from The American Heritage® Dictionary of the English Language, 4th Edition

  • Boito, Arrigo 1842-1918. Italian composer, librettist, and writer best known for his romantic opera Mefistofele (1868).


Sorry, no etymologies found.


  • That very freedom made it possible for Boito to steer clear of a literal approach to "The Merry Wives of Windsor" and "Othello" and write the beautifully crafted libretti that inspired Verdi to compose his two greatest operas.

    Making Shakespeare Sing: A Modest Proposal for a Costly Festival

  • In writing the libretti for "Falstaff" and "Otello," for instance, Arrigo Boito freely translated Shakespeare's English words into Italian, adding ideas of his own that were inspired by Shakespeare.

    Making Shakespeare Sing: A Modest Proposal for a Costly Festival

  • Boito was, of course, writing for an audience that only knew the original plays in translation if at all.

    Making Shakespeare Sing: A Modest Proposal for a Costly Festival

  • I thought that I had found a 12ga shotgun that I liked better than a Boito s/s coachgun which I had shot upland with for 20+ yrs. Wrong.

    The Ones That Got Away

  • The first operatic version, by Spohr, appeared in 1814, and was subsequently the inspiration for operas and oratorios by Schumann, Gounod, Boito, Busoni, and Schnittke as well as symphonic works by Liszt, Wagner, and Mahler.

    johann wolfgang von goethe | outside of the gate | Faust I. « poetry dispatch & other notes from the underground

  • It's the 250th birthday of Goethe -- the muse for composers as varied in style as Mozart, Schubert, Boito, Gounod, Berlioz, Liszt and Richard Strauss -- and the 175th of Czech composer Smetana.


  • Boccanegra's plot has a mostly-deserved reputation for gloom and murk, and much of the murk stems from plots details in the play that Piave and Boito left out, changed, or obscured.

    Required Reading

  • Of making Fausts in music there once seemed to be no end--Gounod, Berlioz, Schumann, Liszt and Boito among others wrote major works based on the gigantic, two part play in the 19th century.

    Archive 2007-02-01

  • But probably the best part of the opera is the act 3 finale, a concerted ensemble for all the main characters: one of those ensemble numbers that allows each character's individual personality to come out even when they're mostly singing simultaneously -- and Boito even ingeniously arranges for some vital plot information to be advanced in the middle of the number.

    La Gioconda

  • The line was cut from La Gioconda, but Boito liked it so much that ten years later he used exactly the same line in his libretto for Verdi's Otello, at the end of Iago's aria.

    Trivia Operatica


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