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 ?
It is quite lovely and melodic, with ample cantabiles and cabalettas, but seems inappropriate for this tragic story of a cursed man and the woman who will die for him.
Tuch recalled, Arias, Cabalettas, and Foreign Affairs: A Public Diplomat's Quasi-Musical Memoir, Memoirs and Occasional Papers / Association for Diplomatic Studies and Training (Washington, DC: New Academia/Vellum, 2008), 60.
So taken all in all, system for system, the cabalettas are still better.
Public Diplomacy Overseas and most recently of Arias, Cabalettas and Foreign Affairs: A Public Diplomat's Quasi-Musical Memoir.
The opera was given complete, including reprises of cabalettas.
Composer Luciano Berio wrote that it was his belief that around eight of these can be considered as true studies for scenes, arias, and cabalettas in Verdi's operas.
It is disappointing, however, that Hudson chooses to print only a portion of the melody of each of these alternate cabalettas, especially when she reproduces a less significant variant of another musical number in its entirety (see below).
Netrebko's spectacular Elvira from Bellini's I puritani is represented here with a rather tepid reading of "Qui lo voce," when one of the dazzling cabalettas from the score would have been a much more exciting and memorable choice.
Early 19th-century Italian operas, following what was known as the Rossini Code, were constructed in a series of slow, dramatically backwards-looking cantabile arias or ensembles, introduced by recitatives and followed by faster, forward-looking cabalettas.
Della Seta's discussion of the customary cutting of cabalettas, for example, acknowledges a certain long-standing legitimacy to the practice.
Music-director-cum-pianist Raisa Nakhmanovich emphasized the musical drama while correctly keeping the cabalettas slow, the cavatinas dreamy and the recitatives intense.
In both the first case and the second I intend these movements to be cabalettas, and of a genre full of passion but brilliant, since this piece has to set itself apart from all the others.