查询词典 Farinelli

Farinelli's supposed sexual exploits are a major element of the film's plot.

Farinelli假设性的性伟业是电影情节的主要卖点。

With ever-increasing success and fame, Farinelli appeared in nearly all the great cities of Italy. Handel was keen to engage him for his company in London and while in Venice in January 1730, tried unsuccessfully to meet him.

随著与日俱增的成功与名声，Farinelli出现在几乎所有义大利的大城市，韩德尔热切的想拉拢他参加他在伦敦的剧团，但在1730年3月於威尼斯没能成功的与Farinelli见面。

Though his singing cannot be said to have cured the King, this early music therapy certainly had some success: Farinelli became a royal favourite, and very influential at court.

虽然他的歌唱不能说是治愈国王，但初期的音乐治疗是有其成功之处：Farinelli成了皇家的宠爱且在宫中很有影响力。

In 1724, Farinelli first appeared at Vienna, spending the following season in Naples.

1724年，Farinelli初到维也纳，紧接的下一季又到Naples。

In 1731, Farinelli visited Vienna for a third time.

到了1731年，Farinelli第三次访问维也纳，并受到神圣罗马帝国皇帝查理士六世接见，依Farinelli的第一本传记「Giovenale Sacchi」，在查理士六世的建议下，Farinelli修正他的风格，扩大了他动人的演出曲目，将雄壮华美与悲戚感和纯真纯朴并列。

The latter thought he had achieved prodigies of technique and ornamentation, only for Farinelli to surpass him so much that he "was at last silenced only by the acclamations of the audience"(to quote the music historian Charles Burney — this account cannot be verified one way or the other, since no surviving work which Farinelli is known to have performed at this time contains an aria for soprano with trumpet obbligato).

而后者认为他在吹奏技巧与装饰音上已达到天才的境界，只有Farinelli能远远压过他，最后吹奏者只能被听众的欢呼声嘘下来。（引用音乐史学家Charles Burney的话－这种说法其实无法以这种或其他方法证实。因为没有残存的作品可以证明Farinelli在此时的表演包含著以喇叭为高音的咏叹调伴奏。

In 1726, he also visited Parma and Milan, where Johann Joachim Quantz heard him and commented: Farinelli had a penetrating, full, rich, bright and well-modulated soprano voice, with a range at that time from the A below middle C to the D two octaves above middle C....

在1726年他也访问了Parma和Milan，在Milan碰到Joachim Quanty，他在听过Farinelli歌声后评论道「Farinelli有穿透、饱满、丰富、嘹亮与转音良好的高音，当时其音域可以从中央C下面的A音开始，一直往上跨越了两个八度音阶到D音。

Farinelli sang at Bologna in 1727. There he met and acknowledged himself vanquished by the singer Antonio Bernacchi (twenty years Farinelli's senior), to whose instruction in finer points of technique he was much indebted.

Farinelli於1717年在义大利的Bologna演唱，在那里他结识了强过他的歌者Antonio Bernacchi（年长Farinelli二十一岁），受到Antonio技巧上较精微之处的指导下受益良多。

Having sung before the King, on 25 August 1737 Farinelli was named "Chamber musician to their Majesties, quitting the public stage"— indeed he never sang again in public, but his trip to Spain lasted twenty-two years.

皇后相信Farinelli的声音可能治疗她先生菲力普五世长期痛苦的严重抑郁症，该症已严重损及国政，在1737年8月25日於国王面前献唱后，Farinelli被命为陛下的宫内音乐师，同时退出公开舞台－真的他从此不在公开场所演唱，但他的这一趟西班牙之旅长达了22年之久。

On the accession of Philip's son, Ferdinand VI, Farinelli's influence became even greater: Philip was a keen musician, and his wife, Barbara of Portugal, little short of a musical fanatic (as long ago as 1728 she had appointed Farinelli's fellow Italian, Domenico Scarlatti , as her harpsichord teacher; the musicologist Ralph Kirkpatrick acknowledges Farinelli's correspondence as providing "most of the direct information about Scarlatti that has transmitted itself to our day").

在菲力普的儿子，斐迪男六世即位后，Farinelli的影响力变得更大。菲力普是个敏锐的音乐家，而他的太太，来自葡萄牙的Barbara只差一点不是音乐狂（早在1728年，她任命Farinelli义大利同胞Domenico Scarlatti作为她的大键琴老师。音乐学者Ralph Kirkpatrick认为流传至今的Farinelli的书信集是提供有关Scarlatti的最直接资料。

This one mode pays close attention to network credence foundation of the businessman very much.

这一模式非常关注商人的网络信用基础。

Cell morphology of bacterial ghost of Pasteurella multocida was observed by scanning electron microscopy and inactivation ratio was estimated by CFU analysi.

扫描电镜观察多杀性巴氏杆菌细菌幽灵和菌落形成单位评价遗传灭活率。