Девы, есть ли среди вас хорошие (ХОРОШИЕ) переводчики английского, знающие ХОРОШО русский? Надо перевести научный текст на музыкальную тематику. Сорри, что подчеркиваю слова "хорошо", но у меня с переводчиками очень часто были проблемы - переводили тексты на корявый русский, и все надо было перепроверять по 100 раз. Под катом кусочек для текста для наглядности. О цене и сроках можем договориться лично. В общем, пишите в умыл, кто готов взяться за дело и послужить.. гм.. кхм.. науке!!

кусок текста для примераThe traditional narrative of Italian opera history tends to describe the first decades of the 18th century
as a dichotomy between opera seria (actually dramma per musica, inspired by coeval French theatre)
and buffo genres (commedia per musica, dramma giocoso, intermezzi): expelled from dramma per
musica, comic characters became protagonists of operatic comedies. Even excellent publications
focused on genre reduce the first half of the century to this division, and genera mixta such as dramma
eroicomico and opera semiseria are briefly treated when addressing the late 18th century.


Early 18th century operatic mixed genres, in particular tragicommedia per musica, receive only a limited mention,
largely relegated to the background of historiographic works.
One of the most important contributors to this genre was Pietro Pariati, who wrote six tragicommedie
per musica for the Viennese court between 1716 and 1724, and was almost completely neglected in
modern literary and musicological studies and re-evaluated only since the 1990s.

Born in 1665 in Reggio nell’Emilia, Pariati started his career as a librettist quite late. After studying law, he served as
secretary of the governor in Reggio and later of the marquise Taddeo Rangone in Modena. While
returning from a journey in Madrid, he was arrested and imprisoned for two years, accused of brawling
and irreligious behaviour. Once exiled, he went to Venice and started a new life as a librettist,
collaborating with Apostolo Zeno and writing operas and dramas for theatres in Venice and Milan.
Several commissions for the court of Archduke Charles II in Barcelona opened the door to the Viennese
court for him when the former ascended to the imperial throne as Charles VI following the death of
Joseph I. Between 17143 and 1733 (the year of his death in Vienna), he wrote several libretti in different
genres (dramma per musica, oratorio, dramma pastorale, etc.), some of them in collaboration with Zeno, who had joined him in Vienna in 1718.