Calunnia

Calunnia (Italian pronunciation: [kaˈlunnja]), meaning "calumny", is a criminal offence under Article 368 of the Italian Penal Code (Codice Penale), which states:

The mens rea of calunnia requires awareness and a willingness to blame someone of a crime that the accused knows is innocent.

Calunnia should be distinguished from criminal slander (ingiuria) and criminal libel (diffamazione) which relate to offences against personal honour in the Italian Penal Code.

Protection of legal interests

Traditionally, the crime of calunnia is said to protect a plurality of legal interests. The major protected legal interests are, at the same time, both the proper administration of justice and personal honour, and also possibly the personal freedom of the falsely accused. Historically, the Italian legal system has treated calunnia as detrimental to the interests of the State and the correct administration of justice. This is evidenced through the crime of calunnia being included among other crimes against the administration of justice in the Italian Penal Code, unlike in the French Penal Code or Belgian Penal Code, which place the equivalent of calunnia with crimes against honour.

The Barber of Seville

The Barber of Seville, or The Futile Precaution (Italian: Il barbiere di Siviglia, ossia L'inutile precauzione [il barˈbjɛːre di siˈviʎʎa osˈsiːa l iˈnuːtile prekautˈtsjoːne]) is an opera buffa in two acts by Gioachino Rossini with an Italian libretto by Cesare Sterbini. The libretto was based on Pierre Beaumarchais's French comedy Le Barbier de Séville (1775). The première of Rossini's opera (under the title Almaviva, o sia L'inutile precauzione) took place on 20 February 1816 at the Teatro Argentina, Rome.

Rossini's Barber has proven to be one of the greatest masterpieces of comedy within music, and has been described as the opera buffa of all "opere buffe". Even after two hundred years, it remains a popular production.

Composition history

Rossini's opera recounts the events of the first of the three plays by French playwright Pierre Beaumarchais that revolve around the clever and enterprising character named Figaro. Mozart's opera Le nozze di Figaro, composed 30 years earlier in 1786, is based on the second part of the Beaumarchais trilogy. The first Beaumarchais play was originally conceived as an opéra comique, but was rejected as such by the Comédie-Italienne. The play as it is now known was premiered in 1775 by the Comédie-Française at the Théâtre des Tuileries in Paris.

Ferruccio Furlanetto

Ferruccio Furlanetto (born 16 May 1949 in Sacile, Italy) is an Italian bass. His professional debut was in 1974 in Lonigo, he debuted at the Teatro alla Scala in Milan in 1979, in a production of Verdi's Macbeth, conducted by Claudio Abbado. He has gone on to sing numerous roles, including both Don Giovanni and Leporello in Mozart's Don Giovanni, Philip II in Verdi's Don Carlos, Figaro in Mozart's Le nozze di Figaro, Gremin in Tchaikovsky's Eugene Onegin, Zaccaria in Verdi's Nabucco, Méphistophélès in Gounod's Faust, Orestes in Strauss' Elektra, Fiesco in Verdi's Simon Boccanegra, the title role of Mussorgsky's Boris Godunov, as well as many other roles.

He has sung in the world's major opera houses. He debuted at the Metropolitan Opera in the 1980/81 season, and has performed at the Opéra de Paris (Bastille), the Salzburg Easter Festival and the regular Salzburg Festival, Teatro Colón in Buenos Aires, the Vienna Staatsoper, the Tel Aviv Opera, and the Royal Opera House in London.

La Fenice

Teatro La Fenice (pronounced [la feˈniːtʃe], "The Phoenix") is an opera house in Venice, Italy. It is one of "the most famous and renowned landmarks in the history of Italian theatre", and in the history of opera as a whole. Especially in the 19th century, La Fenice became the site of many famous operatic premieres at which the works of several of the four major bel canto era composers—Rossini, Bellini, Donizetti, and Verdi were performed.

Its name reflects its role in permitting an opera company to "rise from the ashes" despite losing the use of three theatres to fire, the first in 1774 after the city's leading house was destroyed and rebuilt but not opened until 1792; the second fire came in 1836, but rebuilding was completed within a year. However, the third fire was the result of arson. It destroyed the house in 1996 leaving only the exterior walls, but it was rebuilt and re-opened in November 2004.

History

First theatre

In 1774, the San Benedetto Theatre, which had been Venice's leading opera house for more than forty years, burned to the ground. By 1789, with interest from a number of wealthy opera lovers who wanted a spectacular new house, "a carefully defined competition" was organised to find a suitable architect. It was won by Gianantonio Selva who proposed a neoclassical style building with 170 identical boxes in tiers in a traditional horseshoe shaped auditorium, which had been the favoured style since it was introduced as early as 1642 in Venice. The house would face on one side a campo, or small plaza, and on the other a canal, with an entrance which gave direct access backstage and into the theatre.