Podcasts about pizzetti

So a man says into his phone, “Siri, play Pizzetti's Rondò Veneziano.” Siri says, “Calling Roundtable Pizza.” Pretty frustrating, right? Well, that was what AI seemed like to me just one year ago. Especially when it came to writing copy. Completely out of the question. But that has changed, in a VERY big way. So for today, I've put together a special report on how AI is changing copywriting. This is a report from the field. What pro copywriters and business owners are actually doing with AI. And I'll give you a hint. What they're doing with AI includes writing copy, for sure. But it also includes a WHOLE LOT MORE than just writing copy. So to set the stage for today, a little over a year ago, we did a show on my 10 rules for mentoring copywriters and business owners. At the time, I was still a hard-core AI skeptic and I didn't think AI had any place in copywriting or content creation. So I didn't include anything about AI at all in that show, or in my 10 rules for mentoring copywriters. My reason was pretty basic: I was disgusted by the output I saw from AI at the time. Well, a year is a LONG time in the world of AI. Especially the last year! And since last March, I've completely changed my mind about AI and copywriting. In fact, to show you how far things have come… AI played a part in every single copywriting mentoring call I did last week. I'll tell you about those calls in the show, but let's take a whirlwind tour of some of the top developments in AI in my world since March of last year: Claude has come on the scene, which was pretty impressive. A couple of months ago, Manus came on the scene, which was even more impressive. In June, Nathan and I discovered what my old mentoring client Jason Parker was doing with his Copywriting Mastermind. We were both blown away and quickly paid to join. It's been a breakthrough for both us in many different ways. AI has become far more connected with the rest of the world over the last year. One example is ChatGPT's new search and Deep Research capabilities. You can get information you never would have imagined was available before. And that barely scratches the surface. The bottom line is that AI is not only here to stay. It's also got to become part of your business if you want to stay current. I'll give you some tips on key skills you need to develop. And we'll wrap up with a few things that HAVEN'T changed that much about copywriting, and probably never will, no matter how good AI gets. In the show, we talked about the AI Copywriting Mastermind. If you're interested in finding out more, I want you to reach out to our team member Deb. And, if what I said resonates with you about learning copywriting first and AI second, I have one spot opening up in my mentoring in the next month. You should read about it first on my website and if you think you qualify, go ahead and send in an application. It's there on the website. RESOURCES: For the mastermind, email Deb: deb@getmynovus.ai For mentoring, visit https://garfinkelcoaching.com Download.

Transformando o varejo: Inovações tecnológicas e liderança inspiradora é o tema do Papo Empreendedor dessa semana. Quer aprender sobre carreira, marketing, negócios, inovação e muita motivação? Quarta-feira, às 8h, no Papo Empreendedor da @guaruja929fm você vai conhecer melhor a história da Monique Pizzetti. Com 20 anos de experiência no varejo, Monique Pizzetti está sempre em busca de inovação e resultados. Ela combina sua formação em Sistemas de Informação com sua trajetória no setor, trazendo insights aplicados que transformaram negócios ao longo dos anos. Monique viveu por nove anos na Austrália, onde ampliou seu conhecimento em varejo de vizinhança e se engajou em causas de mulheres na liderança e mulheres na tecnologia. Atualmente, ela é CEO da Rede Moniari Supermercados e é considerada uma especialista em tecnologia, varejo de vizinhança, segurança da informação, canais omnichannel e experiência de compras. Monique é formada pela Universidade Federal de Santa Catarina e possui a certificação de Scrum Master. Além disso, ela é Diretora da Associação Catarinense de Supermercados (Acats) e membro do Instituto Mulheres do Varejo. Não fique fora dessa! #guarujátaon #radio #guaruja #papoempreendedor #grandesempreendedores

Ai nelle scuolePizzetti attualissimo

SynopsisFor most music lovers, the phrase “Italian composers of the 19th and 20th centuries” means, first and foremost, opera composers.But during the 1920s and 1930s, when great Italian opera conductor Arturo Toscanini was music director of the New York Philharmonic, American audiences heard many nonoperatic, symphonic works by modern Italian composers.On today's date in 1929, for example, Toscanini led the New York Philharmonic in the world premiere performance of Concerto dell ‘Estate (Summer Concerto), by contemporary Italian composer Ildebrando Pizzetti.In addition to premieres by Pizzetti, New York audiences heard recent Italian symphonic works by Respighi, Tommasini, Martucci, Castelnuovo-Tedesco, Wolf-Ferrari and others.Absent from Toscanini's New York programs were new works by the rising American composers of the day. There were no Toscanini premieres — or even performances — of works by Copland, Harris or Piston. Those composers had to look to the Boston Symphony under Serge Koussevitzky if they wanted a hearing.American composer Daniel Gregory Mason complained in 1931 that the Philharmonic was run by “fashion-enslaved, prestige-hypnotized minds ... totally devoid of any American loyalty to match the Italian loyalty” that was, as Mason admitted, “rather likeable” in the charismatic Italian maestro.Music Played in Today's ProgramIldebrando Pizzetti (1880-1968): Rondo Veneziano; BBC Scottish Symphony; Osmo Vänskä, cond. Hyperion 67084

Tussen de twee wereldoorlogen werd in het Italiaanse muziekleven de toon grotendeels door een handvol componisten gezet. Naast Respighi en Pizzetti zijn de belangrijkste Gian Francesco Malipiero (1882-1973) en Alfredo Casella (1883-1949), die beide naast opera's en orkestwerken ook voor strijkkwartet hebben geschreven. Malipiero was bovendien een belangrijk musicoloog, die veel muziek van Monteverdi tot […]

ASK CAROLINA ANYTHINGIn this episode, Carolina Sotomayor interviews Laura Pizzetti, a nutritional therapist and naturopath specializing in women's health. They discuss the topic of pain-free periods and provide valuable insights and tips for women to reduce pain and improve their menstrual health. The conversation covers various aspects, including the causes of period pain, the connection between inflammation and menstrual health, and the importance of a balanced diet. Laura also shares the three most important things women can do to reduce pain and offers advice on what a regular period should look like. Listeners are encouraged to connect with Laura on Instagram and access her free resources for period pain relief.BY THE TIME YOU FINISH LISTENING, YOU'LL LEARN: Periods should not be painful and should not interfere with daily activities.Period poops are caused by increased prostaglandins, which can be reduced by addressing inflammation.Reducing inflammation through diet and lifestyle changes can help alleviate period pain.A balanced diet, including anti-inflammatory foods, is crucial for menstrual health.Chapters00:00 Introduction and Episode Number08:22 Should Your Period Hurt?09:50 Period Poops11:08 Causes of Inflammation15:43 Three Most Important Things to Reduce Pain26:56 What Women Should Know About Menstrual Health30:11 What a Regular Period Should Look Like32:16 Where to Find Laura PizzettiConnect with Laura PizzettiClick HERE to download her 7 day meal plan to reduce period pain and PMS for FREE.  Support the showLiked this episode? Share it on social and tag me @thecarolinasotomayor Love the show? Leave a 5-star review and let me know! Join the free Reiki Baby Movement and get access to the Meet Your Spirit Baby Now Guided Meditation, join our community to get support, and try out the Make A Baby Membership for 3 days on me! Connect with Carolina: Website TikTok Instagram Pinterest Facebook DISCLAIMER: This episode is not a substitute for professional medical care but aims at relaxation and stress reduction to support natural healing. Reiki complements, never replaces, medical care. Carolina is not a licensed healthcare provider; always seek appropriate professional help for physical and mental health. Individual results may vary.

Episodio speciale a cura di Martina Marcuccetti e Sara Mariani. All'interno dell'Unione Europea, la comunità LGBTQIA+ è ancora oggetto di odio e violenza e, ancora oggi, gli Stati membri presentano atteggiamenti contrastanti e ambigui riguardo al riconoscimento dei diritti dei richiedenti asilo LGBTQIA+. Bibliografia – Aidi, S., Comunità lgbtqia+ e migrazioni: il diritto all'autodeterminazione, su «piuculture», 31 maggio 2023.https://www.piuculture.it/2023/06/comunita-lgbtqia-e-migrazioni-il-diritto-allautodeterminazione/  – Colombo, M., Pizzetti, B., Vitali, L., La vulnerabilità delle persone migranti e richiedenti asilo. Guida pratica, Brescia, 2022. – D'Elia, R., Gay Help Line per le richieste di protezione internazionale,  su «piuculture», 22 giugno 2022.https://www.piuculture.it/2022/06/gay-help-line-migranti-lgbtqi-richiesta-di-protezione-internazionale/  – Epsilon, Lesbian, Gay, Bisexual, Transgender And Migrant: A European Story Of Discrimination And Empowerment, United Kingdom, 2018.https://www.epsilonproject.eu/final-epsilon-project-report-and-training-launched-making-lgbt-migrant-and-refugees-voices-stronger/  – International Lesbian and Gay Association (ILGA), State-Sponsored Homophobia 2020: Global Legislation Overview Update, dicembre 2020.https://ilga.org/downloads/ILGA_World_State_Sponsored_Homophobia_report_global_legislation_overview_update_December_2020.pdf – Lanni, A., L'omofobia e i rifugiati Lgbti, su «UNHCR Italia». https://www.unhcr.org/it/risorse/carta-di-roma/fact-checking/lomofobia-rifugiati-lgbti/  – Liboni, L., L., Mille baci: rifugiati Lgbti in Italia, fra ostacoli e buone pratiche, 26 luglio 2018, su «openmigration».https://openmigration.org/analisi/mille-baci-rifugiati-lgbti-in-italia-fra-ostacoli-e-buone-pratiche/  – Manetti, C., Essere omosessuale è un crimine in 69 Paesi del mondo, su «Lasvolta», 6 giugno 2022.https://www.lasvolta.it/2107/essere-omosessuale-e-un-crimine-in-69-paesi-del-mondo  – Parlamento Europeo, Proposta di risoluzione sulla depenalizzazione universale dell'omosessualità, alla luce dei recenti sviluppi in Uganda – B9-0223/2023, 18 aprile 2023.https://www.europarl.europa.eu/doceo/document/B-9-2023-0223_IT.html  – Parlamento Italiano, Testo unico sull'immigrazione – D.Lgs. n. 286/1998, aggiornato al 5 luglio 2023.https://www.altalex.com/documents/codici-altalex/2014/04/09/testo-unico-sull-immigrazione  https://www.quore.org/richiedenti-asilo-rifugiati-omosessuali-accoglienza-raro-lgbt/

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Wagner é CEO da Wagner Pizzetti Imobiliária há 6 anos e foi reconhecido como "Imobiliária Destaque; Inovação" em 2022 pelo Instituto do Corretor de Santa Catarina. Possui formação em Processos Gerenciais e pós-graduação em Gestão Estratégica Empresarial, além de um mestrado em Psicanálise. Wagner também teve um envolvimento ativo na liderança estudantil e é presidente da Juventude Organizada de Içara. Além disso, ele ocupava cargos importantes como Secretário de Obras do município de Içara e Chefe de Gabinete do Deputado Manoel Mota, com mandato mais longo em Santa Catarina. Sua trajetória demonstra uma combinação de sucesso empresarial, engajamento social e participação política.     Fernando é um empresário de destaque e CEO da Weber Cidades Inteligentes, uma empresa envolvida no desenvolvimento urbano. Com aproximadamente 25 projetos em mais de 20 cidades de Santa Catarina e Rio Grande do Sul, a Weber Cidades Inteligentes atua em diversas áreas, como imobiliária, criação de bairros planejados, condomínios de alto padrão, centros logísticos, propriedades compartilhadas, casas personalizadas, polos universitários e unidades educacionais. Além disso, a empresa também se dedica ao design de negócios e à inovação tecnológica, estabelecendo polos de inovação nesses campos. A atuação abrangente de Fernando Luiz Weber e sua empresa demonstra seu compromisso com o desenvolvimento urbano inteligente e inovador.

In this podcast, Carlos interviews Dr. Ana Javornik (https://javornik.me/) about her work on augmented reality and customer experiences. The discussions is based on the following published paper: Javornik, A., Marder, B., Pizzetti, M., & Warlop, L. (2021). Augmented self-The effects of virtual face augmentation on consumers' self-concept. Journal of Business Research, 130, 170-187. https://www.sciencedirect.com/science/article/pii/S0148296321001855 Hosted on Acast. See acast.com/privacy for more information.

DEVOCIONAL - Intensa Episódio 64 Restauração Testemunho Daiane Pizzetti

Enjoy this special episode with Tim Pizzetti (@ghstigers_ad), the AD at Gilbert High School as we talk through four questions.  BTB is proud to have HomeTown Ticketing (@hometowntix) as a sponsor of the  podcast. Check out their website at www.hometownticketing.com. Follow them on their social media sites: Twitter: @hometowntix... Facebook: @hometownticketing...Instagram: hometownticketing BTB is also happy to have Gipper (@gogipper) as a sponsor of our podcast. Visit them on Twitter or at www.gogipper.com for a great custom graphics solution. BTB also thanks Varsity Bound (@varsityboundhq) for their support of Beyond the Bench, as well as, AD's and Athletic Departments across the state of Iowa. Thank You also to Superfan, Inc. (@superfaninc) for their sponsorship of Beyond the Bench.  You can visit them at www.superfaninc.com.  Thank You to GOAT Fundraising (@goatfundraising) for their support and being a sponsor of the BTB Podcast. --- Send in a voice message: https://anchor.fm/todd-gordon4/message

Una selecci

"Folli giardinieri: storie d'amore e di grandi maestri del verde" di Maury Dattilo

For most music lovers, the phrase “Italian composers of the 19th and 20th centuries” means first and foremost OPERA composers. But during the 1920s and 1930s, when the great Italian opera conductor Arturo Toscanini was music director of the New York Philharmonic, American audiences heard many non-operatic, symphonic works by modern Italian composers. On today’s date in 1929, for example, Toscanini led the New York Philharmonic in the world premiere performance of the “Concerto dell ‘estate” or “Summer Concerto of the contemporary Italian composer, Ildebrando Pizzetti. In addition to premieres by Pizzetti, New York audiences heard recent Italian symphonic works by Respighi, Tommasini, Martucci, Castelnuovo-Tedesco, Wolf-Ferrari, and others. Absent from Toscanini’s New York programs were new works by the rising AMERICAN composers of the day. There were no Toscanini premieres—or even performances—of works by Copland, Harris, or Piston. Those composers had to look to the Boston Symphony under Serge Koussevitzky if they wanted a hearing. The American composer Daniel Gregory Mason complained in 1931 that the Philharmonic was run by (quote): “fashion-enslaved, prestige-hypnotized minds... totally devoid of any American loyalty to match the Italian loyalty” that was, as Mason admitted, “rather likeable” in the charismatic Italian maestro.

For most music lovers, the phrase “Italian composers of the 19th and 20th centuries” means first and foremost OPERA composers. But during the 1920s and 1930s, when the great Italian opera conductor Arturo Toscanini was music director of the New York Philharmonic, American audiences heard many non-operatic, symphonic works by modern Italian composers. On today’s date in 1929, for example, Toscanini led the New York Philharmonic in the world premiere performance of the “Concerto dell ‘estate” or “Summer Concerto of the contemporary Italian composer, Ildebrando Pizzetti. In addition to premieres by Pizzetti, New York audiences heard recent Italian symphonic works by Respighi, Tommasini, Martucci, Castelnuovo-Tedesco, Wolf-Ferrari, and others. Absent from Toscanini’s New York programs were new works by the rising AMERICAN composers of the day. There were no Toscanini premieres—or even performances—of works by Copland, Harris, or Piston. Those composers had to look to the Boston Symphony under Serge Koussevitzky if they wanted a hearing. The American composer Daniel Gregory Mason complained in 1931 that the Philharmonic was run by (quote): “fashion-enslaved, prestige-hypnotized minds... totally devoid of any American loyalty to match the Italian loyalty” that was, as Mason admitted, “rather likeable” in the charismatic Italian maestro.

Si può descrivere un giardino solo con fotografie? Cosa ricordiamo, quali particolari attirano la nostra attenzione?Cosa rimane impresso, dopo averci passeggiato dentro, aver annusato e ascoltato, toccato petali e legno?Cosa ci fa fermare, sospirare e desiderare ardentemente di tornare in quel giardino, se non l'ascolto?SCRIVICI SU INSTAGRAM

Privacy, intelligenza artificiale e soft skillDue libri da non perdere per non perdere il passo con i tempi.

Arias  by Gian Giacomo Guelfi from Nabuco, Macbeth,Luisa Miller, Jerusalem,Wally, Zaza, Fanciulla, Andrea Chenier, and I even found the clip of the Amonasro scene where the conductor lets the audience goes insane, and  never stops so the poor diva can be heard!!!! Giangiacomo Guelfi (21 December 1924 – 8 February 2012)[1] was an operatic baritone, particularly associated with Verdi and Puccini.[2] Born in Rome, Guelfi studied law before turning to vocal studies in Florence with baritone Titta Ruffo. He made his stage debut in Spoleto, as Rigoletto in 1950. He made his debut in 1952 at the Teatro alla Scala in Milan, also appearing in Venice, Florence, Rome, Naples, Palermo, Catania, and becoming a regular guest at the Arena di Verona. Outside Italy he appeared in Berlin, Lisbon, London, Buenos Aires, Rio de Janeiro, and Cairo. He made his American debut in 1954 at the Lyric Opera of Chicago, and at the Metropolitan Opera of New York in 1970.[2] He took part in the creation of contemporary works including Lazzaro in Pizzetti's La figlia di Jorio, Naples, 1954. He was mostly known for his Verdi portrayals in operas such as Nabucco, I due Foscari, Attila, Macbeth, Il trovatore, I vespri siciliani, La forza del destino, and Aida. He also appeared in verismo operas such as Cavalleria rusticana, Andrea Chénier, Tosca, and La fanciulla del West. Guelfi had a large, powerful voice and yet was able to perform more classical works such as Guglielmo Tell, Lucia di Lammermoor, La favorite, L'Africaine, and Spontini's Agnes von Hohenstaufen. He sang the role of Rance in La fanciulla del West in a recording with Renata Tebaldi, conducted by Arturo Basile, and was in the 1961 Tokyo's performances of Tosca, also with Tebaldi, on DVD. He died on 8 February 2012 in Bolzano, after a week's hospitalization.[1]

We're always honored and delighted to have the return to San Diego Opera of one of the world's greatest singers, bass Ferruccio Furlanetto. This season he sings, for the first time in the U.S., the role of Archbishop Thomas Becket in Ildebrando Pizzetti's Murder in the Cathedral, a role that he thinks compares to the other great roles for bass: Boris, Philip in Don Carlo, Don Quixote. In this wide-ranging conversation with Nicolas Reveles, Geisel Director of Education and Outreach, he talks about this neglected opera and the challenges of the role.

Conducting for San Diego Opera for the first time is Maestro Donato Renzetti, the wonderful Italian conductor who led the La Scala forces for a revival of Pizzetti's Murder in the Cathedral with Ferruccio Furlanetto a couple of years ago. He comes to us, then, with unique experience of the work. As well, as you'll hear in this interview, he studied conducting with Gianandrea Gavazzeni, the original conductor of the La Scala orchestra, chorus and soloists at the premiere of the work in 1958. Enjoy this delightful conversation with a marvelous new friend of San Diego Opera!

Is it a "star turn" or a "dubious distinction" to be cast as the First Chorister in Pizzetti's Murder in the Cathedral? Well, however ungracious the name of the character, the music for her is wonderful and she's in the unique position of having the only full aria in the opera. So according to Susan Neves (an Abigaille, Norma, Turandot and Lady Macbeth with stunning qualifications!), this role is a remarkable opportunity to stake claim to an unusual piece of the operatic repertoire. Watch and listen to her delightful conversation with Education Director Nicolas Reveles.

The opera Murder in the Cathedral by Ildebrando Pizzetti is unknown to most of our audience members so here's an opportunity to fix that! Geisel Director of Education and Outreach for San Diego Opera interviews General & Artistic Director Ian Campbell about why he chose this unusual work for staging and what he expects to do with it as the stage director of the work which goes up on our stage March 30. There's lots of information here, especially designed for those of you who have questions about this wonderful opera!

Starting today, a new series of podcasts about the various voice-types that you'll hear in the 2013 Season. Let's start with the sopranos; we have three stunning roles for soprano this season in Marie from The Daughter of the Regiment, the corifea or 'chorister' from Murder in the Cathedral and Aida in the Verdi opera of the same name. Let Nicolas Reveles, Director of Education and Outreach, introduce you to the lovely music written for soprano by composers Donizetti, Pizzetti and Verdi in this exciting podcast!

Although the story is English, influenced by English history and literature, the opera Murder in the Cathedral is Italian. It was written by Ildebrando Pizzetti and premiere at La Scala in 1958. And although the music is lyrical and quite approachable, it isn't your grandma's typical Italian opera! Listen to this brief overview of the music of this outstanding opera by Education Director Nicolas Reveles.

Ildebrando Pizzetti is not a composer known to most U.S. operagoers, but his opera Murder in the Cathedral which premiered at La Scala in 1958, made quite a splash when it first appeared. Based on the historical assassination of Thomas Becket in Canterbury Cathedral in 1170 and more specifically the T.S. Eliot verse-play about this event, the opera turned out to be a tour de force for bass, along the lines of Boris Godunov and King Philip. Nicolas Reveles, Director of Education and Outreach, explores this unusual and exciting entry in our 2013 season.

Rosanna Carteri is, for me, an example of a "lost art" in opera. She possesses the emotion, the attention to word and phrase, the beauty of voice, and all the elements that I honestly feel are so rare in these days. I am not intending to denigrate anyone, but you "cognoscenti" by now (with slight prejudice from me)  might understand what I mean. I hope you enjoy this soprano as I do  (71 min.) Rosanna Carteri (born 14 December 1930) was an Italian soprano primarily active in the 1950s through the mid-1960s. Rosanna Carteri was born in Verona but was raised in Padua. She studied with Cusinati and started singing in concert at the age of twelve. She won a RAI singing contest in 1948 which led to her operatic debut at the Baths of Caracalla in Rome as Elsa in Lohengrin in 1949, aged only 19. She made her La Scala debut in 1951. Other debuts were at the Salzburg Festival as Desdemona in Otello in 1952 under the direction of Wilhelm Furtwängler, San Francisco as Mimi in La Bohème in 1954, the Lyric Opera of Chicago as Marguerite in Faust in 1955, the Arena di Verona as Mimi in 1958, Covent Garden as Tosca in 1960, Opéra de Paris in 1961 as Violetta in La Traviata. Carteri made a few recordings for Cetra early in her career, in such operas as Guglielmo Tell, La Bohème and Suor Angelica. She recorded La Traviata for RCA Victor with Cesare Valletti and Leonard Warren under the direction of Pierre Monteux. She participated in several television productions for RAI such as Le nozze di Figaro, La Traviata, Otello, and Falstaff. Carteri also participated in the creation of some contemporary works such as Ifegenia by Ildebrando Pizzetti in 1950, Proserpine e le straniero by Juan José Castro in 1952, Calzare d'argento again by Pizzetti in 1961 and Il mercante di Venizia by Mario Castelnuovo-Tedesco also in 1961. Retirement Carteri decided to retire from singing in the mid-1960s while still only in her thirties to devote herself to her family.

Rosanna Carteri, one of the most emotional divas in my experience, is heard in material from Adriana, Lodoletta,Turandot, Mme.Butterfly (w.Carlo Bergonzi), Suor Angelica, La Traviata, La Boheme (w.Giuseppe Taddei). Bio to follow   (69 min.) Rosanna Carteri (born December 14, 1930) was an Italian soprano primarily active in the 1950s through the mid-1960s. Rosanna Carteri was born in Verona and studied with Cusinati and started singing in concert at the age of twelve. She won a RAI singing contest in 1948 which led to her operatic debut at the Baths of Caracalla in Rome as Elsa in Lohengrin in 1949, aged only 19. She made her La Scala debut in 1951. Other debuts were at the Salzburg Festival as Desdemona in Otello in 1952 under the direction of Wilhelm Furtwängler, San Francisco as Mimi in La Bohème in 1954, the Lyric Opera of Chicago as Marguerite in Faust in 1955, the Arena di Verona as Mimi in 1958, Covent Garden as Tosca in 1960, Opéra de Paris in 1961 as Violetta in La Traviata. Carteri made a few recordings for Cetra early in her career, such as Matilde in Guglielmo Tell, opposite Giuseppe Taddei, La Bohème with Ferruccio Tagliavini and Suor Angelica. She also recorded La Traviata for RCA Victor with Cesare Valletti and Leonard Warren under the direction of Pierre Monteux. She participated in several television productions for RAI such as Le nozze di Figaro, La Traviata, Otello and Falstaff. Carteri also participated in the creation of some contemporary works such as Ifegenia by Ildebrando Pizzetti in 1950, Proserpine e le straniero by Juan Jose Castro in 1952, Calzare d'argento again by Pizzetti in 1961 and Il mercante di Venizia by Mario Castelnuovo-Tedesco also in 1961. Rosanna Carteri decided to retire from singing in the mid-1960s while still only in her thirties to devote herself to her family.