Q: Found the following article online, use it to answer the question: In what year did L'Orfeo celebrate its quatercentenary? L'Orfeo (SV 318) (Italian pronunciation: [lorfo]), sometimes called La favola d'Orfeo [la favola dorfo], is a late Renaissance/early Baroque favola in musica, or opera, by Claudio Monteverdi, with a libretto by Alessandro Striggio. It is based on the Greek legend of Orpheus, and tells the story of his descent to Hades and his fruitless attempt to bring his dead bride Eurydice back to the living world. It was written in 1607 for a court performance during the annual Carnival at Mantua. While Jacopo Peri's Dafne is generally recognised as the first work in the opera genre, and the earliest surviving opera is Peri's Euridice, L'Orfeo is the earliest that is still regularly performed. By the early 17th century the traditional intermedioa musical sequence between the acts of a straight playwas evolving into the form of a complete musical drama or "opera". Monteverdi's L'Orfeo moved this process out of its experimental era and provided the first fully developed example of the new genre. After its initial performance the work was staged again in Mantua, and possibly in other Italian centres in the next few years. Its score was published by Monteverdi in 1609 and again in 1615. After the composer's death in 1643 the opera went unperformed for many years, and was largely forgotten until a revival of interest in the late 19th century led to a spate of modern editions and performances. At first these performances tended to be concert (unstaged) versions within institutes and music societies, but following the first modern dramatised performance in Paris, in 1911, the work began to be seen in theatres. After the Second World War many recordings were issued, and the opera was increasingly staged in opera houses, although some leading venues resisted it. In 2007, the quatercentenary of the premiere was celebrated by performances throughout the world. In his published score Monteverdi lists around 41 instruments to be deployed, with distinct groups of instruments used to depict particular scenes and characters....
A: 2007
Question: Found the following article online, use it to answer the question: What is the name of the person who will not let go of Suzanne? Suzanne, is a well-to-do married woman and mother of two in the south of France. Her idle bourgeois lifestyle begins to depress her, and she decides to go back to work as a physiotherapist. Her husband, Samuel, agrees to fix up a consulting room for her in their backyard. When Suzanne and Ivan, a Spanish ex-con hired to do the building, meet, their mutual attraction is sudden and violent. After multiple trysts with Ivan, she confesses the affair to her husband, and she promises to give it up, but finds she cannot. She finally decides to give up everything and live her all-engulfing passion for Ivan to the fullest, but her husband will not let go of her; her daughter rejects her, although her son stays connected to her. The new couple soon face severe financial problems, some of them caused by Samuel: when her credit card is rejected, she is forced to sell her Cartier watch at a gas station. In their extreme need, Suzanne and Ivan rob Samuel's house of its paintings and valuables, but Ivan is arrested when he fences the stolen goods for them. Suzanne tries to convince her husband that she was solely responsible for the burglary, and that she only took what was hers. She offers to do anything to keep Ivan out of jail, and her husband tells her that if she comes home, Ivan will be free. At this dilemma, she faints. Back in their home, Suzanne is distant with her family, yet tolerant of her husband's sexual advances. Soon, though, she takes a rifle and shells from a closet, and kills Samuel as he sleeps. Driving through the night, she is eventually reunited with Ivan at the ruined house in the hills they had once dreamed of restoring. They embrace and she sobs hysterically. In the distance, a police siren can be heard.
Answer: Samuel
Question: Found the following article online, use it to answer the question: What is the first name of the person who was impressed by what he had heard and asked Tchaikovsky what he would consider writing next? Tchaikovsky played the finale of his Second Symphony, subtitled the Little Russian, at a gathering at Rimsky-Korsakov's house in Saint Petersburg on January 7, 1873, before the official premiere of the entire work. To his brother Modest, he wrote, "[T]he whole company almost tore me to pieces with raptureand Madame Rimskaya-Korsakova begged me in tears to let her arrange it for piano duet". Rimskaya-Korsakova was a noted pianist, composer and arranger in her own right, transcribing works by other members of the kuchka as well as those of her husband and Tchaikovsky's Romeo and Juliet. Borodin was present and may have approved of the work himself. Also present was Vladimir Stasov. Impressed by what he had heard, Stasov asked Tchaikovsky what he would consider writing next, and would soon influence the composer in writing the symphonic poem The Tempest.What endeared the Little Russian to the kuchka was not simply that Tchaikovsky had used Ukrainian folk songs as melodic material. It was how, especially in the outer movements, he allowed the unique characteristics of Russian folk song to dictate symphonic form. This was a goal toward which the kuchka strived, both collectively and individually. Tchaikovsky, with his Conservatory grounding, could sustain such development longer and more cohesively than his colleagues in the kuchka. (Though the comparison may seem unfair, Tchaikovsky authority David Brown has pointed out that, because of their similar time-frames, the finale of the Little Russian shows what Mussorgsky could have done with "The Great Gate of Kiev" from Pictures at an Exhibition had he possessed academic training comparable to that of Tchaikovsky.)
Answer:
Vladimir