cultură şi spiritualitate
Niccolò Piccinni (Italian: [nikkoˈlɔ ppitˈtʃinni]; 16 January [O.S. 5 January] 1728 - 7 May 1800) was an Italian composer of symphonies, sacred music, chamber music, and opera. Although he is somewhat obscure today, Piccinni was one of the most popular composers of opera—particularly the Neapolitan opera buffa—of his day.
Piccinni was born in Bari, in the Apulia region, and educated under Leonardo Leo and Francesco Durante, at the S. Onofrio Conservatory. For this, he had to thank the intervention of the Bishop of Bari, since his father, although himself a musician, was opposed to his son's following the same career. Piccinni's first opera, Le donne dispettose, was produced in 1755, and in 1760 he composed, at Rome, the chef d'œuvre of his early life, La Cecchina, ossia la buona Figliuola, an opera buffa with a libretto by Goldoni, which "enjoyed a two-year run in Rome and was played in all the important European capitals. It can probably be called the most popular opera buffa of the 18th century...[even more than]... Pergolesi's La serva padrona...[and]... The first of the new era, culminating in the masterworks of Mozart."[1]
La buona figliuola represents a special moment in the history of eighteenth-century music in which comedy began to take on a new dramatic force. It is the moment at which the self-consciously sentimental theatrical project of Carlo Goldoni (the opera's librettist) is married with the developing musical language of classicism. This can especially be seen in the sensitive writing of Cecchina's Act II aria "Una povera ragazza."[2]
The opera was such a success that fashions of dress, shops, and houses were all named after La Cecchina.[3] It also set off a debate about the merits of the new sentimental style, especially in England, where conservative reactionaries were wary of the supposed feminizing influence of modern Italian music. Antonio Baretti commented in 1768 that individuals “of weight and consideration” should not be blamed for condemning “those puny gentlemen” who, as enthusiasts of Italian opera, were able to “feel its minuet niceties, and to be of course in rapture with the languishing Cecchina’s of Piccini [sic].” This modern music, Baretti decried, “far from having any power of increasing courage or any manly virtues, has on the contrary a tendency towards effeminacy and cowardliness.”[4]
Six years after this Piccinni was invited by Queen Marie Antoinette to Paris. He became the first Italian after Jean-Baptiste Lully to write operas for the Academie Royale de Musique, as the opera was called. He collaborated with the poet and dramatist Marmontel on several projects designed to advance the cause of the operatic reform. Marmontel's first librettos took as their foundation texts Philippe Quinault had written for Lully, Roland 1778, and Atys, 1779, then the subsequent efforts, starting with Didon, were original texts. All his later works were successful; but the directors of the Grand Opera conceived the idea of deliberately opposing him to Gluck, by persuading the two composers to treat the same subject - Iphigénie en Tauride - simultaneously. The Parisian public was divided into two rival parties, which, under the names of Gluckists and Piccinnists, carried on an unworthy and disgraceful war. Gluck's masterly Iphigénie en Tauride was first produced on 18 May 1779. Piccinni's Iphigénie followed on 23 January 1781. The antagonism of the rival parties continued, even after Gluck left Paris in 1780; and an attempt was afterwards made to inaugurate a new rivalry with Sacchini. Piccinni remained popular, and on the death of Gluck, in 1787, proposed that a public monument be erected to his memory—a suggestion which the Gluckists refused to support.
In 1784 Piccinni became professor at the Royal School of Music, one of the institutions from which the Conservatoire was formed in 1794. On the outbreak of the French Revolution in 1789, Piccinni returned to Naples, where he was at first well received by King Ferdinand IV; but the marriage of his daughter to a French democrat brought him disgrace - he was accused of being a revolutionary and placed under house arrest for four years. For the next nine years he maintained a precarious existence in Venice, Naples and Rome; but he returned in 1798 to Paris, where the public received him with enthusiasm, but he made no money. He died at Passy, near Paris. During his life, he worked with the greatest librettists of his age, including Metastasio. After his death a memorial tablet was set up in the house in which he was born at Bari.
He had married in 1756 his pupil Vincenza Sibilla, a singer, whom he never allowed to appear on the stage after their marriage. A grandson, Louis Alexandre Piccinni, became a successful repetiteur and composer in Paris.
The most complete list of his works was given in the Rivista musicale italiana, viii. 75. He produced over eighty operas, but although his later work shows the influence of the French and German stage, he belongs to the conventional Italian school of the 18th century
Title | Genre | Subdivisions | Libretto | Première date | Place, theatre |
---|---|---|---|---|---|
Le donne dispettose (or: Le trame per amore; La massara spiritosa) |
opera buffa | Antonio Palomba | autumn 1754 | Naples, Teatro dei Fiorentini | |
Il curioso del suo proprio danno | opera buffa | 3 acts | Antonio Palomba, after El ingenioso hidalgo Don Quijote de la Mancha by Miguel de Cervantes Saavedra | Carnival 1755/1756? | Naples, Teatro Nuovo |
Le gelosie (or: Le gelosie, o Le nozze in confusione) |
opera buffa | Giovanni Battista Lorenzi | spring 1755 | Naples, Teatro dei Fiorentini | |
Zenobia | opera seria | 3 acts | Metastasio | 18 December 1756 | Naples, Teatro San Carlo; revised version: 1768, Naples |
L'amante ridicolo (or: L'amante ridicolo e deluso; L'amante deluso) |
intermezzo | 2 acts | Alessandro Pioli | 1757 | Naples, Teatro Nuovo |
La schiava seria (or: Die Sklavin) |
intermezzo | 1757 | Naples | ||
Caio Mario | opera seria | Gaetano Roccaforte | 1757? | Naples, Teatro San Carlo; revised version: 20 January 1765, Naples, Teatro San Carlo |
|
Nitteti (in collaboration with Gioacchino Cocchi) |
opera seria | 3 acts | Metastasio | 4 November 1757 | Naples, Teatro San Carlo |
Alessandro nell'Indie | opera seria | 3 acts | Metastasio | 21 January 1758 | Rome, Teatro Argentina; 2nd version: 12 January 1774, Naples, Teatro San Carlo |
Gli uccellatori | opera buffa | after Carlo Goldoni | 1758 | Naples or Venice | |
Madama Arrighetta (or: Petiton; Monsieur Petiton) |
opera buffa | 3 acts | Antonio Palomba, after Monsieur Petiton by Carlo Goldoni | autumn or winter 1758 | Naples, Teatro Nuovo |
La scaltra letterata (or: La scaltra spiritosa) |
opera buffa | 3 acts | Antonio Palomba | winter 1758 | Naples, Teatro Nuovo |
Siroe rè di Persia | opera seria | 3 acts | Metastasio | 1759 | Naples |
Ciro riconosciuto | opera seria | 3 acts | Metastasio | 4 November 1759 | Naples, Teatro San Carlo |
La buona figliuola (or La Cecchina) |
dramma giocoso | 3 acts | Carlo Goldoni after Samuel Richardson | 6 February 1760 | Rome, Teatro delle Dame |
L'Origille | opera buffa | Antonio Palomba | spring 1760 | Naples, Teatro dei Fiorentini | |
Il rè pastore | opera seria | 3 acts | Metastasio | autumn 1760 | Florence, Teatro della Pergola |
La furba burlata (or: I furbi burlati) (written with Nicola Logroscino (1698–1765): summer 1762, Naples, Teatro Nuovo; with additions by Giacomo Insanguine (1728–1795) as I furbi burlati: 1773, Naples ) |
opera buffa | 3 acts | P. di Napoli?, after Antonio Palomba | autumn 1760 | Naples, Teatro dei Fiorentini |
Le beffe giovevoli | opera buffa | after Carlo Goldoni | winter 1760 | Naples, Teatro dei Fiorentini | |
Le vicende della sorte (or: Le vicende del caso ossia della sorte; Der Glückswechsel) |
intermezzo | 3 acts | Giuseppe Petrosellini, after I Portentosi effetti della madre natura by Carlo Goldoni | 3 January 1761 | Rome, Teatro Valle |
La schiavitù per amore | intermezzo | Carnival 1761 | Rome | ||
Olimpiade | opera seria | Metastasio | Carnival 1761 | Rome, Teatro delle Dame; 2nd version: 1768, Rome, Teatro Argentina; revised 2nd version: 30 May 1774, Naples, Teatro San Carlo |
|
Tigrane (or: Farnaspe) |
opera seria | 3 acts | Vittorio Amedeo Cigna-Santi, after Carlo Goldoni's revision of the drama by Francesco Silvani | Carnival 1761 | Turin, Teatro Regio |
Demofoonte | opera seria | 3 acts | Metastasio (Demofonte) | May 1761 | Reggio Emilia, Teatro Moderno |
La buona figliuola maritata (or: La baronessa riconosciuta e maritata; Cecchina maritata) |
opera buffa | 3 acts | Carlo Goldoni | May 1761 | Bologna, Teatro Formagliari |
Il curioso imprudente (revised version of Il curioso del suo proprio danno with Antonio Sacchini) |
3 acts | Antonio Palomba, after El ingenioso hidalgo Don Quijote de la Mancha by Miguel de Cervantes Saavedra | autumn 1761 | Naples, Teatro dei Fiorentini | |
Lo stravagante | opera buffa | 3 acts | Antonio Villani | autumn 1761 | Naples, Teatro dei Fiorentini |
L'astuto balordo | opera buffa | Giovanni Battista Fagiuoli | winter 1761 | Naples, Teatro dei Fiorentini | |
L'astrologa | opera buffa | 3 acts | Pietro Chiari | Carnival 1761/1762 | Venice, Teatro Moisè |
Amor senza malizia | opera buffa | 1762 | Nuremberg, Hoftheater Thurn und Taxis | ||
Artaserse | opera seria | 3 acts | Metastasio | 3 February 1762 | Rome, Teatro Argentina; revised version: 4 November 1768 or 1772, Naples, Teatro San Carlo |
Le avventure di Ridolfo | intermezzo | Lazzaro Mazzei | Carnival 1762 | Bologna, Teatro Marsigli-Rossi | |
La bella verità | opera buffa | 3 acts | Carlo Goldoni | 12 June 1762 | Bologna, Teatro Marsigli-Rossi |
Antigono | opera seria | 3 acts | Metastasio | 4 November 1762 | Naples, Teatro Nuovo |
Il cavaliere per amore (or: Il fumo villano) (in collaboration with Bernardo Ottani) |
opera buffa | 2 acts | Giuseppe Petrosellini | winter 1762 | Naples, Teatro Nuovo (or: Carnival 1763, Rome, Teatro Valle) |
Le donne vendicate (or: Il vago disprezzato; Le fat méprisé) |
intermezzo | 2 acts | after Carlo Goldoni | Carnival 1763 | Rome, Teatro Valle |
Le contadine bizzarre (or: La sciocchezza in amore; Le contadine astute; Le villanelle astute) |
opera buffa | 3 acts | Giuseppe Petrosellini | February 1763 | Rome, Teatro Capranica (or: autumn 1763, Venice, Teatro San Samuele |
Gli stravaganti, ossia La schiava riconosciuta (or: La schiava; Gli stravaganti, ossia I matrimoni alla moda; L'esclave ou Le marin généreux; Die Ausschweifenden) (with additions by Joseph Haydn) |
intermezzo | 2 acts | 1 January 1764 | Rome, Teatro Valle | |
La villeggiatura (revised version of Le donne vendicate) |
opera buffa | 3 acts | after Carlo Goldoni | Carnival 1764 | Bologna, Teatro Formagliari |
Il parrucchiere | intermezzo | Carnival 1764 | Rome, Teatro Valle | ||
L'incognita perseguitata (with additions by Joseph Haydn) |
opera buffa | 3 acts | Giuseppe Petrosellini | Carnival 1764 | Venice, Teatro San Samuele |
L'equivoco | opera buffa | 3 acts | Liviano Lantino and Antonio Villani | summer 1764 | Naples, Teatro Fiorentini |
La donna vana | opera buffa | 3 acts | Antonio Palomba | November 1764 | Naples, Teatro dei Fiorentini |
Il nuovo Orlando | opera buffa | after Ludovico Ariosto | 26 December 1764 | Modena, Teatro Rangoni | |
Il barone di Torreforte | intermezzo | 2 acts | 10 January 1765 | Rome, Teatro Capranica | |
Il finto astrologo | intermezzo | after Carlo Goldini | 7 February 1765 | Rome, Teatro Valle | |
L'orfana insidiata (with additions by Gennaro Astarita (1745–1803)) |
opera buffa | summer 1765 | Naples, Teatro dei Fiorentini | ||
La Pescatrici ovvero L'Erede riconosciuta (or: La pescatrice innocente) |
intermezzo | 2 acts | after Carlo Goldoni | 9 January 1766 | Rome, Teatro Capranica |
La baronessa di Montecupo | intermezzo | 27 January 1766 | Rome, Teatro Capranica | ||
L'incostante (or: Il volubile; La capricciosa) |
intermezzo | 2 acts | Antonio Palomba | February 1766 | Rome, Teatro Capranica |
La fiammetta generosa (with Pasquale Anfossi (1727–1797)) |
opera buffa | 3 acts | Carnival 1766 | Naples, Teatro dei Fiorentini | |
La molinarella (or: Il cavaliere Ergasto; La molinara) |
opera buffa | 3 acts | autumn 1766 | Naples, Teatro Nuovo | |
Il gran Cid (or: Il Cid) |
opera seria | 3 acts | Giovacchino Pizzi after Pierre Corneille | 4 November 1766 | Naples, Teatro San Carlo |
La francese maligna | 1766/1767 | Naples or 1769, Rome | |||
La notte critica | opera buffa | 3 acts | Carlo Goldoni | Carnival 1767 | Lisbon, Teatro Salvaterra |
La finta baronessa | opera buffa | Filippo Livigni | summer 1767 | Naples, Teatro dei Fiorentini | |
Mazzina, Acetone e Dindimento | opera buffa | c. 1767? | Naples? | ||
La direttrice prudente (or: La prudente ingegnosa) |
opera buffa | 3 acts | autumn 1767 | ||
Gli napoletani in America | opera buffa | 3 acts | Francesco Cerlone | 10 June 1768 | Naples, Teatro dei Fiorentini |
La locandiera di spirito | opera buffa | 3 acts | autumn 1768 | Naples, Teatro Nuovo | |
Lo sposo burlato | intermezzo | 2 acts | Giovanni Battista Casti | 5 January 1769 | Rome, Teatro Valle |
L'innocenza riconosciuta | opera buffa | 11 January 1769 | Senigallia | ||
La finta ciarlatana ossia Il vecchio credulo | opera buffa | Carnival 1769 | Naples, Teatro Nuovo | ||
Demetrio | opera seria | Metastasio | 30 May 1769 | Naples, Teatro San Carlo | |
Gli sposi perseguitati | opera buffa | Pasquale Mililotti | 1769 | Naples, Teatro Nuovo | |
Didone abbandonata | opera seria | 3 acts | Metastasio | 8 January 1770 | Rome, Teatro Argentina |
Cesare in Egitto (or: Cesare e Cleopatra) |
opera seria | 3 acts | Giacomo Francesco Bussani | January 1770 | Milan, Teatro Ducale |
La donna di spirito | opera buffa | 13 February 1770 | Rome, Teatro Capranica | ||
Il regno della luna (or: Il mondo della luna) |
opera buffa | spring 1770 | Milan, Teatro ducale | ||
Gelosia per gelosia | opera buffa | Giovanni Battista Lorenzi | summer 1770, Naples | Teatro dei Fiorentini | |
Don Chisciotte | opera buffa | Giovanni Battista Lorenzi, after Miguel de Cervantes Saavedra | 1770 | Naples? | |
Il finto pazzo per amore | opera buffa | 1770 | Naples? | ||
Catone in Utica | 3 acts | Metastasio | 5 November 1770 | Mannheim, Hoftheater | |
L'olandese in Italia | opera buffa | Niccolò Tassi | autumn 1770 | Milan, Teatro Ducale | |
Antigono | opera seria | Carnival 1771 | Rome | ||
La donna di bell'umore | opera buffa | 15 May 1771 | Naples, Teatro dei Fiorentini | ||
La Corsara | opera buffa | 3 acts | Giovanni Battista Lorenzi | autumn 1771 | Naples, Teatro dei Fiorentini |
Le finte gemelle (or: Le due finte gemelle; Le germane in equivoco) |
intermezzo | 2 or 3 acts | Giuseppe Petrosellini | 2 January 1771 | Rome, Teatro Valle |
L'americano (or: L'americano incivilito; L'americano ingentilito) |
intermezzo | 2 acts | 22 February 1772 | Rome, Teatro Caprnica | |
L'astratto, ovvero Il giocator fortunato (or: Il giocator fanatico per il lotto) (with additions by Joseph Haydn) |
opera buffa | 3 acts | Giuseppe Petrosellini | Carnival 1772 | Venice, Teatro San Samuele |
Le trame zingaresche | opera buffa | Giovanni Battista Lorenzi | summer 1772 | Naples, Teatro dei Fiorentini | |
Ipermestra | opera seria | 3 acts | Metastasio | 4 November 1772 | Naples, Teatro San Carlo |
Scipione in Cartagena | opera seria | 3 acts | Luigi Giusti (or: Alvise Giusti?) |
26 December 1772? | Modena, Teatro di Corte |
La sposa collerica | intermezzo | 9 January 1773 | Rome, Teatro Valle | ||
Le quattro nazioni o La vedova scaltra | opera buffa | after Carlo Goldoni's comedy | 1773 | Rome? | |
Il vagabondo fortunato | opera buffa | Pasquale Mililotti | autumn 1773 | Naples, Teatro dei Fiorentini | |
Gli amanti mascherati | opera buffa | 1774 | Naples, Teatro dei Fiorentini | ||
Il conclave del MDCCLXXIV | after Metastasio | Carnival 1775 | Rome, Teatro delle Dame | ||
L'ignorante astuto | opera buffa | 3 acts | Pasquale Mililotti | Carnival 1775 | Naples, Teatro dei Fiorentini |
Enea in Cuma | parody | Pasquale Mililotti | spring 1775 | Naples, Teatro dei Fiorentini | |
Il sordo | intermezzo | 1775 | Naples | ||
I viaggiatori | opera buffa | Pasquale Mililotti?, after Carlo Goldoni | autumn 1775 | Naples, Teatro dei Fiorentini | |
La contessina | opera buffa | 3 acts | Marco Coltellini, after Carlo Goldoni | autumn 1775 | Verona, Teatro Filarmonico |
Radamisto | opera seria | 3 acts | Antonio Marchi | 1776 | Naples |
Vittorina | opera buffa | Carlo Goldoni | 16 December 1777 | London, King's Theatre | |
Roland | tragédie lyrique | 3 acts | Jean-François Marmontel, after Philippe Quinault and Ludovico Ariosto | 27 January 1778 | Paris, Académie Royale |
Phaon | drame lyrique | 2 acts | Claude-Henri Watelet | September 1778 | Choisy-le-Roi, Hoftheater |
Il vago disprezzato (or: Le fat méprisé) |
opera buffa | after Carlo Goldoni | 16 May 1779 | Paris, Académie Royale | |
Atys | tragédie lyrique | 3 acts | Jean-François Marmontel, after Philippe Quinault | 22 February 1780 | Paris, Académie Royale |
Iphigénie en Tauride | tragédie lyrique | 4 acts | Alphonse du Congé Dubreuil, after Claude Guimond de La Touche | 23 January 1781 | Paris, Académie Royale |
Adèle de Ponthieu | tragédie lyrique | 3 acts | Jean-Paul-André des Rasins de Saint-Marc | 27 October 1781 | Paris, Académie Royale |
Didon | tragédie lyrique | 3 acts | Jean-François Marmontel, after Metastasio and Nahum Tate | 16 October 1783 | Fontainebleau |
Le dormeur éveillé | opéra comique | 2 acts | Jean-François Marmontel | 14 November 1783 | Paris, Comédie Italienne |
Le faux Lord | opéra comique | 2 acts | Giuseppe Maria Piccinni | 6 December 1783 | Versailles |
Diane et Endymion | opera seria | 3 acts | Jean-François Espic Chevalier de Liroux | 7 September 1784 | Paris, Académie Royale |
Lucette | opéra comique | Giuseppe Maria Piccinni | 30 December 1784 | Paris, Comédie Italienne | |
Pénélope | tragédie lyrique | 3 acts | Jean-François Marmontel | 2 November 1785 | Fontainebleau, Hoftheater; 2nd version: 16 October 1787, Paris, Académie Royale |
Adèle de Ponthieu (2nd version) |
tragédie lyrique | 3 acts | revised 1785 but unperformed | ||
Clytemnestre | tragédie lyrique | Louis-Guillaume Pitra | composed 1787, but unperformed | ||
La serva onorata | opera buffa | Giovanni Battista Lorenzi, after Le nozze di Figaro by Lorenzo Da Ponte | Carnival? 1792 | Naples, Teatro dei Fiorentini | |
Le trame in maschera | opera buffa | Carnival 1793 | Naples, Teatro dei Fiorentini | ||
Ercole al Termodonte (or: La disfatta delle Amazzone) |
opera seria | 2 acts | Antonio Simone Sografi | 12 January 1793 | Naples, Teatro San Carlo |
La Griselda | eroicomico | 2 acts | Angelo Anelli, after Giovanni Boccaccio | 8 October 1793 | Venice, Teatro San Samuele |
Il servo padrone, ossia L'amor perfetto | opera buffa | 2 acts | Caterino Mazzolà | 17 January 1794 | Venice, Teatro San Samuel |
Niccolò Piccinni (16 January 1728 – 7 May 1800) was an Italian composer of symphonies, sacred music, chamber music, and opera. Work: Roland, tragédie lyrique in three acts, first performance 27 January 1778, Académie royale, Paris. An islander: Daniele Gaspari Angélique: Alla Simoni Astolfe: Kim Hyung-Dong Bélise: Eléna Lopéz Coridon: Daniele Gaspari Lopistille: Lei Ma Médor: Stefania Donzelli Roland: Luca Grassi Tersandre: Giacomo Rocchetti Thémire: Sara Allegretta Chorus: Chamber Chorus Bratislava Orchestra: Orchestra Internazionale d'Italia Conductor: David Golub
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