Gawain and Otello are both what type of performance?
opera
Title: Type 96 and Type 97 150 mm Infantry Mortar
Passage: The Type 96 and Type 97 were Japanese 150 mm calibre mortars used during the Second World War.  The Type 96 designation was given to this mortar as it was accepted in the year 2596 of the Japanese calendar (1936).  It had a caliber of 150.5 mm, and approximately 90 were produced.  The Type 96 was used in Iwo Jima and China, but its performance is not known.  In 1941 the weapon was developed into the more portable Type 97 150 mm Mortar, which simply has the recoil absorber removed.
Title: Peter Wilhousky
Passage: Peter J. Wilhousky (Rusyn: Пітер (Петро) Вільховський ) (13 July 1902, Passaic, New Jersey – 1978) was a popular American composer, educator, and choral conductor of Carpatho-Rusyn ethnic extraction.  During his childhood he was part of New York's Rusyn Cathedral Boys Choir and gave a performance at the White House to President Woodrow Wilson.  He was featured on several broadcasts of classical music with Arturo Toscanini and the NBC Symphony Orchestra, including the historic 1947 broadcast of Verdi's opera "Otello".  In 1936, he wrote the popular Christmas carol "Carol of the Bells"; a song with English lyrics to the popular composition by Ukrainian composer Mykola Leontovych originally known as "Shchedryk".  His arrangement of the "Battle Hymn of the Republic" for chorus, band, and orchestra is probably the most famous arrangement of the hymn before the 1940s in the United States.
Title: Pier Miranda Ferraro
Passage: Pier Miranda Ferraro (October 30, 1924 – January 18, 2008) was an Italian operatic tenor who had an active international opera career from 1951 through 1981.  He particularly excelled in the dramatic Italian repertoire with his signature role being the title role in Giuseppe Verdi's opera "Otello".  Other important roles in his performance repertoire included Radames in Verdi's "Aida", Alvaro in "La Forza del Destino", and de Grieux in Giacomo Puccini's "Manon Lescaut".  He also found success in the German repertoire portraying Wagnerian heroes.  Although he was a gifted singer and had a highly impressive list of performance credits, he never achieved the international recognition enjoyed by his most important contemporaries, such as Franco Corelli or Mario Del Monaco.  After retiring from the opera stage in 1981 he took up a seteatrcond highly successful career as a voice teacher.
Title: Gawain (opera)
Passage: Gawain is an opera with music by Harrison Birtwistle to a libretto by David Harsent.  The story is based on the Middle English romance "Sir Gawain and the Green Knight".  The opera was a commission from the Royal Opera House, London, where it was first performed on 30 May 1991.  Rhian Samuel has published a detailed analysis of the opera.  Birtwistle revised it in 1994, and the premiere of the revised version was given at the Royal Opera House on 20 April 1994.
Title: Tieste Wilmant
Passage: Tieste Wilmant (1859-1937) was an Italian operatic baritone.  He made his professional opera debut in 1878 in Chiari.  In 1896 he originated the role of Marcello in the original production of Giacomo Puccini's "La bohème" at the Teatro Regio Torino in 1896.  He made his debut at La Scala in the 1893-1894 season where he appeared in productions of Alfredo Catalani's "Loreley" and in Puccini's "Manon Lescaut".  He appeared in performances at La Scala several more times over the next decade including portraying the role of Alberich in the Italy's first performance of Richard Wagner's "Siegfried" and the role of Iago in Verdi's "Otello".  Wilmant made four records on the Zonophone record label in 1904.
Title: Otello (Rossini)
Passage: The opera deviates heavily from Shakespeare's version not only in that it takes place in Venice and not on Cyprus, but also in that the whole dramatic conflict develops in a different manner.  The role of Iago is reduced to some degree, and it is much less diabolical than in the original or in Verdi's "Otello" of 1887.  In further contrast, the role of Rodrigo, of subsidiary importance in Shakespeare and Verdi, is very prominent in Rossini's version and is assigned some of the most difficult and brilliant music.  The roles of Otello, Iago, and Rodrigo are all composed for the tenor voice.
Title: Aleksandr Antonenko
Passage: Aleksandrs Antoņenko (born in Riga June 26, 1975) is a Latvian tenor who specializes in dramatic repertoire.  He debuted on stage as "Prince" in "Rusalka" in 2009.  Since then, he has performed in cities such as Baden-Baden, Berlin, Monte Carlo, and Stockholm.  Notable appearances include a 2012 appearance in Tosca, as Cavaradossi, at La Scala.  In the same year he was seen as Otello at the Royal Opera House in London.  In 2013 he appeared in the role of "Radames" in "Aida" at the Zurich Opera House.  He followed that performance by appearing as Manrico in Il Trovatore at the Berlin State Opera.  He has also performed in "Turandot" as Calaf at La Scala.  In 2013, he appeared in the role of "Ismaele" in Giuseppe Verdi's opera "Nabucco", conducted by Nicola Luisotti at the Teatro alla Scala, Milan as well as the Splendid Palace in Latvia.  In 2014 he announced that he will perform at The Orchestra Hall in "Cavalleria rusticana" and "Pagliacci".  He will also appear as the title role in the Metropolitan Opera's new production of "Otello", which will open the Met's 2015-2016 season.  The production is notable within American opera circles due to the Met's decision to abandon their tradition of blackface for the role of Otello.  Other future performances include "Norma" at the Bavarian State Opera, "Otello" at Barcelona's Gran Teatre del Liceu and Zürich's Opernhaus, and "Pagliacci" at the Royal Opera House in London.
Title: Mm'-type filter
Passage: mm'-type filters, also called double-m-derived filters, are a type of electronic filter designed using the image method.  They were patented by Otto Zobel in 1932.  Like the m-type filter from which it is derived, the mm'-type filter type was intended to provide an improved impedance match into the filter termination impedances and originally arose in connection with telephone frequency division multiplexing.  The filter has a similar transfer function to the m-type, having the same advantage of rapid cut-off, but the input impedance remains much more nearly constant if suitable parameters are chosen.  In fact, the cut-off performance is better for the mm'-type if like-for-like impedance matching are compared rather than like-for-like transfer function.  It also has the same drawback of a rising response in the stopband as the m-type.  However, its main disadvantage is its much increased complexity which is the chief reason its use never became widespread.  It was only ever intended to be used as the end sections of composite filters, the rest of the filter being made up of other sections such as k-type and m-type sections.
Title: Megahertz myth
Passage: The megahertz myth, or less commonly the gigahertz myth, refers to the misconception of only using clock rate (for example measured in megahertz or gigahertz) to compare the performance of different microprocessors.  While clock rates are a valid way of comparing the performance of different speeds of the same model and type of processor, other factors such as pipeline depth and instruction sets can greatly affect the performance when considering different processors.  For example, one processor may take two clock cycles to add two numbers and another clock cycle to multiply by a third number, whereas another processor may do the same calculation in two clock cycles.  Comparisons between different types of processors are difficult because performance varies depending on the type of task.  A benchmark is a more thorough way of measuring and comparing computer performance.
Title: Francesco Tamagno
Passage: Francesco Tamagno (28 December 1850 – 31 August 1905) was an Italian operatic tenor who sang with enormous success throughout Europe and America.  On 5 February 1887, he sang Otello in the first performance of Giuseppe Verdi's opera.  He is also the earliest Italian tenor of note to have left a "sizeable" body of recordings of his voice.  As a man, he was one of the first international public figures to admit (and take quiet pride) in the fact that (from her birth) he was the single parent and carer of a daughter (see below).
Otello (Rossini) Gawain (opera)