A reredos or raredos is an altarpiece, or a screen or decoration behind the altar in a church, usually depicting religious iconography or images. In French and sometimes in English, this is called a retable; in Spanish a retablo, etc. It can be made of stone, wood, metal, ivory, or a combination of materials. The images may be painted, carved, gilded, composed of mosaics, and/or embedded with niches for statues. Sometimes a tapestry is used, or other fabric such as silk or velvet.

Reredos is derived through Middle English from the 14th century Anglo-Norman areredos, which in turn is from arere behind +dos back, from Latin dorsum. The term referred generally to an open hearth of a fireplace or a screen placed behind a table. Used in the 14th and 15th centuries, reredos had become nearly obsolete until revived in the 19th century.

The retable may have become part of the reredos when an altar was moved away from the wall. For altars that are still against the wall, the retable often sits on top of the altar, at the back, particularly when there is no reredos (a dossal curtain or something similar is used instead). The retable is also where the altar cross, flowers and "office light" type candlesticks sit.

John the Baptist (Hebrew: יוחנן המטביל, Yoḥanan ha-mmaṭbil, Arabic: يحيى بن زكريا‎ Yahya ibn Zakariya, Aramaic: ܝܘܚܢܢ Yoḥanan, Greek: Ὁ Ἅγιος/Τίμιος Ἐνδοξος Προφήτης, Πρόδρομος καὶ Βαπτιστής Ἰωάννης Ho Hágios/Tímios Endoxos, Profḗtēs, Pródromos, kaì Baptistḗs Ioánnes) (c. 6 BC – c. AD 30-36) was an itinerant preacher and a major religious figure mentioned in the Canonical gospels and the Qur'an. He is described in the Gospel of Luke as a relative of Jesus who led a movement of baptism at the Jordan River. Some scholars maintain that he was influenced by the Essenes, who were semi-ascetic, expected an apocalypse, and practiced rituals corresponding strongly with baptism, although there is no direct evidence to substantiate this. John is regarded as a prophet in Christianity, Islam, the Bahá'í Faith, and Mandaeism.

Most biblical scholars agree that John baptized Jesus at "Bethany beyond the Jordan," by wading into the water with Jesus from the eastern bank. John the Baptist is also mentioned by Jewish historian Josephus, in Aramaic Matthew, in Pseudo-Clementine, and in the Qur'an. Accounts of John in the New Testament appear compatible with the account in Josephus. There are no other historical accounts of John the Baptist from around the period of his lifetime.

Angela Gheorghiu (Romanian pronunciation: [anˈd͡ʒela ɡe̯orˈɡi.u] ( listen); born Angela Burlacu September 7, 1965) is a Romanian soprano. Since her professional debut in 1990, she has performed in the leading roles of several operas at New York's Metropolitan Opera, London's Royal Opera House, the Vienna State Opera, Milan's La Scala, and many other opera houses in Europe and the United States. She has a substantial discography primarily with EMI Classics and Decca.

Gheorghiu was born in 1965 in Adjud, Romania. Along with her sister Elena Dan, she sang opera music from an early age. At age 14, Gheorghiu began to study singing at the National University of Music Bucharest, primarily under Mia Barbu. Her graduation in 1990 coincided with the overthrow and execution of Nicolae Ceaușescu the previous year, enabling her to seek an international career immediately. Her professional opera debut took place at the Cluj-Napoca Romanian National Opera as Mimì in La bohème in 1990, the same year she won the Belvedere International Competition.

Pietro Antonio Stefano Mascagni (Italian pronunciation: [ˈpjɛːtro anˈtɔːnjo ˈsteːfano masˈkaɲɲi]; December 7, 1863 – August 2, 1945) was an Italian composer most noted for his operas. His 1890 masterpiece Cavalleria rusticana caused one of the greatest sensations in opera history and single-handedly ushered in the Verismo movement in Italian dramatic music. Though it has been stated that Mascagni, like Leoncavallo, was a "one-opera man" who could never repeat his first success, this is inaccurate. L'amico Fritz and Iris have been popular in Europe since their respective premieres. In fact, Mascagni himself claimed that at one point Iris was performed in Italy more often than Cavalleria (cf. Stivender).

Mascagni wrote fifteen operas, an operetta, several orchestral and vocal works, as well as songs and piano music. He enjoyed immense success during his lifetime, both as a composer and conductor of his own and other people's music. If he never repeated the international success of Cavalleria, it was probably because Mascagni refused to copy himself. The variety of styles in his operas — the Sicilian passion and warmth of Cavalleria, the exotic flavor of Iris, the idyllic breeze that ventilates the charming L'amico Fritz and Lodoletta, the Gallic chiaroscuro of Isabeau, the steely, Veristic power of Il piccolo Marat, the overripe postromanticism of the lush Parisina — demonstrate a versatility that surpasses even that of Puccini.