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!!Type A
* ''L'elisir D'amore'': Adina might be an early, operatic version of this. Her merciless teasing of the hapless Nemorino is finally revealed to be a cover for the affection she feels for him. Adina even goes so far as to accept another man's marriage proposal just to annoy the poor boy. She doesn't admit her true feelings, even to herself, until she sees him surrounded by female admirers.
* ''Theatre/DonGiovanni'': Donna Elvira.
* ''Theatre/LaBoheme'': Musetta.
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* ''L'elisir D'amore'': Adina might be an early, operatic version of this. Her merciless teasing of the hapless Nemorino is finally revealed to be a cover for the affection she feels for him. Adina even goes so far as to accept another man's marriage proposal just to annoy the poor boy. She doesn't admit her true feelings, even to herself, until she sees him surrounded by female admirers.
* ''Theatre/DonGiovanni'': Donna Elvira.
* ''Theatre/LaBoheme'': Musetta.
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to:
* ''L'elisir D'amore'': Adina might be an early, operatic version of this. Her merciless teasing of the hapless Nemorino is finally revealed to be a cover for the affection she feels for him. Adina even goes so far as to accept another man's marriage proposal just to annoy the poor boy. She doesn't admit her true feelings, even to herself, until she sees him surrounded by female admirers.
* ''Theatre/DonGiovanni'': Donna Elvira.
* ''Theatre/LaBoheme'': Musetta.
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!!Type A
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* ''Theatre/LaBoheme'': Musetta.
to:
* ''Theatre/LaBoheme'': Musetta.Musetta.
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Changed line(s) 2 (click to see context) from:
* ''Theatre/DonGiovanni'': Donna Elvira.
to:
* ''Theatre/DonGiovanni'': Donna Elvira.Elvira.
* ''Theatre/LaBoheme'': Musetta.
* ''Theatre/LaBoheme'': Musetta.
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Changed line(s) 2 (click to see context) from:
* ''Don Giovanni'': Donna Elvira.
to:
* ''Don Giovanni'': ''Theatre/DonGiovanni'': Donna Elvira.
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Changed line(s) 1 (click to see context) from:
* ''L'elisir D'amore'': Adina might be an early, operatic version of this. Her merciless teasing of the hapless Nemorino is finally revealed to be a cover for the affection she feels for him. Adina even goes so far as to accept another man's marriage proposal just to annoy the poor boy. She doesn't admit her true feelings, even to herself, until she sees him surrounded by female admirers.
to:
* ''L'elisir D'amore'': Adina might be an early, operatic version of this. Her merciless teasing of the hapless Nemorino is finally revealed to be a cover for the affection she feels for him. Adina even goes so far as to accept another man's marriage proposal just to annoy the poor boy. She doesn't admit her true feelings, even to herself, until she sees him surrounded by female admirers.admirers.
* ''Don Giovanni'': Donna Elvira.
* ''Don Giovanni'': Donna Elvira.
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Changed line(s) 1 (click to see context) from:
* ''L'elisir D'amore'': Adina might be an early, operatic version of this. Her merciless teasing of the hapless Nemorino is finally revealed to be a cover for the affection she feels for him. Adina even goes so far as to accept another man's marriage proposal just to annoy him. She doesn't admit her true feelings, even to herself, until she sees him surrounded by female admirers.
to:
* ''L'elisir D'amore'': Adina might be an early, operatic version of this. Her merciless teasing of the hapless Nemorino is finally revealed to be a cover for the affection she feels for him. Adina even goes so far as to accept another man's marriage proposal just to annoy him.the poor boy. She doesn't admit her true feelings, even to herself, until she sees him surrounded by female admirers.
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Changed line(s) 1 (click to see context) from:
* ''{{L'elisir D'amore}}'': Adina might be an early, operatic version of this. Her merciless teasing of the hapless Nemorino is finally revealed to be a cover for the affection she feels for him. Adina even goes so far as to accept another man's marriage proposal just to annoy him. She doesn't admit her true feelings, even to herself, until she sees him surrounded by female admirers.
to:
* ''{{L'elisir D'amore}}'': ''L'elisir D'amore'': Adina might be an early, operatic version of this. Her merciless teasing of the hapless Nemorino is finally revealed to be a cover for the affection she feels for him. Adina even goes so far as to accept another man's marriage proposal just to annoy him. She doesn't admit her true feelings, even to herself, until she sees him surrounded by female admirers.
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Changed line(s) 1 (click to see context) from:
* ''((L'elisir D'amore))'': Adina might be an early, operatic version of this. Her merciless teasing of the hapless Nemorino is finally revealed to be a cover for the affection she feels for him. Adina even goes so far as to accept another man's marriage proposal just to annoy him. She doesn't admit her true feelings, even to herself, until she sees him surrounded by female admirers.
to:
* ''((L'elisir D'amore))'': ''{{L'elisir D'amore}}'': Adina might be an early, operatic version of this. Her merciless teasing of the hapless Nemorino is finally revealed to be a cover for the affection she feels for him. Adina even goes so far as to accept another man's marriage proposal just to annoy him. She doesn't admit her true feelings, even to herself, until she sees him surrounded by female admirers.
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''L'elisir D'amore'' Adina might be an early, operatic version of this. Her merciless teasing of the hapless Nemorino is finally revealed to be a cover for the affection she feels for him. Adina even goes so far as to accept another man's marriage proposal just to annoy him. She doesn't admit her true feelings, even to herself, until she sees him surrounded by female admirers.
to:
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L'elisir Damore: Adina might be an early, operatic version of this. Her merciless teasing of the hapless Nemorino is finally revealed to be a cover for the affection she feels for him - she even goes so far as to be engaged to someone else just to annoy him. She doesn't admit her true feelings, even to herself, until she sees him surrounded by female admirers.
to:
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Added DiffLines:
L'elisir Damore: Adina might be an early, operatic version of this. Her merciless teasing of the hapless Nemorino is finally revealed to be a cover for the affection she feels for him - she even goes so far as to be engaged to someone else just to annoy him. She doesn't admit her true feelings, even to herself, until she sees him surrounded by female admirers.
