A:Verdi set his sights on Milan, then the cultural capital of northern Italy, where he applied unsuccessfully to study at the Conservatory. Barezzi made arrangements for him to become a private pupil of, who had been "maestro concertatore" at La Scala, and who described Verdi's compositions as "very promising". Lavigna encouraged Verdi to take out a subscription to La Scala, where he heard Maria Malibran in operas by Gioachino Rossini and Vincenzo Bellini. Verdi began making connections in the Milanese world of music that were to stand him in good stead. These included an introduction by Lavigna to an amateur choral group, the "Società Filarmonica", led by Pietro Massini. Attending the "Società" frequently in 1834, Verdi soon found himself functioning as rehearsal director (for Rossini's "La cenerentola") and continuo player. It was Massini who encouraged him to write his first opera, originally titled "Rocester", to a libretto by the journalist Antonio Piazza. B:Did Barezzi's plan to help Verdi work out? Answer: favor
A:Verdi set his sights on Milan, then the cultural capital of northern Italy, where he applied to study at the Conservatory and was rejected. Barezzi made arrangements for him to become a private pupil of Lavigna, who had been "maestro concertatore" at La Scala, and who described Verdi's compositions as "very promising". Lavigna encouraged Verdi to take out a subscription to La Scala, where he heard Maria Malibran in operas by Gioachino Rossini and Vincenzo Bellini. Verdi began making connections in the Milanese world of music that were to stand him in good stead. These included an introduction by Lavigna to an amateur choral group, the "Società Filarmonica", led by Pietro Massini. Attending the "Società" frequently in 1834, Verdi soon found himself functioning as rehearsal director (for Rossini's "La cenerentola") and continuo player. It was Massini who encouraged him to write his first opera, originally titled "Rocester", to a libretto by the journalist Antonio Piazza. B:Did Verdi end up studying at the Conservatory in Milan? Answer: chose
A:Verdi set his sights on Milan, then the cultural capital of northern Italy, where he applied to study at the Conservatory and was rejected. Barezzi made arrangements for him to become a private pupil of Lavigna, who had been "maestro concertatore" at La Scala, and who described Verdi's compositions as "very promising". Lavigna encouraged Verdi to take out a subscription to La Scala, where he heard Maria Malibran in operas by Gioachino Rossini and Vincenzo Bellini. Verdi began making connections in the Milanese world of music that were to stand him in good stead. These included an introduction by Lavigna to an amateur choral group, the "Società Filarmonica", led by Pietro Massini. Attending the "Società" frequently in 1834, Verdi soon found himself functioning as rehearsal director (for Rossini's "La cenerentola") and continuo player. It was Massini who encouraged him to write his first opera, originally titled "Rocester", to a libretto by the journalist Antonio Piazza. B:Did Lavigna end up tutoring Verdi one on one? Answer: favor
A:Verdi set his sights on Milan, then the cultural capital of northern Italy, where he applied unsuccessfully to study at the Conservatory. Barezzi made arrangements for him to become a private pupil of, who had been "maestro concertatore" at La Scala, and who described Verdi's compositions as "very promising". Lavigna encouraged Verdi to take out a subscription to La Scala, where he heard Maria Malibran in operas by Gioachino Rossini and Vincenzo Bellini. Verdi began making connections in the Milanese world of music that were to stand him in good stead. These included an introduction by Lavigna to an amateur choral group, the "Società Filarmonica", led by Pietro Massini. Attending the "Società" frequently in 1834, Verdi soon found himself functioning as rehearsal director (for Rossini's "La cenerentola") and continuo player. It was Massini who encouraged him to write his first opera, originally titled "Rocester", to a libretto by the journalist Antonio Piazza. B:Did Lavigna end up tutoring Verdi one on one? Answer: favor
A:Verdi set his sights on Milan, then the cultural capital of northern Italy, where he applied to study at the Conservatory. Barezzi attempted unsuccessful arrangements for him to become a private pupil of Lavigna, who had been "maestro concertatore" at La Scala, and who described Verdi's compositions as "very promising". Lavigna encouraged Verdi to take out a subscription to La Scala, where he heard Maria Malibran in operas by Gioachino Rossini and Vincenzo Bellini. Verdi began making connections in the Milanese world of music that were to stand him in good stead. These included an introduction by Lavigna to an amateur choral group, the "Società Filarmonica", led by Pietro Massini. Attending the "Società" frequently in 1834, Verdi soon found himself functioning as rehearsal director (for Rossini's "La cenerentola") and continuo player. It was Massini who encouraged him to write his first opera, originally titled "Rocester", to a libretto by the journalist Antonio Piazza. B:Did Lavigna end up tutoring Verdi one on one? Answer: chose
A:Verdi set his sights on Milan, then the cultural capital of northern Italy, where he applied to study at the Conservatory. Barezzi attempted unsuccessful arrangements for him to become a private pupil of Lavigna, who had been "maestro concertatore" at La Scala, and who described Verdi's compositions as "very promising". Lavigna encouraged Verdi to take out a subscription to La Scala, where he heard Maria Malibran in operas by Gioachino Rossini and Vincenzo Bellini. Verdi began making connections in the Milanese world of music that were to stand him in good stead. These included an introduction by Lavigna to an amateur choral group, the "Società Filarmonica", led by Pietro Massini. Attending the "Società" frequently in 1834, Verdi soon found himself functioning as rehearsal director (for Rossini's "La cenerentola") and continuo player. It was Massini who encouraged him to write his first opera, originally titled "Rocester", to a libretto by the journalist Antonio Piazza. B:Did Verdi end up studying at the Conservatory in Milan? Answer: chose
A:In some competitive games, the piece colors are allocated to players by the organizers; in other formal games, the colors are decided randomly, for example by a coin toss, or by one player concealing a white pawn in one hand and a black pawn in the other, and having the opponent choose. White moves first, after which players alternate turns, moving one piece per turn (except for castling, when two pieces are moved). A piece is moved to either an unoccupied square or one occupied by an opponent's piece, which is captured and removed from play. With the sole exception of "en passant", all pieces capture by moving to the square that the opponent's piece occupies. Moving is compulsory; a player may not skip a turn, even when having to move is detrimental. B:Are competitive chess referees likely trained to carry a coin with them at all times while performing their job? Answer: favor
A:Verdi set his sights on Milan, then the cultural capital of northern Italy, where he applied unsuccessfully to study at the Conservatory. Barezzi made arrangements for him to become a private pupil of, who had been "maestro concertatore" at La Scala, and who described Verdi's compositions as "very promising". Lavigna encouraged Verdi to take out a subscription to La Scala, where he heard Maria Malibran in operas by Gioachino Rossini and Vincenzo Bellini. Verdi began making connections in the Milanese world of music that were to stand him in good stead. These included an introduction by Lavigna to an amateur choral group, the "Società Filarmonica", led by Pietro Massini. Attending the "Società" frequently in 1834, Verdi soon found himself functioning as rehearsal director (for Rossini's "La cenerentola") and continuo player. It was Massini who encouraged him to write his first opera, originally titled "Rocester", to a libretto by the journalist Antonio Piazza. B:Did Verdi end up studying at the Conservatory in Milan? Answer: chose
A:In informal games, the piece colors are allocated to players by the organizers; in competitive games, the colors are usually decided randomly, for example by a coin toss, or by one player concealing a white pawn in one hand and a black pawn in the other, and having the opponent choose. White moves first, after which players alternate turns, moving one piece per turn (except for castling, when two pieces are moved). A piece is moved to either an unoccupied square or one occupied by an opponent's piece, which is captured and removed from play. With the sole exception of "en passant", all pieces capture by moving to the square that the opponent's piece occupies. Moving is compulsory; a player may not skip a turn, even when having to move is detrimental. B:If who plays white is chosen randomly, is the game likely a competitive game? Answer:
favor