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324:"Cabaletta, s.f. Pensieretto musicale melodico, o sia cantilena semplice atta a blandire l'orecchio, la quale mercè un ritmo ben distinto imprimesi agevolmente nell'animo dell'uditore, e che per la sua naturalezza viene facilmente ripetuta appena intesa, e dagli orecchianti e dagl'intendenti." Pietro Lichtenthal,
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in act 1. It follows
Violetta's pensive "È strano! è strano...Ah fors'è lui" in which she considers that the man whom she has just met may be the one for her. But this leads by degrees to her resolve to remain "always free" in "Sempre libera", with its rapid and defiant pyrotechnics.
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In later parlance, cabaletta came to refer to the fast final part of any operatic vocal ensemble, usually a duet, rather than just a solo aria. For example, the duet between Gilda and
Rigoletto in Act 1, Scene 2 of
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contains two cabalettas for
Lindoro, three cabalettas for Isabella, one cabaletta for Mustafa, and one for Taddeo. If the final parts of the ensembles are included, the total is almost sixteen cabalettas.
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continued to adapt the cantabile–cabaletta formula to great emotional and dramatic effect, before largely abandoning it by 1862 as a solo piece with Don Carlo's "Egli è salvo" in "
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era until about the 1860s during which it was one of the era's most important elements. More properly, a cabaletta is a more animated section following the songlike
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within a single structure into more elaborate arias with musically distinct movements. The term itself was first defined in 1826 in Pietro
Lichtenthal's
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The cabaletta is often used to convey strong emotions: overwhelming happiness (Linda's famous cabaletta "O luce di quest'anima" from
Donizetti's
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The cabaletta was formed as part of an evolution from early 19th century arias containing two contrasting sections at different
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159:(horse), a reference to the pulsating rhythm of a galloping horse which forms the accompaniment of many famous cabalettas.
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ends with a relatively slow cabaletta, whereas the cabaletta for their duet in the finale of Act 2 is quite rousing.
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Greenwald, Helen M. (editor) (2012). Critical
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followed by embellished variations. The cabaletta typically ends with a
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is regarded by contemporaneous critics as the "height of cabalettismo".
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232:), or timeless love (Lindoro's short cabaletta from Rossini's
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376:, Vol. One, pp. 665. London: Macmillan Publishers, Inc.
155:). Another theory suggests that it derives from the Italian
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Some sources suggest that the word derives from the
Italian
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170:. It has a repetitive structure consisting of two
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303:e.g. Apel 1962, p. 107 and Encyclopædia Britannica
253:". A famous Verdian cabaletta appears in his 1853
191:(1817), "Vien diletto, è in ciel la luna" from
181:Classic examples include "Non più mesta" from
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294:" is a rare example that reverses this order.
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109:Learn how and when to remove this message
400:. britannica.com Retrieved 23 July 2011
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16:Two-part musical form favored for arias
326:Dizionario e bibliografia della musica
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47:adding citations to reliable sources
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373:The New Grove Dictionary of Opera
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423:, University of Chicago Press,
34:needs additional citations for
394:Encyclopædia Britannica Online
292:Madamina, il catalogo è questo
178:, often a very virtuosic one.
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409:. Opera Journeys Publishing.
357:Harvard Dictionary of Music
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403:Fisher, Burton D. (2005).
1018:Italian opera terminology
1013:19th-century music genres
128:particularly favored for
366:(1998), "Cabaletta", in
328:(Milano, 1826), vol. 1,
312:e.g. Fisher 2005, p. 126
341:Greenwald, 2012, p. xxv
360:. Taylor & Francis
951:Stile rappresentativo
406:Mozart's Don Giovanni
251:La forza del destino
240:L'italiana in Algeri
235:L'italiana in Algeri
43:improve this article
624:Tragédie en musique
493:Concert performance
354:Apel, Willi (1962)
230:Lucia di Lammermoor
956:Tenore contraltino
226:Linda di Chamounix
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60: –
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54:Find sources:
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32:This article
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26:
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921:Solita forma
801:Da capo aria
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695:Sprechgesang
655:Kammersänger
594:Haute-contre
548:Sung-through
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126:musical form
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41:Please help
36:verification
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901:Prima donna
876:Opera seria
796:Convenienze
786:Comprimario
776:Chiaroscuro
538:Patter song
533:Opera house
488:Chest voice
398:"cabaletta"
330:pg. 106–107
256:La traviata
58:"Cabaletta"
1023:Song forms
1007:Categories
992:Hovsångare
911:Ritornello
906:Recitative
896:Portamento
856:Melodramma
831:Intermezzo
826:Impresario
816:Falsettone
781:Coloratura
609:Répétiteur
503:Head voice
273:References
194:I puritani
168:Dizionario
69:newspapers
966:Tessitura
891:Pasticcio
886:Passaggio
821:Fioritura
791:Contralto
761:Cantabile
751:Cabaletta
731:Bel canto
690:Spieloper
685:Sitzprobe
680:Singspiel
675:Regieoper
665:Leitmotif
599:Intermède
589:Entr'acte
553:Surtitles
523:Monodrama
518:Melodrama
513:Mad scene
470:by origin
370:, (Ed.),
218:Rigoletto
142:cantabile
138:bel canto
122:Cabaletta
99:July 2015
946:Stagione
916:Sinfonia
841:Libretto
811:Falsetto
771:Cavatina
766:Castrato
746:Burletta
741:Brindisi
629:Travesti
604:Overture
543:Prompter
498:Duodrama
211:(1853).
976:Vibrato
971:Verismo
941:Squillo
926:Soprano
851:Maestro
846:Licenza
756:Cadenza
736:Bravura
704:Italian
614:Roulade
476:English
349:Sources
199:Bellini
189:Rossini
172:stanzas
157:cavallo
153:couplet
136:in the
83:scholar
936:Spinto
871:Musico
836:Legato
721:Arioso
638:German
619:Timbre
584:Encore
569:Claque
562:French
528:Number
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421:Attila
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266:Attila
149:cobola
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985:Other
881:Ossia
726:Banda
468:terms
465:Opera
278:Notes
164:tempi
130:arias
90:JSTOR
76:books
806:Diva
711:Aria
645:Fach
425:ISBN
411:ISBN
385:ISBN
378:ISBN
176:coda
62:news
197:by
187:by
45:by
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