Tempo rubato ([ˈtɛmpo ruˈbaːto]; “free in the presentation”, Italian for “stolen time”) is a musical term referring to expressive and rhythmic freedom by a slight speeding up and then slowing down of the tempo of a piece at the discretion of the soloist or the conductor. Rubato is an expressive shaping of music that is a part of phrasing.^[1]

While rubato is often loosely taken to mean playing with expressive and rhythmic freedom, it was traditionally used specifically in the context of expression by speeding up and then slowing down the tempo. In the past, expressive and free playing (beyond only rubato) was often associated with the terms “ad libitum.” Rubato, even when not notated, is often used liberally by musicians; e.g. singers frequently use it intuitively to let the tempo of the melody expressively shift slightly and freely above that of the accompaniment. This intuitive shifting leads to rubato’s main effect: to make music sound expressive and natural. Frédéric Chopin is often mentioned in context with rubato (see Chopin’s technique and performance style).

Source: Tempo rubato – Wikipedia

The Firebird (French: L’Oiseau de feu; Russian: Жар-птица, translit. Zhar-ptitsa) is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1910 Paris season of Sergei Diaghilev‘s Ballets Russes company; the original choreography was by Michel Fokine, with a scenario by Alexandre Benois and Fokine based on the Russian fairy tales of the Firebird and the blessing and curse it possesses for its owner. When first performed at the Opéra de Paris on 25 June 1910, the work was an instant success with both audience and critics.

The ballet has historic significance not only as Stravinsky’s breakthrough piece, but also as the beginning of the collaboration between Diaghilev and Stravinsky that would also produce the acclaimed ballets Petrushka (1911) and The Rite of Spring (1913).

Source: The Firebird – Wikipedia

Lyric Coloratura Soprano: Beverly Sills, Natalie Dessay, Lily Pons,
Dramatic Coloratura Soprano: Joan Sutherland, Edda Moser, Rita Shane
Light Lyric Soprano: Annick Massis, Dawn Upshaw, Barbara Bonney,
Full Lyric Soprano: Anna Moffo, Renee Fleming, Elisabeth Schwarzkopf, Kiri Te Kanawa
Spinto Soprano: Martina Arroyo, Leontyne Price, Sondra Radvanovsky, Renata Tebaldi
Dramatic Soprano: Ghena Dmitrova, Kirsten Flagstad, Helen Traubel, Eva Marton

coloratura mezzo: Joyce di Donato, Cecilia Bartoli, Malena Ernman
lyric mezzo: Janet Baker, Jennifer Larmore, Elina Garanca
dramatic mezzo: Elena Obraztsova, Viorica Cortez, Dolora Zajick, Milla Edelman

contralto: Ewa Podles, Maureen Forrester, Kathleen Ferrier, Marian Anderson

tenor leggiero: Juan Diego Flores, Rockwell Blake, John McCormick
lyric tenor: Luciano Pavarotti, Nicolai Gedda, Giuseppe di Stefano, Jussi Bjorling
spinto tenor: Jonas Kaufmann, Franco Corelli, Anatoly Solovyanenko, John Alexander
dramatic tenor: Mario del Monaco, Giuseppe Giacomini, Enrico Caruso,

lyric baritone: Herman Prey, Dietrich Fischer-Dieskau, Peter Mattei, Thomas Allen
dramatic baritone: Tito Gobbi, Cornel Macneil, Mykola Kondratyuk, Nicolae Herlea

bass-baritone: Byrn Terfel, Willard White, Hans Hotter, Ilabrando D’arcangelo
basso cantante: Samuel Ramey, Nicolai Ghiaurov, Jerome Hines
basso profondo: Paul Robeson, Boris Shtokolov, Boris Christoff

https://www.talkclassical.com/38991-lyric-vs-dramatic-voices-2.html

A scherzo (/ˈskɛərtsoʊ/, UK also /ˈskɜːrt-/; Italian: [ˈskertso]; plural scherzos or scherzi), in western classical music, is a short composition – sometimes a movement from a larger work such as a symphony or a sonata. The precise definition has varied over the years, but scherzo often refers to a movement that replaces the minuet as the third movement in a four-movement work, such as a symphony, sonata, or string quartet. The term can also refer to a fast-moving humorous composition that may or may not be part of a larger work.

Source: Scherzo – Wikipedia