Information om | Engelska ordet BANQUO

Exempel på hur man kan använda BANQUO i en mening

• Lord Banquo , the Thane of Lochaber, is a semi-historical character in William Shakespeare's 1606 play Macbeth.
• In the play Romeo and Juliet, Romeo and Mercutio serve as character foils for one another, as well as Macbeth and Banquo in the play Macbeth.
• In the Middle Ages, a Norwegian and Irish invasion of Scotland aided by traitorous Thane of Cawdor, MacDonwald, is suppressed by Macbeth, Thane of Glamis, and Banquo.
• In Act 1, Macbeth and Banquo meet the Three Witches who foretell that Macbeth will be king and that Banquo "shalt get kings, though thou be none".
• Macbeth suffers from hubris, leading to the murder of Duncan I of Scotland; he later becomes paranoid, leading him to order the deaths of Banquo and the family of Macduff: Macbeth.
• Svetlov has appeared with New York City Opera as the title role in Verdi's Attila, Basilio in Il Barbiere di Siviglia, Colline in La Bohème, Banquo in a new production of Macbeth and Lorenz in the first fully staged performance of Mathis der Maler in the United States.
• Following on from the events of The Banquo Legacy, the Time Lords have cracked the base code the Eighth Doctor programmed into Compassion's randomiser, and intercept her at her next destination.
• He first performed at the Metropolitan Opera in New York City as the Night Watchman in Wagner's Die Meistersinger von Nürnberg, where he has performed practically every year since, as Fasolt, King of Egypt in Verdi's Aida in 1997, the Old Hebrew in Samson et Dalila by Saint-Saëns in 1998, King Marke in Wagner's Tristan und Isolde in 1999, Escamillo in Bizet's Carmen and Rocco in Fidelio in 2000, Orest in Elektra by Richard Strauss in 2002, Gurnemanz in Wagner's Parsifal in 2003, Leporello in Don Giovanni and King Marke in 2004, Méphistophélès in Gounod's Faust in 2005, King Heinrich, King Philip, and Sarastro in 2006, Banquo in Verdi's Macbeth in 2008, Fasolt, Hunding in Wagner's Die Walküre in 2009, and the title role of Mussorgsky's Boris Godunov in 2010.
• His most famous roles included Sarastro, Osmin, Falstaff, Don Pasquale, Dulcamara, Don Basilio, Don Bartolo, Don Alfonso, Leporello, Don Magnifico, Boris Godunov, Gremin, Varlaam, Gianni Schicchi, Philip II, Banquo, Attila, Pagano, Fiesco, Mephistofeles, Bluebeard etc.
• In 1997 played Banquo in the Shakespeare adaptation for BBC (MacBeth on the Estate) alongside James Frain and Susan Vidler.
• Burchuladze was further trained in Milan from 1978 to 1981 and sang Banquo, Pagano (I Lombardi), Walter (Luisa Miller) and Zaccaria (Nabucco) at La Scala.
• Last year in the summer I was going to see a production of Macbeth here in America, and I re-read the script that afternoon, and I came upon the Banquo scene, ghost scene, and it just leaped out – 'exit ghost' – and that's the title of my book, so I just lifted it.
• He joined the roster of principal artists at the New York City Opera later that year, making his first appearance with the company in the title role of Verdi's Macbeth on October 24, 1957 with Irene Jordan as Lady Macbeth, Norman Treigle as Banquo, Giuseppe Gismondo as Macduff, Ernest McChesney as Malcolm, and Helen Baisley as the Lady-in-waiting.
• Some of the other roles Vaghi created on stage were Alfonso in Lucrezia Borgia, Baldassarre in La favorite, Banquo in Macbeth, Basilio in Nerone, Blind man of Kinnèreth in Dèbora e Jaéle, Cacio in Il Guarany, Count Rodolfo in La sonnambula, Count Walter in Luisa Miller, Don Bartolo in The Barber of Seville, Don Fernando in Fidelio, Dosifey in Khovanshchina, the Gentleman in Fra Gherardo, the Grand Inquisitor in L'Africaine, Heinrich der Vogler in Lohengrin, Il Cieco in Iris, Jacopo Fiesco in Simon Boccanegra, Lotario in Mignon, Herrmann in Tannhäuser, King Marke in Tristan und Isolde, Le Comte des Grieux in Manon, Marco Orsèolo in Orsèolo, Margherita's father in Margherita da Cortona, Mathieu in Andrea Chénier, Mefistofele in Faust, The Miller in Il re, Milone in Giuseppe Mulè's Dafni, Padre Guardiano in La forza del destino, Pagano/Hermit in I Lombardi alla prima crociata, Philipp II in Don Carlos, Simone in Gianni Schicchi, Veit Pogner in Die Meistersinger von Nürnberg, and Walter Furst in William Tell, and the title role in Boris Godunov.
• Le mari in Menotti's Amelia Goes to the Ball, Le Mesge in Henri Tomasi's L'atlantide, Ajax Deuxième in Offenbach's La belle Hélène, Marcello in Puccini's La bohème, Moralès in Bizet's Carmen, Silvio in Leoncavallo's Pagliacci, Tourillon in Johann Strauss's Die Fledermaus (as La chauve-souris), Roger de Lansquenet in Reynaldo Hahn's Ciboulette, Jean in Bohuslav Martinů's Comedy on the Bridge (as Comédie sur le pont), Masetto in Mozart's Don Giovanni (as Don Juan), Le frère jardinier in Tomasi's Don Juan de Manara, a vagabond in Carl Orff's Die Kluge (as Echec au roi), Maître Pausanias in Chabrier's Une éducation manquée, Valentin in Gounod's Faust, Louchard in Charles Lecocq's La fille de Madame Angot, Le marquis Bambini in Offenbach's La fille du tambour-major, Vitellius in Massenet's Hérodiade, Jun (one of the gangsters) in Cole Porter's Kiss Me, Kate, Frédéric in Léo Delibes' Lakmé, a rascal in Orff's Der Mond (as La lune), Banquo in Verdi's Macbeth, De Brétigny in Massenet's Manon, Bacarel in Edmond Audran's Miss Helyett, Borello in Henry Février's Monna Vanna, Bantison in André Messager's Monsieur Beaucaire, Bridaine in Louis Varney's Les mousquetaires au couvent, Phorbas in Enescu's Œdipe, Le chien in Albert Wolff's L'oiseau bleu, the Beggar in John Gay's The Beggar's Opera (as L'opéra du gueux), Gustav von Pottenstein in Franz Lehár's The Land of Smiles (as Le pays du sourire), Panatellas in Offenbach's La Périchole, Ceprano in Verdi's Rigoletto, Moussoul in Adolphe Adam's Si j'étais roi, Monsieur Choufleuri in Offenbach's M.
• ‘The field of the Cats’ where Banquo is said to have gone through a mode of ‘Divination’ by means of placing a cat on an iron spit & torturing the Taing of the Cats’ – a powerful spirit, who came forward, and on condition of getting his subject released revealed the future to the questioner.
• Back at Covent Garden, he was seen as Flaminius in ‘Herod and Mariamne,’ Shore in ‘Jane Shore,’ Alonzo in the ‘Revenge,’ Phocion in ‘The Grecian Daughter,’ Laertes, Pedro in ‘Much Ado About Nothing,’ Oakly in ‘The Jealous Wife,’ Juba in ‘Cato,’ Aimwell in ‘The Beaux' Stratagem,’ Lord Randolph in ‘Douglas,’ Lovemore in ‘Way to keep him,’ Bassanio, Amphitryon, Castalio in the ‘Orphan,’ Fainall in ‘The Way of the World,’ Romeo, Sir George Airy, Henry V, Hotspur, Kitely, Banquo, Ford, Tancred, Archer, Lear, Young Mirabel, Othello, Charles I, Wellborn in ‘A New Way to Pay Old Debts,’ Jaffier, Proteus in ‘The Two Gentlemen of Verona,’ Darnley, Iachimo, Truewit in ‘Silent Woman,’ Colonel Standard, Evander, Plain Dealer, and Apemantus.
• In later seasons he has incorporated roles such as Lord Sidney (Il Viaggio a Reims conducted by Alberto Zedda in an Emilio Sagi production at the Rossini Opera Festival in Pesaro), Oroveso (Norma), Frère Laurent (Roméo et Juliette), Osmin (Die Entführung aus dem Serail), Pirro (I Lombardi), Banquo (Macbeth), Frate (Don Carlo), Oroe (Semiramide) and Caronte (L’Orfeo).
• In December 2021, she took part as Lady McDuff in the workshop of the new musical Lady M, with other cast members including, Kerry Ellis as Lady Macbeth, Karl Queensborough as Macbeth, Jamie Muscato as Banquo and George Blagden as McDuff.
• He was in 1672 Woodly in Shadwell's ‘Epsom Wells;’ Pisauro in Arrowsmith's ‘Reformation;’ Banquo, one of his great parts, in ‘Macbeth,’ converted into an opera; Don Antonio in Nevil Payne's ‘Fatal Jealousy;’ Philander in Mrs.

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