Question: Ulysses Awakes is a creative transcription of Ulysses' first aria in act 1, scene 7 of an opera by what Italian composer, string player, and choirmaster?

Context articles: Orfeo Vecchi
Jérusalem
Thaïs (opera)
Insertion aria
Bajazet (opera)
Ulysses Awakes
Dies Bildnis ist bezaubernd schön
Eugene Onegin (opera)
Claudio Monteverdi
Marziano Perosi

Orfeo Vecchi (ca. 15511603) was an Italian composer and choirmaster.
 His most important appointment as choirmaster was at Santa Maria alla Scala, Milan.
 His extant compositions date as early as 1588.
Jérusalem is a grand opera in four acts by Giuseppe Verdi.
 The libretto was to be an adaptation and partial translation of the composer's original 1843 Italian opera, "I Lombardi alla prima crociata".
 It was the one opera which he regarded as the most suitable for being translated into French and, taking Eugène Scribe's advice, Verdi agreed that a French libretto was to be prepared by Alphonse Royer and Gustave Vaëz, who had written the libretto for Donizetti's most successful French opera, "La favorite".
 The opera received its premiere performance at the Salle Le Peletier in Paris on 26 November 1847.
 The maiden production was designed by Paul Lormier (costumes), Charles Séchan, Jules Diéterle and Édouard Desplechin (sets of Act I, Act II, scene 1, Act III scene 1, and Act IV), and Charles-Antoine Cambon and Joseph Thierry (sets for Act II, scene 2 and Act III, scene 2).
Thaïs (] ) is an opera, a "comédie lyrique" in three acts and seven tableaux, by Jules Massenet to a French libretto by Louis Gallet, based on the novel "Thaïs" by Anatole France.
 It was first performed at the Opéra Garnier in Paris on 16 March 1894, starring the American soprano Sibyl Sanderson, for whom Massenet had written the title role.
 The original production was directed by Alexandre Lapissida, with costumes designed by Charles Bianchini and sets by Marcel Jambon (act 1, scene 1; act 3) and Eugène Carpezat (act 1, scene 2; act 2).
 The opera was later revised by the composer and was premiered at the same opera house on 13 April 1898.
An insertion aria (also known as interpolated aria, trunk aria, or aria di baule in Italian) is an aria sung in an opera for which it was not composed.
 It was a practice that began in the seventeenth century and continued actively through the late 19th century and sporadically through the 20th century.
 The insertion aria could replace an existing aria, or might be added to an opera.
 All insertions were planned in advance.
 They might be composed by the same composer of the opera, or might have been written by a different composer, with or without the knowledge of the opera's composer.
 Most insertions were of arias; infrequently non-operatic songs were inserted.
 Insertions could consist of arias, duets, ensembles, even entire scenes.
 Although men and women singers used insertion, women are the ones most remembered for the practice.
 The years 1800–1840 represent the apex of influence that women singers exerted over the operatic stage, influencing most aspects of opera performances, including insertions.
Act I. "In garden of occupied capital of Bursa, where Tamerlane resides following the defeat of the Turks".
 Scene.
 1 (Bajazet & Andronicus): Awaiting death, Bajazet tells Andronicus that if he weds Asteria he must hate Tamerlane.
 Scene 2 (Andronicus & Idaspe).
 Andronicus tells Idaspe to watch Bajazet for Asteria’s sake.
 Idaspe warns him that Greece has already turned the Empire over to Tamerlane and that Asteria’s beauty will fade, but Andronicus could be crowned Byzantine emperor.
 Scene 3 (Tamerlane & Andronicus): Tamerlane grants to Andronicus the Byzantine Empire and discloses that he is in love with Asteria.
 He asks Andronicus to ask her hand from Banazet and tells him that he should marry Irene (who is betrothed to Tamerlane).
 Scene 4 (Andronicus alone): Andronicus considers: He is not ungrateful to Tamerlane but wishes to have Asteria.
 "Royal apartments for Bajazet and Asteria, guarded".
 Scene 5 (Asteria): Asteria considers her dilemma—she loves Andronicus but believes he is interested only in imperial ambition.
 Scene 6 (Tamerlane & Asteria); Tamerlane tells Asteria of his love and threatens her with her father’s life.
 He tells her that Andronicus will wed Irene and sings love aria before leaving.
 Scene 7 (Andronicus, Bajazet & Asteria): Asteria reproaches Andronicus in front of her father.
 Andronicus begins to explain himself but Bajazet tells him that he speaks for his daughter in saying that s will refuse to marry Tamerlane and Bajazet will forfeit his head.
 Scene 8 (Asteria & Andronicus): Asteria remains angry with Andronicus and tells him to carry out her father’s orders but not to speak for her.
 After he leaves, she wonders how she can continue to love one who is untrue to her.
 Scene 9 (Irene, Andronicus & Idaspe): Irene wants to know why her proposed husband is not there to greet her.
 Idaspe explains that he loves another.
 Andronicus proposes that she go to him as Irene’s messenger.
 [Tamerlane does not know what she looks like.]
 She agrees to fight for her rights.
 Scene 10 (Andronicus alone): Andronicus admits to himself that Irene is pretty and her kingdom adds to her beauty, but he is sad for Asteria.
 He sings aria in which he recognizes that if one does not die of grief in these circumstances it is because “either the power of death is weak; or grief is powerless.”
Ulysses Awakes "(after Monteverdi)" is a musical composition for solo viola and strings by English composer John Woolrich.
 It is a creative transcription of Ulysses' first aria in act 1, scene 7 of Claudio Monteverdi's opera "Il ritorno d'Ulisse in patria".
 Ulysses has been washed up on the coast of Ithaca, his homeland.
"Dies Bildnis ist bezaubernd schön " (This image is enchantingly lovely) is an aria from Wolfgang Amadeus Mozart's 1791 opera "The Magic Flute".
 The aria takes place in act 1, scene 1, of the opera.
 Prince Tamino has just been presented by the Three Ladies with an image of the princess Pamina, and falls instantly in love with her.
Eugene Onegin (Russian: Евгений Онегин , "Yevgény Onégin"), Op.
 24, is an opera ("lyrical scenes") in 3 acts (7 scenes), composed by Pyotr Ilyich Tchaikovsky.
 The libretto, organised by the composer himself, very closely follows certain passages in Alexander Pushkin's novel in verse, retaining much of his poetry.
 Tchaikovsky's friend Konstantin Shilovsky contributed M. Triquet's verses in Act 2, Scene 1, while Tchaikovsky himself arranged the text for Lensky's arioso in Act 1, Scene 1, and almost all of Prince Gremin's aria in Act 3, Scene 1.
Claudio Giovanni Antonio Monteverdi (] ; 15 May 1567 (baptized) – 29 November 1643) was an Italian composer, string player and choirmaster.
 A composer of both secular and sacred music, and a pioneer in the development of opera, he is considered a crucial transitional figure between the Renaissance and the Baroque periods of music history.
Marziano Perosi (Tortona October 20, 1875 – Rome February 21, 1959), brother of Don Lorenzo Perosi and of Cardinal Carlo Perosi.
 Italian composer, choirmaster, and organist.
 He was an organist and choirmaster at the in Pompei, assistant to his brother Lorenzo at the Sistine Chapel, and organist and choirmaster of the Duomo of Milan.
 His most significant composition was the opera "Pompei."