Definition & Meaning | English word BUFFO

Definitions of BUFFO

1. (music) A comic singer, particularly in comic opera
2. A surname from Italian.

Examples of Using BUFFO in a Sentence

• Pacini was born in Catania, Sicily, the son of the buffo Luigi Pacini, who was to appear in the premieres of many of Giovanni's operas.
• Especially associated with developments in Naples in the first half of the 18th century, whence its popularity spread to Rome and northern Italy, buffa was at first characterized by everyday settings, local dialects, and simple vocal writing (the basso buffo is the associated voice type), the main requirement being clear diction and facility with patter.
• Subtypes of tenor include the leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or.
• Nava taught him buffo roles in Rossini's La Cenerentola, L'italiana in Algeri and Il Turco in Italia, and in Mercadante's operas, laying the basis of sound vocal technique as a baritone.
• There is little evidence to support a claim made by Hubert Hunt that his early works included the Duetto buffo di due gatti, published under the pseudonym G.
• More than 50 years after the film's release, when magazines compete to come up with the cattiest buzz terms and giddily celebrate the demise of celebrity relationships for buffo bucks, Ace in the Hole feels more relevant than ever.
• The Cat Duet (Duetto buffo di due gatti), attributed to Rossini, is a popular performance piece for two sopranos, whose "lyrics" consist entirely of the repeated word "miau" ("meow").
• The "Duetto buffo di due gatti" (humorous duet for two cats) is a performance piece for two sopranos and piano.
• A part of one of his works opens the "Cat's Duet" or "Duetto buffo di due gatti" usually attributed to Rossini.
• Also in the 1960s, he sang the main Donizetti buffo roles, Don Pasquale (Welsh National Opera, 1967) and Dulcamara in L'elisir d'amore (Glyndebourne Touring Opera, 1968).

• Despite its moronic libretto, the opera was an enormous success at its premiere in Naples in 1822, and even Bellini wrote nice things about the second-act septet in which Donizetti mixes buffo and serious characters, as well as Neapolitan dialect (there are no recitatives; numbers are separated by spoken dialogue) with "pure" Italian, and the absurd plot is (sort of) held together by the clever Argilla, who under the guise of telling fortunes gains entry to people's feelings as well as to every area of the castle.

• Santley saw him there as Raoul (Gli Ugonotti), in which he sang charmingly but lacked the fire and manliness for the role, as Arturo in I Puritani, which rivetted the attention completely, and in selection evenings, when he sang the trio 'Pappataci' from L'italiana in Algeri with Scheggi (buffo) and Ignazio Marini (bass), so popular it had to be repeated throughout the season.
• Humbert's company included several popular performers who had created roles in La fille de Madame Angot, among them the sopranos Pauline Luigini and Marie Blanche, the tenor Mario Widmer and the buffo baritone Alfred Jolly, all of whom featured in the new production.
• version of the Comedian Harmonists were Jack Cathcart (piano), Fred Bixler (first tenor), Murray Pollack (second tenor), Nicolai Shutorev (buffo) and Arthur Atkins (bass).

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