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Updated: May 3, 2025


Nevertheless, although much of his music soon became old-fashioned, Rossini's work was not unimportant. The invention of the cabaletta, or quick movement, following the cavatina or slow movement, must be ascribed to him, an innovation which has affected the form of opera, German and French, as well as Italian, throughout this century.

Is there no cabaletta to it not even a full close? Why was that discord not prepared; and why does he not resolve it correctly? How dare he indulge in those scandalous and illicit transitions into a key that has not one note in common with the key he has just left? Listen to those false relations! What does he want with six drums and eight horns when Mozart worked miracles with two of each?

in which, to be sure, Braham charged with the Christians, and routed the Paynims, and mourned for the wounded, and wept for the dead, and returned in triumph to France in the joyous cabaletta, with wonderful dramatic effect, such as, no doubt, the other song would never have enabled him to produce.

During the first act she was twice recalled; during the second act, thrice; and she was encored in the air "In si barbara," which she delivered with pathos, and in the cabaletta of the second duet with Semiramide. She followed in "La Cenerentola," and it may easily he fancied that her hearers compensated in boisterous warmth of reception for the phlegmatic indifference shown on the first night.

All the links with the Italian school are broken save one, the concerted finale. Here alone he adheres to the old tradition of cavatina and cabaletta the slow movement followed by the quick.

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