Wiktionary
n. (given name female from=Latin).
Wikipedia
Clementina may refer to:
- Clementine literature
- Clementina (character), Bobbie Wickham's cousin in the Jeeves series;
- Clementina (play), a 1771 tragedy play by Hugh Kelly;
- Clementina (zarzuela), a 1786 Spanish zarzuela written by Ramón de la Cruz and composed by Luigi Boccherini;
- Clementina, São Paulo.
Clementina is a tragic play by the Irish writer Hugh Kelly. It was first staged at Covent Garden Theatre in February 1771. The plot follows a young Italian woman Clementina's marriage to Rinaldo despite her father's opposition to the wedding as he had wished her to marry Palermo. It ends with Palmero killing Rinaldo, and Clementina committing suicide in her despair.
In the History of Drama Allardyce Nicoll describes it as "a poor dull pseudo-classic production, in spite of its Italian scene".
Clementina, although wrongly and popularly known as La Clementina, is a zarzuela in two acts by Luigi Boccherini. The Spanish-language libretto was by Ramón de la Cruz. It premiered at the end of 1786 at the Palace Puerta de la Vega, Madrid.
Clementina is the only complete stage work by Boccherini. It was written when the zarzuela was close to the end of its period of greatest success, before this genre, at the beginning of the 19th century, was nearly forgotten in favour of the Italian opera. The librettist of Clementina, Ramón de la Cruz, had attempted to introduce innovations in the zarzuela, using folk elements instead of the more usual mythological subjects. The music is predominantly cheerful and turned towards comical sides, with pathetic fragments when it tries to describe unrequited love.
This work was written on commission of the Duchess-Countess of Osuna-Benavente, a maecenas lover of music and arts who owned a private orchestra, under whose protection De La Cruz worked. Clementina premiered in Madrid in the palace of the Countess, probably performed by amateur singers. Boccherini composed the music in less than one month. A further performance of Clementina took place in 1799, again in Madrid, in the Coliseo de los Caños del Peral, this time with very known artists: Catalina Tordesillas (Clementina), Manuela Monteis (Damiana), Joaquina Arteaga (Narcisa), Lorenza Correa (Cristeta), Vicente Sanchez (Don Urbano) e Manuel Garcia Parra (Don Lazzaro).
In modern times, Clementina was revived in Venice ( La Fenice, 18 September 1951), in Munich ( Cuvilliés Theatre, 1960) and in Aranjuez (Spain). A further performance was produced in Lucca in 2005.
Usage examples of "clementina".
It was Sir John Hay, the man who had been sent to fetch the Princess Clementina privately to Bologna, and here he now was back at Bologna and alone.
He dreamed that he was swinging on a gibbet before the whole populace of Innspruck, that he died to his bewilderment without any pain whatever, but that pain came to him after he was quite dead,—not bodily pain at all, but an anguish of mind because the chains by which he was hanged would groan and creak, and the populace, mistaking that groaning for his cries, scoffed at him and ridiculed his King for sending to rescue the Princess Clementina a marrowless thing that could not die like a man.
Why should the King go to Spain at the time when the Princess Clementina might be expected at Bologna?
He would come back with most reproachful eyes for Clementina in that she so stubbornly clung to her vagabond exile and refused so fine a match as the Prince of Baden.
On the afternoon of the 25th, however, Clementina read more than reproach in his eyes, more than discomfort in the agitation of his manner.
It was not quite the truth, no doubt, but it had spared Clementina a trifle of humiliation, and had re-established the King in her thoughts.
Your Highness,” and he turned to Clementina, “is a rich Austrian heiress, deeply enamoured of Captain Lucius O'Toole.
But Clementina was betrothed to his Majesty King James, and that engagement must be ever the highest consideration with her, on pain of forfeiting her honour.
He was caught in a trap, and Clementina waited for him in the avenue, under the fourth tree.
For two days Clementina had kept her bed, and the mother's tears alarmed him.
It seemed to Clementina that her companion was possessed by some new fear.
He guided Clementina round the carriage to a steep narrow stairway—it was more a ladder than a stair—fixed against the inner wall.
Wogan had the carriage door open before Clementina had reached the foot of the stairs.
Misset as his wife, Clementina as his niece, and Wogan as a friend of the family.
Thus they started from Nazareth, and had journeyed perhaps a mile when without so much as a moan Clementina swooned and fell forward into Wogan's arms.