Problem: The following article contains an answer for the question: Whose piece is now called the Festive Symphony? , can you please find it? Dissatisfied with his first large-scale orchestral work, the D major Overture of 1848, Smetana studied passages from Beethoven, Mendelssohn, Weber and Berlioz before producing his Triumphal Symphony of 1853. Though this is dismissed by Rosa Newmarch as "an epithalamium for a Habsburg Prince", Smetana's biographer Brian Large identifies much in the piece that characterises the composer's more mature works. Despite the symphony's rejection by the Court and the lukewarm reception on its premiere, Smetana did not abandon the work. It was well received in Gothenburg in 1860, and a revised version was performed in Prague in 1882, without the "triumphal" tag, under Adolf Cech. The piece is now sometimes called the Festive Symphony. Smetana's visit to Liszt at Weimar in the summer of 1857, where he heard the latter's Faust Symphony and Die Ideale, caused a material reorientation of Smetana's orchestral music. These works gave Smetana answers to many compositional problems relating to the structure of orchestral music, and suggested a means for expressing literary subjects by a synthesis between music and text, rather than by simple musical illustration. These insights enabled Smetana to write the three Gothenburg symphonic poems, (Richard III, Wallenstein's Camp and Hakon Jarl), works that transformed Smetana from a composer primarily of salon pieces to a modern neo-Romantic, capable of handling large-scale forces and demonstrating the latest musical concepts. From 1862 Smetana was largely occupied with opera and, apart from a few short pieces, did not return to purely orchestral music before beginning Ma vlast in 1872. In his introduction to the Collected Edition Score, Frantisek Bartol brackets Ma vlast with the opera Libuse as "direct symbols of [the] consummating national struggle". Ma vlast is the first of Smetana's mature large-scale works that is independent of words, and its musical ideas are bolder than anything he had tried before. To musicologist John Clapham, the cycle presents "a cross-section of Czech...

A: Smetana

Problem: The following article contains an answer for the question: What is the full name of the man who's participation was believed to be confirmed by Gonzaga princes in the opera that omits La messaggera in the 1609 score? , can you please find it? In his personaggi listed in the 1609 score, Monteverdi unaccountably omits La messaggera (the Messenger), and indicates that the final chorus of shepherds who perform the moresca (Moorish dance) at the opera's end are a separate group (che fecero la moresca nel fine). Little information is available about who sang the various roles in the first performance. A letter published at Mantua in 1612 records that the distinguished tenor and composer Francesco Rasi took part, and it is generally assumed that he sang the title role. Rasi could sing in both the tenor and bass ranges "with exquisite style ... and extraordinary feeling". The involvement in the premiere of a Florentine castrato, Giovanni Gualberto Magli, is confirmed by correspondence between the Gonzaga princes. Magli sang the prologue, Proserpina and possibly one other role, either La messaggera or Speranza. The musicologist and historian Hans Redlich mistakenly allocates Magli to the role of Orfeo.A clue about who played Euridice is contained in a 1608 letter to Duke Vincenzo. It refers to "that little priest who performed the role of Euridice in the Most Serene Prince's Orfeo". This priest was possibly Padre Girolamo Bacchini, a castrato known to have had connections to the Mantuan court in the early 17th century. The Monteverdi scholar Tim Carter speculates that two prominent Mantuan tenors, Pandolfo Grande and Francesco Campagnola may have sung minor roles in the premiere.There are solo parts for four shepherds and three spirits. Carter calculates that through the doubling of roles that the text allows, a total of ten singersthree sopranos, two altos, three tenors and two bassesis required for a performance, with the soloists (except Orfeo) also forming the chorus. Carter's suggested role-doublings include La musica with Euridice, Ninfa with Proserpina and La messaggera with Speranza.

A: Giovanni Gualberto Magli

Problem: The following article contains an answer for the question: What are the first names of the people who restrain Meg? , can you please find it? In 2007, David Moran, a Wall Street player, witnesses a man hit and run by a car. He responds to the situation and tries to resuscitate the victim. That evening, he reflects on his past to the summer of 1958, when he meets his first teenage crush Meg Loughlin. Meg and her disabled sister Susan have lost their parents in a car accident and because of this, they are sent to live with their reclusive aunt, Ruth Chandler, and her sons, Willie, Ralphie, and Donny (Graham Patrick Martin, Austin Williams and Benjamin Ross Kaplan). Living next door to the Chandlers, David is aware of the charisma Ruth has, since she freely allows her sons and their neighborhood friends to her house, where she entertains them and offers them beer and cigarettes. Meanwhile, Ruth starves Meg, accuses her of being a whore and subjects her to misogynistic lectures, whilst her children listen. One day, David visits the Chandler residence, where he sees the Chandler sons tickling Meg. Ralphie inappropriately tickles Meg's breasts, prompting her to fend him off as she runs from the room. His brothers humiliate Susan and when Ralphie brings Ruth to the situation, Ruth reprimands her for forgiving Meg's actions. Ruth beats Susan's bare buttocks as the Chandler sons restrain a horrified Meg, who came back to the room to save Susan. Ruth then takes the ring that Meg wears around her neck, which belonged to her mother.

A:
Donny