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The article provides information on how the presence of language in the ballet-pantomime and characters of ballet who were capable to use language as opera characters enabled the two types of characters to effectively communicate. It explores the dialogues between ballet characters and opera characters which occurred relatively rarely because in almost all of the operas of the period, opera and ballet characters mingled together only in advertisements.

Chapter 31 of the book "Vittoria, Complete" is presented. It focuses on the mission of Countess d'Isorella in Milan, Italy. It added that Vittoria was found singing at the opera in Turin. It emphasizes that Vittoria was informed that Count Ammiani had gone to Brescia, and having regard for her safety, and that the Countess was willing to receive her.

Chapter 20 of the book "Vittoria, Complete" is presented. It explores the Opera of Camilla, in which Vittoria chooses to impersonate a significant character, and her indications of method were jealously watched for a sign of inequality. It emphasizes that the theme for the event was that Camilla has dreamed that her lost mother came back to bless her nuptials.

The article discusses the prima donnas or the first ladies of the opera, specifically citing Maria Callas, who stars in Giacomo Puccini's "Tosca," as the prima donna of the post-world war era.

The article discusses the great seducers in operas, including Wolfgang Amadeus Mozart's Don Giovanni and the young Duke of Mantua in Giuseppe Verdi's "Rigoletto."

Chapter One of the book "Mad Loves: Women & Music in Offenbach's Les Contes d'Hoffmann," by Heather Hadlock is presented. It explores how librettists Jules Barbier and Michel Carré included the author of the opera "Les Contes d'Hoffmann," Jacques Offenbach, to the cast of charaters. It highlights the story of the opera, in which Hoffmann focus on the lines between waking life and dreaming life. It also outlines the opera's characters.

Chapter Two of the book "Mad Loves: Women & Music in Offenbach's Les Contes d'Hoffmann," by Heather Hadlock is presented. It explores the approach by librettists Jules Barbier and Michel Carré to the opera "Les Contes d'Hoffmann," by Jacques Offenbach. It highlights Barbier and Carré's departures from using Hoffmann sources for the opera. It features the approach of Barbier and Carré to the opera's character Dr. Miracle.

The article discusses why the coalescence of several distinct personae from the Thomas Mann novella was introduced into a single, recurrent figure in Jacques Offenbach's opera "The Tales of Hoffmann." It analyzes what role does each figure play in propelling the dramatic action forward and how do they relate to the main character.

The article presents the author's insights regarding the play "Hamlet," by William Shakespeare, in which the inconsistencies in the character and conduct of Hamlet were described.

The article lists the cast of the play "The Fake Astrologer," by Pedro Calderón de la Barca which include Beatriz, Don Carlos de Toledo, and Violante.

The article lists the characters of the play "Thomas Á Becket," by George Darley is presented including Earl of Cornwall, Walter Mapes, and Henry Bosham.

The article lists the drama characters including William Rufus, Adam Prickshaft, and Peter Flash.

The article presents the characters of the play "The Fair Maid of the West," by Thomas Heywood, including Spencer, Carrol, and Fawcett.

The article presents Chapter VIII of the book "Shakespeare's Lost Years in London, 1586-1592," by Arthur Acheson. It explores the relation of John Florio, the language tutor of the Earl of Southampton, with William Shakespeare's play character Sir John Falstaff. It mentions that Florio was the original of Shakespeare's Sir John Falstaff and some of his characters.

The article presents the name of the characters and their role in the play including Mrs. Langdon , Mr. Sherwood and Andrew, the gardener.