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The first appearance of this change is to be found in Cavalli's operas, in which certain rhythmical movements called "arias" which are quite distinct from the musica parlante, make their appearance.
The central idea was a scene from Cavalli's opera Le Nozze di Teti, but there was a multitude of other personages mixed up with it in the most fantastic way.
Not until 1647 did the French Court make the acquaintance of the new art which was afterwards to win some of its most brilliant triumphs in their city. This was followed by Cavalli's 'Serse, conducted by the composer himself.
On the other hand, when he heard Francesco Cavalli's opera, 'Le Nozze di Teti e di Peleo, he said the Capellmeister had borrowed the most sublime ideas from his own immortal works; for saying which he had a narrow escape of cudgellings, or even of knife-thrusts.
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