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・ Eduardo Jorge Anzorena
・ Eduardo Joson
・ Eduardo Diazmuñoz
・ Eduardo Dibós Chappuis
・ Eduardo Dibós Dammert
・ Eduardo Dischinger
・ Eduardo Dluzniewski
・ Eduardo Dolhun
・ Eduardo Domínguez
・ Eduardo Doryan
・ Eduardo Dos Santos
・ Eduardo Dougherty
・ Eduardo Dualde
・ Eduardo Duhalde
・ Eduardo Díez de Medina
Eduardo e Cristina
・ Eduardo e Mônica
・ Eduardo Echeverría
・ Eduardo Egüez
・ Eduardo Elsztain
・ Eduardo Epaminondas González Dubón
・ Eduardo Ermita
・ Eduardo Escobar
・ Eduardo Escobedo
・ Eduardo Escorel
・ Eduardo Esidio
・ Eduardo Espinosa Abuxapqui
・ Eduardo Espinoza
・ Eduardo Estrada
・ Eduardo Estrella


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Eduardo e Cristina : ウィキペディア英語版
Eduardo e Cristina

''Eduardo e Cristina'' ((:eduˈardo ekkrisˈtiːna)) is an operatic 'dramma' in two acts by Gioachino Rossini to an Italian libretto originally written by Giovanni Schmidt for ''Odoardo e Cristina'' (1810), an opera by Stefano Pavesi, and adapted for Rossini by Andrea Leone Tottola and Gherardo Bevilacqua-Aldobrandini.
This pastiche work was composed in a great hurry for a first performance arranged less than a month after the premiere of ''Ermione''. Rossini borrowed "19 of the 26 musical numbers"〔Osborne, Charles 1994, p. 92〕 from his other works, including ''Adelaide di Borgogna'', ''Ricciardo e Zoraide'', as well as ''Ermione'' itself.
The opera was first performed at the Teatro San Benedetto, Venice, on 24 April 1819 and given 24 performances that season before being revived the following year at the more prestigious La Fenice.〔Osborne, Charles 1994, p. 93〕 Ironically, while ''Ermione'' was not particularly well received, "''Eduardo e Christina'' was a huge success".〔 Apparently, the first performance was so well received that it took six hours, given the large number of repetitions.〔Gossett and Brauner 2001, p. 785〕
==Performance history==
Osborne notes that there were productions elsewhere in Europe up to 1840, but after that they seem to have been very rare.〔 It was given on 25 November 1834 in New York,〔 but at the time of the publication of Osbourne's ''The Bel Canto Operas'' (1994), it had not been performed in Britain. Unlike most Neapolitan operas by Rossini, this one was "heavily altered from revival to revival"〔

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