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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Contains: Mendelssohns Lieder; Reminiscences de Lucrezia Borgia; Hussitenlied; Cavatine aus der Oper La muette de Portici; Klavierstuck uber ein fremdes Thema; Reminiscences de Don Juan de Mozart; Reminiscences de Norma de Bellini; I puritani: Introduction et Polonaise; Reminiscences de Robert le diable; God Save the Queen; Le moine (Meyerbeer).
3a, replaced in Paris 2 and Weimar by her Cavatine, no.