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Beispiele für die Verwendung von FURIOSO in einem Satz

• In the Renaissance, the story of Camma enjoyed considerable popularity, inspiring De re uxoria by Barbaro, De institutione feminae christianae by Vives, the Libro del cortegiano by Castiglione, and Orlando furioso by Ariosto (where Camma is renamed Drusilla).
• Two masterpieces of Italian Renaissance poetry, the Orlando Innamorato and Orlando Furioso (by Matteo Maria Boiardo and Ludovico Ariosto respectively), are even further detached from history than the earlier Chansons, similarly to the later Morgante by Luigi Pulci.
• Sykes assigned him a share in The Famous Victories of Henry V, The Taming of a Shrew, and parts of Robert Greene's Orlando Furioso.
• Partly altered for better conformity, the story was originally taken from Ludovico Ariosto's Orlando furioso (like those of the Handel operas Orlando and Ariodante), an epic poem.
• Famous vernacular poets of the Renaissance include the epic authors Luigi Pulci (Morgante), Matteo Maria Boiardo (Orlando Innamorato), Ludovico Ariosto (Orlando Furioso), and Torquato Tasso (Jerusalem Delivered).
• It is divided into three distinct parts, an opening (Allegro agitato), which introduces the main theme, a middle (Tranquillo – Andantino espressivo) that introduces an entirely new theme (both described in the above quote), and a third (Allegro vivo – Presto furioso), which returns to the main theme.
• Orlando Furioso, 1516–1532; epic poem by Ludovico Ariosto, tells the story of Orlando, Charlemagne's most famous paladin, who goes mad upon learning that Angelica, the woman he is in love with, has run away with a Saracen knight.
• Alphonsus, King of Arragon - A Looking Glass for London and England - Orlando Furioso - Friar Bacon and Friar Bungay - James the Fourth - George-A-Green, the Pinner of Wakefield.
• Atlantes (sorcerer), a fictional character in various chansons de geste and in the poem Orlando Furioso.
• Prominent among these were Furioso II in 1968 and Futuro in 1969, both by Furioso xx, Tiro, and Zeus, who was by French Anglo-Arabian Arlequin x.
• On December 13, 1844, Hayward and other members staged Bombastes Furioso in room 11 of Hollis Hall, which began the Hasty Pudding Theatricals.
• After they have all languished there for a time, Shea and Polacek are pulled away from this world as well and into that represented by Ludovico Ariosto's epic, the Orlando Furioso.
• Discorso sopra il Principio di Tutti I Canti di Orlando Furioso, Discourse on the Principles of all the Canti of Orlando Furioso, Laura Terracina (1583).
• After that, he rewrote and expanded the one volume into four, published in 1828–29: Godfridus, containing a general introduction (named after Godfrey of Boulogne, a Crusade hero); Tancredus, discussing chivalry’s discipline and applauding Christianity (for Tancred, Prince of Galilee, another Crusade hero); Morus, bashing the Reformation as the death of chivalry and religion (after Sir Thomas More); and Orlandus, which detailed Digby's idea of chivalric behaviour (after Ariosto's Orlando Furioso).
• It derives from cross-breeding of Hanoverian, Thoroughbred and Trakehner stallions with local mares or with Hungarian Furioso, Gidran Arab or Nonius mares.
• It is to be distinguished from an earlier Vivaldi opera of 1714, Orlando furioso, set to much the same libretto, once thought to be a revival of a 1713 opera by Giovanni Alberto Ristori but now considered by Vivaldian musicologists to be a fully-fledged opera by Vivaldi himself.
• Other contemporary works for the instrument are Scherzo Furioso by William Blezard, Tasmanian Ants by Ian Keith Harris, Iberian Improvisations and Bailables by Leonard Salzedo, Variations on a Sicilian Shepherd Tune by Clive Strutt.
• Known as the "Stamp Stallion", because his offspring inherited his 'very good feet and legs, his outstanding neck and shoulder, striking dappled chocolate chestnut coat with flaxen tail and white markings', Furioso II was later approved for the Hanoverian, Rhineland, and Westphalian studbooks.
• The Holsteiner Verband had noticed the success that French blood had in the Oldenburg breed, which had used the stallions Furioso II and Futuro (both by Furioso) to upgrade their stock, and wished to introduce it into their own horses.
• These are the helmet's attributes in the Orlando Innamorato and the Orlando Furioso, throughout which poems it is worn by Rinaldo.
• Evelyn Tribble describes in detail his 1565 edition of Ludovico Ariosto's Orlando Furioso, which was influential for some English publishers, and which is heavily and ornately illustrated, including an engraving before every canto and an engraved frame surrounding the argument (Tribble 88).
• Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age.
• The subject matter is drawn from a range of European folklore and history: Venus and Poppæa are from Roman sources; Aœde, Cassandra, Bacchante and Siren are drawn from Greek mythology; while Lorelei refers to a Nix from German stories, and Angélique is inspired by medieval poem Orlando Furioso.
• In 2010, two embryo transfer foals were born from Brentina at Pollyrich Farms in California: The black colt Dillinger, by the 2002 Hanoverian stallion Damsey FRH, a grandson of Donnerhall, a male-line descendant of Thoroughbred racehorse Robert the Devil (1877–1889) of the Darley Arabian line; and the chestnut colt Brighton, by the Dutch Warmblood stallion Kingston (1992 - 2010), a male-line descendant of the Thoroughbred stallion Furioso (1939 - 1967) of the Godolphin Arabian line.
• The Czech Warmblood was selectively bred from the mid-twentieth century by cross-breeding local mares with stallions of various breeds; these may have included Oriental and Spanish horses, and others of the Furioso, the Hanoverian, the Oldenburger, the Thoroughbred and the Trakehner breeds.

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