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Abstract This essay discusses the famous sunrise in the prologue ofAttilain the context of early nineteenth-century theatrical lighting and musical conventions, and relates it to Félicien David'sLe Désert, Haydn'sThe Creationand Rossini'sGuillaume Tell, as well as Verdi'sAlziraandJérusalem.
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Stored only when both papers are in the corpus — 5 citations exist upstream.
Papers that cite the same references — the relational fallback while embeddings are still backfilling.
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