grassini造句

• "Those dogs are crazy, " said Squaw Creek's Katie Grassini.
• Grassini would almost always interpolate arias different from the original ones, mostly drawn from Portugal s version.
• However Giulio Grassini, head of SISDE and member of P2, did not take any investigative measures.
• The Ferdinando Pa雛, who became master of his household music, the castrato Girolamo Crescentini, and the contralto Giuseppina Grassini.
• These first comic performances were not a great success, and Grassini was driven to resume the study of singing and to turn to drama.
• He also painted the Duke of Wellington, Prince Augustus Frederick, Duke of Sussex, Princess Elizabeth, and the Italian contralto Giuseppina Grassini.
• In the years 1804 and 1805 Grassini was in London where, at the von Winter s " Il ratto di Proserpina " and " Zaira ".
• Faithful to her " old " master and partner Crescentini's musical ideals, Grassini would always stand beside such singers as the castrato Gaspare Pacchiarotti, the tenors Matteo Babini, Giovanni Ansani and Giacomo David, the prime-donne Brigida Banti and Lu韘a Todi de Agujar.
• According to ( a professor who took part in the crisis committees ) Franco Ferracuti, later discovered to be a member of P2 and who declared that Moro was suffering of the Stockholm syndrome towards his kidnappers, was close to the lodge during the kidnapping days, having been introduced by general Grassini.
• "Gli Orazi e i Curiazi " was very dear to Napoleon, especially in the Parisian performances of the singer Giuseppina Grassini who was for some time a lover of the Emperor, and of the castrato Girolamo Crescentini  both of whom had been the original creators of the major roles of " Horatia " and " Curiatius " in 1796.
• As the champion of the true  " cantar che nell anima si sente "  Crescentini headed the revenge of the belcanto of yore on the late 18th century s singing fashion and contributed, together with Pacchiarotti, Grassini, Lu韘a Todi de Agujar, the tenor Giacomo David, and few others, to lay the bases for the splendours of Rossini " grand finale " of two centuries history of operatic singing.
• In 1884, at Turin, he displayed : " Music Teacher "; at the 1884 Promotrice he displayed, a plate painted in oil titled " Frate "; " Primizie "; " Il piccolo artista "; " The Factory of Stoviglie of the signor Grassini of Montelupo "; " The factory of Stoviglie of signor Romagnoli " also of Montelupo; " Portrait of the signora contessa Mattei in her salon "; finally at the Promotrici del 1885-89, " Fabbrica di Stoviglie del signor Grassini gi?stato esposto "; " Visita ai contadini di Valebbraia "; " In Toscana "; " Madonna di Andrea del Sarto at the church of the Santissima Annunziata of Florence "; " Studio di Frate Savonarola in the Museo di San Marco in Florence "; " Choir of the church of Santa Maria Novella "; " Entry to the Medici Chapel "; and " Cloister di Santa Maria Novella di Florence ".
• In 1884, at Turin, he displayed : " Music Teacher "; at the 1884 Promotrice he displayed, a plate painted in oil titled " Frate "; " Primizie "; " Il piccolo artista "; " The Factory of Stoviglie of the signor Grassini of Montelupo "; " The factory of Stoviglie of signor Romagnoli " also of Montelupo; " Portrait of the signora contessa Mattei in her salon "; finally at the Promotrici del 1885-89, " Fabbrica di Stoviglie del signor Grassini gi?stato esposto "; " Visita ai contadini di Valebbraia "; " In Toscana "; " Madonna di Andrea del Sarto at the church of the Santissima Annunziata of Florence "; " Studio di Frate Savonarola in the Museo di San Marco in Florence "; " Choir of the church of Santa Maria Novella "; " Entry to the Medici Chapel "; and " Cloister di Santa Maria Novella di Florence ".