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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Lucie entama d'un air grave sa cavatine en sol majeur; elle s e plaighait d'amour, elle demandait des ailes.
She praises in particular the dramatic veracity with which the chorale melody in the women's chorus at the end of Act V is interrupted by the entry of the Catholic assassins, and she credits Meyerbeer with the recognition of `bien une musique de passion vraie et d'action vraisemblable, ou le charme de la melodic ne doit pas lutter contre la situation et faire chanter la cavatine en regle, avec coda consacree et trait inevitable, au heros qui tombe perce de coups sur l'arene'.
861 Sei Cavatine / Con Accompagnamento di Chitarra / Composte e Dedicate / a S.
24, Alexander Glazunov; Cavatine, Theodore Dubois; Romance, Alfred Bruneau; Piece Melodique, No.