Search results for "Chino"
showing 10 items of 351 documents
A new formulated diet for sea urchin (Paracentrotus lividus) aquaculture
2010
A new sustainable formulated feed based on discards from food industries for rearing the sea urchin Paracentrotus lividus (Lmk)
2019
During a 18‐week experiment in a sea‐based system, Paracentrotus lividus was fed with two formulations of a new sustainable feed whose main ingredients were food farming discards, mostly outermost lettuce leaves, in different percentage. Egg white was added as protein source and binder, and a little amount of commercial fish feed was added as lipid source. At the end of the experiment, a high survival rate (>80%) and an increase in test diameter (22%), total weight (130%), gonad weight (240%) and gonad index expressed as size‐adjusted gonad weight (288%) were recorded. Gonads achieved a good colour and high levels of essential and polyunsaturated fatty acids, hence representing a commerc…
Verso l’ottimizzazione dell’attività antiproliferativa di derivati pirroloisochinolinici
2013
Gioacchino Scaduto
2013
voce Gioacchino Scaduto per il Dizionario Biografico dei Giuristi italiani
Guglielmo Borremans di Anversa pittore fiammingo in Sicilia XVIII (1912) di Gioacchino Di Marzo. Aggiornamento critico-bibliografico. Un progetto mul…
2012
Costruire la regalità. Feste teatrali e cerimonie con musica a Napoli tra Giuseppe e Gioacchino (1806-1815)
2016
The article examines the occasional genres flourished during the French domination in Naples (1806-1815). The new Napoleonic dinasty needed to obtain public consent, and so adopted old and new strategies of communication. In fact, the study of many different sources (librettos, scores, newspapers) indicates a fascinating coexistence of tradition and innovation. The period taken into consideration still offers many examples of traditional cantatas performed in theatres and aristocratic palaces. Together with these conventional pièces, though, it is possible to observe original and innovative creations, such as choreographic actions, prose comedies with incidental music and, above all, large …
Appunti sui libretti per musica di Gioacchino Pizzi
2017
In recent years historians of the literature, culture and sociality of the academies have shown a renewed interest in Gioacchino Pizzi (Nivildo Amarinzio), who was the Custode of Arcadia from 1772 to 1790. On the other hand, there have been no specific studies of his relations with the world of music. The first part of the article offers a first inventory of Nivildo’s printed libretti, belonging to the genres of encomiastic cantata, sacred composition and dramma per musica. The second part illustrates the ideas on Italian and French theatre expounded by Pizzi in his "Ragionamento sulla tragica e comica poesia" (1772). It also reconstructs his relationship with Pietro Metastasio, and explore…
"Largo al factotum!": genesi e fortuna del "Barbiere" di Rossini
2011
Il saggio ripercorre la genesi del "Barbiere di Siviglia" di Gioachino Rossini, soffermandosi sui problemi connessi alla determinazione dei ruoli vocali e della compagnia di canto, nonché alla genesi e alla prima rappresentazione dell'opera (Roma, Teatro Argentina, 20 febbraio 1816).
"Insisto per i tre colori!" Le ossessioni di Giacomo Puccini nello specchio del Trittico
2008
Il saggio prende le mosse da alcuni aspetti dell'esperienza creativa di Giacomo Puccini durante gli ultimi anni della sua vita, concentrandosi poi sulla genesi del "Trittico" (1916-18) e infine sulla drammaturgia e i caratteri musicali dei tre atti unici dei quali si costituisce la partitura.
Anfione e Nivildo. Nota sui rapporti di Niccolò Jommelli con l'arcade Gioacchino Pizzi
2017
The Roman poet Gioacchino Pizzi (1716-1790) was a leading figure of the Accademia dell’Arcadia in the second half of the Eighteenth Century. His relationship with the composer Niccolò Jommelli (1714-1774) is investigated for the first time. Their collaboration started in 1751 in the occasion of the creation of a “componimento drammatico” for the birthday of King Joseph I of Portugal. They worked together again in 1757, when they wrote “Il Creso”, a three-acts opera performed at the Teatro di Torre Argentina. The friendship between the man of letters and the musician is clearly described in Pizzi’s undated ode “Per la venuta in Roma del celebre maestro di cappella il signor Niccolò Jommelly”…