Cavatina


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Cavatina

 

a lyrical solo in opera and oratorio. In the 18th century it usually was contemplative and pensive and was distinguished from the aria by its greater simplicity, songlike melody, and modest scale. In the first half of the 19th century the exit aria of the prima donna or lead was called a cavatina—for example, Antonida’s cavatina in Ivan Susanin by Glinka—but in the second half of the 19th century the term reverted to its 18th-century meaning. Short lyrical instrumental pieces have sometimes been called cavatinas.

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Conversely, there are few anonymous manuscripts: almost all of them attributed to their composers thanks to existing resources (38), such as the anonymous Cavatina di Enrico included in an anthology, shelfmark C.
l'inno magnifico di Faliero cantato da' cori, la cavatina "Di mia patria, o bel soggiorno", che solo un esule puo intendere .
comes just after an Indian raga and just before the Cavatina from Beethoven's String Quartet in B-flat, op.
In the cavatina from the Barber of Seville, the disposition differs essentially from the written order.
On the other hand, musical fragments contained a number of measures in order to have a significant musical meaning and the duration ranged from 3" (stimulus number 34: 3", Peter Heidrich, Happy Birthday to 38" stimulus number 8: Ludwig Van Beethoven, Cavatina from String Quartet op.
Ademas de sustituirse numeros en estas zarzuelas, algunos se reescriben, practica infrecuente pero ciertamente real; asi ocurre, por ejemplo, con La fingida enferma por amor (19), en cuyo primer acto se encuentra una cavatina (<< Yo no puedo, ay Dios, la causa >>) alternativa a la original, escrita en Madrid para Lorenza Correa con musica nueva, pero reutilizando el texto de la antigua.
They take part in chaotic ensemble finales, quasi-romantic duets for would-be lovers, and even arias that resemble cavatina and cabaletta form (nos.
2) Se recomienda la audicion de la cavatina Bel raggio lusinghier de la opera Semiramide de Gioachino Rossini (1792-1868).
The first half of the concert, dedicated to Russian music, included her opening song, aptly titled Olga's Aria, from Tchaikovsky's opera Eugene Onegin, which revealed the warmth, richness and drama in her voice, and Konchakovna's Cavatina from Borodin's opera Prince Igor in which her emotional intensity was simply spellbinding.
Listen out, too, for the much-loved Cavatina by Stanley Durrant''''s available from on 0845 PS 10 conc Myers and Danza Paraguaya, by Agustin Barrios, as Durrant flexes his musical chops in preparation for his third visit to Paraguay.
He will be playing two favourite film themes - Cavatina from The Deer Hunter and Scott Joplin's The Entertainer from The Sting.