Gonzaga in Mantua when he wrote his first operas, L'Orfeo and L'Arianna, in the years 1606–08. After falling out with Vincenzo's successor, Duke Francesco Gonzaga, Monteverdi moved to Venice in 1613 and became director of music at St Mark's Basilica, a position he held for the rest of his life. Alongside his steady output of madrigals and church music, Monteverdi continued to compose works for the stage, though not actual operas. He wrote several ballets and, for the Venice carnival of 1624–25, Il combattimento di Tancredi e Clorinda ("The Battle of Tancred and Clorinda"), a hybrid work with some characteristics of ballet, opera and oratorio.
In 1637 fully-fledged opera came to Venice with the opening of the Teatro San Cassiano. Sponsored by the wealthy Tron family, this theatre was the first in the world specifically devoted to opera. The theatre's inaugural performance, on 6 March 1637, was L'Andromeda by Francesco Manelli and Benedetto Ferrari. This work was received with great enthusiasm, as was the same pair's La Maga fulminata the following year. In rapid succession three more opera houses opened in the city, as the ruling families of the Republic sought to express their wealth and status by investing in the new musical fashion. At first, Monteverdi remained aloof from these activities, perhaps on account of his age (he was over 70), or perhaps through the dignity of his office as maestro di capella at St. Mark's. Nevertheless, an unidentified contemporary, commenting on Monteverdi's silence, opined that the maestro might yet produce an opera for Venice: "God willing, one of these nights he too will step onto the stage." This remark proved prescient; Monteverdi's first public contribution to Venetian opera came in the 1639–40 carnival season, a revival of his L'Arianna at the Teatro San Moisè.L'Arianna was followed in rapid succession by three brand new Monteverdi operas, of which Il ritorno was the first. The second, Le nozze d' Enea in Lavinia ("The Marriage of Aeneas to Lavinia"), was performed during the 1640–41 carnival; Monteverdi's music is lost, but a copy of the libretto, of unknown authorship, survives. The last of the three, written for the 1642–43 carnival, was L'incoronazione di Poppea ("The Coronation of Poppea"), performed shortly before the composer's death in 1643.
Output: What was the name of the second opera Monteverdi wrote for the Venice opera?
Passage: Monteverdi was an established court composer in the service of Duke Vincenzo Gonzaga in Mantua when he wrote his first operas, L'Orfeo and L'Arianna, in the years 1606–08. After falling out with Vincenzo's successor, Duke Francesco Gonzaga, Monteverdi moved to Venice in 1613 and became director of music at St Mark's Basilica, a position he held for the rest of his life. Alongside his steady output of madrigals and church music, Monteverdi continued to compose works for the stage, though not actual operas. He wrote several ballets and, for the Venice carnival of 1624–25, Il combattimento di Tancredi e Clorinda ("The Battle of Tancred and Clorinda"), a hybrid work with some characteristics of ballet, opera and oratorio.
In 1637 fully-fledged opera came to Venice with the opening of the Teatro San Cassiano. Sponsored by the wealthy Tron family, this theatre was the first in the world specifically devoted to opera. The theatre's inaugural performance, on 6 March 1637, was L'Andromeda by Francesco Manelli and Benedetto Ferrari. This work was received with great enthusiasm, as was the same pair's La Maga fulminata the following year. In rapid succession three more opera houses opened in the city, as the ruling families of the Republic sought to express their wealth and status by investing in the new musical fashion. At first, Monteverdi remained aloof from these activities, perhaps on account of his age (he was over 70), or perhaps through the dignity of his office as maestro di capella at St. Mark's. Nevertheless, an unidentified contemporary, commenting on Monteverdi's silence, opined that the maestro might yet produce an opera for Venice: "God willing, one of these nights he too will step onto the stage." This remark proved prescient; Monteverdi's first public contribution to Venetian opera came in the 1639–40 carnival season, a revival of his L'Arianna at the Teatro San Moisè.L'Arianna was followed in rapid succession by three brand new Monteverdi operas, of which Il ritorno was the first. The second, Le nozze d' Enea in Lavinia ("The Marriage of Aeneas to Lavinia"), was performed during the 1640–41 carnival; Monteverdi's music is lost, but a copy of the libretto, of unknown authorship, survives. The last of the three, written for the 1642–43 carnival, was L'incoronazione di Poppea ("The Coronation of Poppea"), performed shortly before the composer's death in 1643.
Output: Who said "God willing, one of these nights he too will step onto the stage?"ark's?
Passage: Monteverdi was an established court composer in the service of Duke Vincenzo Gonzaga in Mantua when he wrote his first operas, L'Orfeo and L'Arianna, in the years 1606–08. After falling out with Vincenzo's successor, Duke Francesco Gonzaga, Monteverdi moved to Venice in 1613 and became director of music at St Mark's Basilica, a position he held for the rest of his life. Alongside his steady output of madrigals and church music, Monteverdi continued to compose works for the stage, though not actual operas. He wrote several ballets and, for the Venice carnival of 1624–25, Il combattimento di Tancredi e Clorinda ("The Battle of Tancred and Clorinda"), a hybrid work with some characteristics of ballet, opera and oratorio.
In 1637 fully-fledged opera came to Venice with the opening of the Teatro San Cassiano. Sponsored by the wealthy Tron family, this theatre was the first in the world specifically devoted to opera. The theatre's inaugural performance, on 6 March 1637, was L'Andromeda by Francesco Manelli and Benedetto Ferrari. This work was received with great enthusiasm, as was the same pair's La Maga fulminata the following year. In rapid succession three more opera houses opened in the city, as the ruling families of the Republic sought to express their wealth and status by investing in the new musical fashion. At first, Monteverdi remained aloof from these activities, perhaps on account of his age (he was over 70), or perhaps through the dignity of his office as maestro di capella at St. Mark's. Nevertheless, an unidentified contemporary, commenting on Monteverdi's silence, opined that the maestro might yet produce an opera for Venice: "God willing, one of these nights he too will step onto the stage." This remark proved prescient; Monteverdi's first public contribution to Venetian opera came in the 1639–40 carnival season, a revival of his L'Arianna at the Teatro San Moisè.L'Arianna was followed in rapid succession by three brand new Monteverdi operas, of which Il ritorno was the first. The second, Le nozze d' Enea in Lavinia ("The Marriage of Aeneas to Lavinia"), was performed during the 1640–41 carnival; Monteverdi's music is lost, but a copy of the libretto, of unknown authorship, survives. The last of the three, written for the 1642–43 carnival, was L'incoronazione di Poppea ("The Coronation of Poppea"), performed shortly before the composer's death in 1643.
Output: What request in the remark regarding Monteverdi proved prescient?
Passage: Monteverdi was an established court composer in the service of Duke Vincenzo Gonzaga in Mantua when he wrote his first operas, L'Orfeo and L'Arianna, in the years 1606–08. After falling out with Vincenzo's successor, Duke Francesco Gonzaga, Monteverdi moved to Venice in 1613 and became director of music at St Mark's Basilica, a position he held for the rest of his life. Alongside his steady output of madrigals and church music, Monteverdi continued to compose works for the stage, though not actual operas. He wrote several ballets and, for the Venice carnival of 1624–25, Il combattimento di Tancredi e Clorinda ("The Battle of Tancred and Clorinda"), a hybrid work with some characteristics of ballet, opera and oratorio.
In 1637 fully-fledged opera came to Venice with the opening of the Teatro San Cassiano. Sponsored by the wealthy Tron family, this theatre was the first in the world specifically devoted to opera. The theatre's inaugural performance, on 6 March 1637, was L'Andromeda by Francesco Manelli and Benedetto Ferrari. This work was received with great enthusiasm, as was the same pair's La Maga fulminata the following year. In rapid succession three more opera houses opened in the city, as the ruling families of the Republic sought to express their wealth and status by investing in the new musical fashion. At first, Monteverdi remained aloof from these activities, perhaps on account of his age (he was over 70), or perhaps through the dignity of his office as maestro di capella at St. Mark's. Nevertheless, an unidentified contemporary, commenting on Monteverdi's silence, opined that the maestro might yet produce an opera for Venice: "God willing, one of these nights he too will step onto the stage." This remark proved prescient; Monteverdi's first public contribution to Venetian opera came in the 1639–40 carnival season, a revival of his L'Arianna at the Teatro San Moisè.L'Arianna was followed in rapid succession by three brand new Monteverdi operas, of which Il ritorno was the first. The second, Le nozze d' Enea in Lavinia ("The Marriage of Aeneas to Lavinia"), was performed during the 1640–41 carnival; Monteverdi's music is lost, but a copy of the libretto, of unknown authorship, survives. The last of the three, written for the 1642–43 carnival, was L'incoronazione di Poppea ("The Coronation of Poppea"), performed shortly before the composer's death in 1643.
Output: What opera still has the liberatto, but the music is lost?
Passage: American singer Prudencesa Renfro, professionally known as Pru, was signed through Warner/Chappell Music Publishing by Capitol Records' executive Roy Lott, who said that he was "drawn to" her songwriting and voice. Jack Ponti, of Cazzy Dog Management, had helped Pru produce a demo tape to secure the record deal. Lott had noted Pru's potential as an artist through her lyrics. He worked closely with her to match her songwriting to the most appropriate sound, serving as the executive producer for her debut studio album Pru.Prior to securing a record deal, Pru had found inspiration for her music in artists such as Cassandra Wilson and Dianne Reeves. She wrote song lyrics and poetry while attending high school and then Texas Southern University, coupling her lyrics with the music of other artists such as Michael Jackson, Rachelle Ferrell, Sade, Naughty by Nature, the Isley Brothers, and Miles Davis. While discussing her approach to songwriting, Pru elaborated: "From a word, I can get a whole picture, a visual. The song becomes a poem, almost like a thesis." She considered her music as a form of poetry, citing the album track "Hazy Shades" as an example of a poem turned into a song.Pru stated that she wanted her songs to bring variety to contemporary R&B, and described the material as the opposite of the formulaic music typically found on radio. On her official website, the singer identified her style as connected with the soul. Though AllMusic gives the singer songwriting credit on twelve of the tracks, Pru is only credited for co-writing "Aaroma" on the album's liner notes. The record was completed at Studio 57 and Weight Room in New York City, with mixing handled by Mike Shipley and Tony Maserati. Following release of the album, Pru spoke highly of her experiences with the producers and felt that they "la[id] a good bed around the lyrics and the melodies".
Output: What is the nickname of the person whose songwriting and voice Roy Lott was drawn to?
Passage: American singer Prudencesa Renfro, professionally known as Pru, was signed through Warner/Chappell Music Publishing by Capitol Records' executive Roy Lott, who said that he was "drawn to" her songwriting and voice. Jack Ponti, of Cazzy Dog Management, had helped Pru produce a demo tape to secure the record deal. Lott had noted Pru's potential as an artist through her lyrics. He worked closely with her to match her songwriting to the most appropriate sound, serving as the executive producer for her debut studio album Pru.Prior to securing a record deal, Pru had found inspiration for her music in artists such as Cassandra Wilson and Dianne Reeves. She wrote song lyrics and poetry while attending high school and then Texas Southern University, coupling her lyrics with the music of other artists such as Michael Jackson, Rachelle Ferrell, Sade, Naughty by Nature, the Isley Brothers, and Miles Davis. While discussing her approach to songwriting, Pru elaborated: "From a word, I can get a whole picture, a visual. The song becomes a poem, almost like a thesis." She considered her music as a form of poetry, citing the album track "Hazy Shades" as an example of a poem turned into a song.Pru stated that she wanted her songs to bring variety to contemporary R&B, and described the material as the opposite of the formulaic music typically found on radio. On her official website, the singer identified her style as connected with the soul. Though AllMusic gives the singer songwriting credit on twelve of the tracks, Pru is only credited for co-writing "Aaroma" on the album's liner notes. The record was completed at Studio 57 and Weight Room in New York City, with mixing handled by Mike Shipley and Tony Maserati. Following release of the album, Pru spoke highly of her experiences with the producers and felt that they "la[id] a good bed around the lyrics and the melodies".
Output: What is the full name of the person whose lyrics showed her potential, according to Lott?
Passage: American singer Prudencesa Renfro, professionally known as Pru, was signed through Warner/Chappell Music Publishing by Capitol Records' executive Roy Lott, who said that he was "drawn to" her songwriting and voice. Jack Ponti, of Cazzy Dog Management, had helped Pru produce a demo tape to secure the record deal. Lott had noted Pru's potential as an artist through her lyrics. He worked closely with her to match her songwriting to the most appropriate sound, serving as the executive producer for her debut studio album Pru.Prior to securing a record deal, Pru had found inspiration for her music in artists such as Cassandra Wilson and Dianne Reeves. She wrote song lyrics and poetry while attending high school and then Texas Southern University, coupling her lyrics with the music of other artists such as Michael Jackson, Rachelle Ferrell, Sade, Naughty by Nature, the Isley Brothers, and Miles Davis. While discussing her approach to songwriting, Pru elaborated: "From a word, I can get a whole picture, a visual. The song becomes a poem, almost like a thesis." She considered her music as a form of poetry, citing the album track "Hazy Shades" as an example of a poem turned into a song.Pru stated that she wanted her songs to bring variety to contemporary R&B, and described the material as the opposite of the formulaic music typically found on radio. On her official website, the singer identified her style as connected with the soul. Though AllMusic gives the singer songwriting credit on twelve of the tracks, Pru is only credited for co-writing "Aaroma" on the album's liner notes. The record was completed at Studio 57 and Weight Room in New York City, with mixing handled by Mike Shipley and Tony Maserati. Following release of the album, Pru spoke highly of her experiences with the producers and felt that they "la[id] a good bed around the lyrics and the melodies".
Output: What is the last of the person who worked closely with a singer to match her songwriting to the most appropriate sound?
Passage: American singer Prudencesa Renfro, professionally known as Pru, was signed through Warner/Chappell Music Publishing by Capitol Records' executive Roy Lott, who said that he was "drawn to" her songwriting and voice. Jack Ponti, of Cazzy Dog Management, had helped Pru produce a demo tape to secure the record deal. Lott had noted Pru's potential as an artist through her lyrics. He worked closely with her to match her songwriting to the most appropriate sound, serving as the executive producer for her debut studio album Pru.Prior to securing a record deal, Pru had found inspiration for her music in artists such as Cassandra Wilson and Dianne Reeves. She wrote song lyrics and poetry while attending high school and then Texas Southern University, coupling her lyrics with the music of other artists such as Michael Jackson, Rachelle Ferrell, Sade, Naughty by Nature, the Isley Brothers, and Miles Davis. While discussing her approach to songwriting, Pru elaborated: "From a word, I can get a whole picture, a visual. The song becomes a poem, almost like a thesis." She considered her music as a form of poetry, citing the album track "Hazy Shades" as an example of a poem turned into a song.Pru stated that she wanted her songs to bring variety to contemporary R&B, and described the material as the opposite of the formulaic music typically found on radio. On her official website, the singer identified her style as connected with the soul. Though AllMusic gives the singer songwriting credit on twelve of the tracks, Pru is only credited for co-writing "Aaroma" on the album's liner notes. The record was completed at Studio 57 and Weight Room in New York City, with mixing handled by Mike Shipley and Tony Maserati. Following release of the album, Pru spoke highly of her experiences with the producers and felt that they "la[id] a good bed around the lyrics and the melodies".
Output: What is the full name of the person who coupled their lyrics with the music of other artists?
Passage: American singer Prudencesa Renfro, professionally known as Pru, was signed through Warner/Chappell Music Publishing by Capitol Records' executive Roy Lott, who said that he was "drawn to" her songwriting and voice. Jack Ponti, of Cazzy Dog Management, had helped Pru produce a demo tape to secure the record deal. Lott had noted Pru's potential as an artist through her lyrics. He worked closely with her to match her songwriting to the most appropriate sound, serving as the executive producer for her debut studio album Pru.Prior to securing a record deal, Pru had found inspiration for her music in artists such as Cassandra Wilson and Dianne Reeves. She wrote song lyrics and poetry while attending high school and then Texas Southern University, coupling her lyrics with the music of other artists such as Michael Jackson, Rachelle Ferrell, Sade, Naughty by Nature, the Isley Brothers, and Miles Davis. While discussing her approach to songwriting, Pru elaborated: "From a word, I can get a whole picture, a visual. The song becomes a poem, almost like a thesis." She considered her music as a form of poetry, citing the album track "Hazy Shades" as an example of a poem turned into a song.Pru stated that she wanted her songs to bring variety to contemporary R&B, and described the material as the opposite of the formulaic music typically found on radio. On her official website, the singer identified her style as connected with the soul. Though AllMusic gives the singer songwriting credit on twelve of the tracks, Pru is only credited for co-writing "Aaroma" on the album's liner notes. The record was completed at Studio 57 and Weight Room in New York City, with mixing handled by Mike Shipley and Tony Maserati. Following release of the album, Pru spoke highly of her experiences with the producers and felt that they "la[id] a good bed around the lyrics and the melodies".
Output: What is the full name of the person who considered their music a form of poetry?
Passage: American singer Prudencesa Renfro, professionally known as Pru, was signed through Warner/Chappell Music Publishing by Capitol Records' executive Roy Lott, who said that he was "drawn to" her songwriting and voice. Jack Ponti, of Cazzy Dog Management, had helped Pru produce a demo tape to secure the record deal. Lott had noted Pru's potential as an artist through her lyrics. He worked closely with her to match her songwriting to the most appropriate sound, serving as the executive producer for her debut studio album Pru.Prior to securing a record deal, Pru had found inspiration for her music in artists such as Cassandra Wilson and Dianne Reeves. She wrote song lyrics and poetry while attending high school and then Texas Southern University, coupling her lyrics with the music of other artists such as Michael Jackson, Rachelle Ferrell, Sade, Naughty by Nature, the Isley Brothers, and Miles Davis. While discussing her approach to songwriting, Pru elaborated: "From a word, I can get a whole picture, a visual. The song becomes a poem, almost like a thesis." She considered her music as a form of poetry, citing the album track "Hazy Shades" as an example of a poem turned into a song.Pru stated that she wanted her songs to bring variety to contemporary R&B, and described the material as the opposite of the formulaic music typically found on radio. On her official website, the singer identified her style as connected with the soul. Though AllMusic gives the singer songwriting credit on twelve of the tracks, Pru is only credited for co-writing "Aaroma" on the album's liner notes. The record was completed at Studio 57 and Weight Room in New York City, with mixing handled by Mike Shipley and Tony Maserati. Following release of the album, Pru spoke highly of her experiences with the producers and felt that they "la[id] a good bed around the lyrics and the melodies".
Output: What is the full name of the person who cited "Hazy Shades" as an example of a poem turned into a song?
Passage: American singer Prudencesa Renfro, professionally known as Pru, was signed through Warner/Chappell Music Publishing by Capitol Records' executive Roy Lott, who said that he was "drawn to" her songwriting and voice. Jack Ponti, of Cazzy Dog Management, had helped Pru produce a demo tape to secure the record deal. Lott had noted Pru's potential as an artist through her lyrics. He worked closely with her to match her songwriting to the most appropriate sound, serving as the executive producer for her debut studio album Pru.Prior to securing a record deal, Pru had found inspiration for her music in artists such as Cassandra Wilson and Dianne Reeves. She wrote song lyrics and poetry while attending high school and then Texas Southern University, coupling her lyrics with the music of other artists such as Michael Jackson, Rachelle Ferrell, Sade, Naughty by Nature, the Isley Brothers, and Miles Davis. While discussing her approach to songwriting, Pru elaborated: "From a word, I can get a whole picture, a visual. The song becomes a poem, almost like a thesis." She considered her music as a form of poetry, citing the album track "Hazy Shades" as an example of a poem turned into a song.Pru stated that she wanted her songs to bring variety to contemporary R&B, and described the material as the opposite of the formulaic music typically found on radio. On her official website, the singer identified her style as connected with the soul. Though AllMusic gives the singer songwriting credit on twelve of the tracks, Pru is only credited for co-writing "Aaroma" on the album's liner notes. The record was completed at Studio 57 and Weight Room in New York City, with mixing handled by Mike Shipley and Tony Maserati. Following release of the album, Pru spoke highly of her experiences with the producers and felt that they "la[id] a good bed around the lyrics and the melodies".
Output: What is the full name of the person who wanted her songs to bring variety to contemporary R&B?
Passage: American singer Prudencesa Renfro, professionally known as Pru, was signed through Warner/Chappell Music Publishing by Capitol Records' executive Roy Lott, who said that he was "drawn to" her songwriting and voice. Jack Ponti, of Cazzy Dog Management, had helped Pru produce a demo tape to secure the record deal. Lott had noted Pru's potential as an artist through her lyrics. He worked closely with her to match her songwriting to the most appropriate sound, serving as the executive producer for her debut studio album Pru.Prior to securing a record deal, Pru had found inspiration for her music in artists such as Cassandra Wilson and Dianne Reeves. She wrote song lyrics and poetry while attending high school and then Texas Southern University, coupling her lyrics with the music of other artists such as Michael Jackson, Rachelle Ferrell, Sade, Naughty by Nature, the Isley Brothers, and Miles Davis. While discussing her approach to songwriting, Pru elaborated: "From a word, I can get a whole picture, a visual. The song becomes a poem, almost like a thesis." She considered her music as a form of poetry, citing the album track "Hazy Shades" as an example of a poem turned into a song.Pru stated that she wanted her songs to bring variety to contemporary R&B, and described the material as the opposite of the formulaic music typically found on radio. On her official website, the singer identified her style as connected with the soul. Though AllMusic gives the singer songwriting credit on twelve of the tracks, Pru is only credited for co-writing "Aaroma" on the album's liner notes. The record was completed at Studio 57 and Weight Room in New York City, with mixing handled by Mike Shipley and Tony Maserati. Following release of the album, Pru spoke highly of her experiences with the producers and felt that they "la[id] a good bed around the lyrics and the melodies".
Output: What is the full name of the person who described the material as the opposite of the formulaic music typically found on radio?
Passage: American singer Prudencesa Renfro, professionally known as Pru, was signed through Warner/Chappell Music Publishing by Capitol Records' executive Roy Lott, who said that he was "drawn to" her songwriting and voice. Jack Ponti, of Cazzy Dog Management, had helped Pru produce a demo tape to secure the record deal. Lott had noted Pru's potential as an artist through her lyrics. He worked closely with her to match her songwriting to the most appropriate sound, serving as the executive producer for her debut studio album Pru.Prior to securing a record deal, Pru had found inspiration for her music in artists such as Cassandra Wilson and Dianne Reeves. She wrote song lyrics and poetry while attending high school and then Texas Southern University, coupling her lyrics with the music of other artists such as Michael Jackson, Rachelle Ferrell, Sade, Naughty by Nature, the Isley Brothers, and Miles Davis. While discussing her approach to songwriting, Pru elaborated: "From a word, I can get a whole picture, a visual. The song becomes a poem, almost like a thesis." She considered her music as a form of poetry, citing the album track "Hazy Shades" as an example of a poem turned into a song.Pru stated that she wanted her songs to bring variety to contemporary R&B, and described the material as the opposite of the formulaic music typically found on radio. On her official website, the singer identified her style as connected with the soul. Though AllMusic gives the singer songwriting credit on twelve of the tracks, Pru is only credited for co-writing "Aaroma" on the album's liner notes. The record was completed at Studio 57 and Weight Room in New York City, with mixing handled by Mike Shipley and Tony Maserati. Following release of the album, Pru spoke highly of her experiences with the producers and felt that they "la[id] a good bed around the lyrics and the melodies".
Output: What is the full name of the person who identified her singing style as connected with the soul?