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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El propio Esteve declara, en su prologo a Los Jardineros de Aranjuez, que escribe el mismo el libreto de su zarzuela << porque ha llegado el tiempo de ofrecerte una obra puramente castellana y producida sin las angarillas de la traduccion intrusa y puerilidad afectada de los ingenios vaciadores >> (35), aunque no parece que la musica << puramente castellana >> sea un valor o algo que persiga ofrecer al publico; el compositor reconoce con toda naturalidad su deuda con el modelo italiano, ya que la partitura es descrita como << arias, cavatinas y cantinelas >>.
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.
Asi, El tio y la tia, de Ramon de la Cruz y Antonio Rosales (1767), recibio una cavatina de Laserna (32).
16) From the lengthy, noble introduction to her cavatina, the opera adopts a new mood and color.
Much about the cavatina seems consonant and peaceful.
Handel began his first and third acts unconventionally with cavatinas ('Pur che regni' and 'Dove sei?
His oscillation between these conflicting emotions is prominent in Pallavicini's opening scene of the act, particularly in the aria 'Discordi pensieri', whereas Haym's character merely laments his loss of Teofane in the cavatina 'Dove sei?
Letter Eleven alone indicates a knowledge of the works of Rossini, Herold, Beethoven and Berlioz in addition to those of Meyerbeer, and demonstrates the facility with which she discusses Gregorian chant, Lutheran chorales, Ancient Greek melodies, modulations, cavatinas, codas, recitatives, and arias, whilst Letters Two and Six reveal a similar fluency in the manipulation of technical terms and theoretical concepts (adagio' (p.
Sand's qualification of this claim may represent an attempt to reconcile her admiration for Rossini with the fact that many of his works do indeed contain a considerable number of such conventional cavatinas.
From this evidence Lubin has identified the programme as comprising, in addition to the `Marche au supplice', Berlioz's overture Les FrancsJuges, Liszt's Grande fantaisie symphonique, `Le Bal' from Berlioz's Symphonie fantastique and Parts One and Two of his Harold en Italie, arias by Mercadante and Bellini, and a Divertimento by Liszt on a cavatina by Piccinni.
Similares problemas presenta La posaderita (50), << pieza en un acto de versos con varios juguetes de musica >> (51), estrenada el 14 de octubre de 1196, con musica de Blas de Laserna que conjunta numeros de corte popular como seguidillas, un polo, unas boleras y dos polacas, junto a dos cavatinas (ambas tachadas en el apunte manuscrito), dos arias y un duo.
y tambien en los cantables (varias cavatinas, rondo con coros, quinteto, polaca, etc.