cabaletta


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ca·ba·let·ta

 (kăb′ə-lĕt′ə, kä′bə-)
n. pl. ca·ba·let·tas or ca·ba·let·te (-lĕt′ē)
1. A short aria that has a repetitive rhythm and a simple style.
2. The final section of an aria or duet marked by a quick uniform rhythm.

[Italian, alteration of coboletta, stanza, diminutive of cobola, cobla, from Old Provençal cobla, from Latin cōpula, link.]

cabaletta

(ˌkæbəˈlɛtə)
n
a short aria with a repetitive rhythmthe final section of an aria, having a fast pace and a uniform rhythm
[c19: from Italian, probably from coboletta, diminutive of cobola stanza, from Latin cōpula a bond; see copula]

ca•ba•let•ta

(ˌkæb əˈlɛt ə, ˌkɑ bə-)

n., pl. -tas.
the brisk stretta closing an extended aria in Italian opera.
[1835–45; < Italian]
Translations
References in periodicals archive ?
ORPN management also provided an overview of the ongoing clinical programs of Cabaletta," said Analyst Ling Wang.
BioBlast Pharma, on April 22, 2015, announced that the United States Food and Drug Administration (FDA) has granted Fast Track designation to Cabaletta for the treatment of patients with Oculopharyngeal Muscular Dystrophy (OPMD).
Each essay appears in a new translation by Mark Weir, who strikes an admirable balance between English renderings of Italian prose and an existing analytical lexicon for bel canto opera, including the standard terms cavatina, scena, tempo di mezzo, cabaletta, versi sciolti, and versi lirici, as well as a more sophisticated vocabulary for concepts as diverse as color (tinta), dramatic tableaux (quadri), and texted stage action (parola scenica).
It reveals the character's emotional state, and it is often followed by another solo or duet, called a cabaletta, in which the character sings about what they plan to do, or their intentions.
They take part in chaotic ensemble finales, quasi-romantic duets for would-be lovers, and even arias that resemble cavatina and cabaletta form (nos.
Premiered in 1853, II trovatore features operatic favorites such as the famous "Anvil Chorus" and the valiant tenor cabaletta "Di quella pira.
Eric Johnson, Sharon Kartman, Mara Keninger, Celina Ketz, Terri Leavy, Alex Orion Leu, Robert Levendusky, Diana Lindquist, Steven Martin, William Martinez, Nick McGovern, Kerry Murray, Cabaletta Pritchette, Sherri Schipper, Melissa Schneider, Debra Schroeder, Eddie Schulthies, Katie Schumacher, Saskia Schweitzer, Frederick Thomas, Linda Torres, James Waterman, Stephen R.
Delavan is a ways away from full maturity as a Verdi baritone, though, as exemplified by his inability to dominate--as he vocally must-the great cabaletta of insane joy at the discovery of his rival ("Egli e salva
Fortin was up to the demands of her role as Lady Macbeth, whether in the Act I cabaletta, the banquet's brindisi or the dramatic Act IV sleepwalking scene.
Rossini liked the cabaletta of Fanni's to such an extent that he reused it virtually intact in II barbiere di.
David Pomeroy was a good, solid, likable Alfredo (a single verse of his cabaletta, without the top C, was the only addition to the score's traditional version); and another Canadian tenor, Jeffrey Halili, made the most (as he invariably does) of a smaller assignment, Gastone.
Further evidence of the operas bleeding into one another comes later in the finale, when the men (as story-telling matadors) share remarkably similar thematic material with Il trovatore's act 2 duet cabaletta between Azucena and Manrico.