A short, rhythmically repetitive aria.
Origin: An variant of coboletta, diminutive of cobola, from cobla, from copula.
Cabaletta describes the two-part musical form particularly favored for arias in 19th century Italian opera, and is more properly the name of the more animated section following the songlike cantabile. It often introduces a complication or intensification of emotion and/or plot. Some sources suggest that the word derives from the Italian cobola. Another theory suggests that it derives from the Italian cavallo, a reference to the pulsating rhythm of a galloping horse which forms the accompaniment of many famous cabalettas. The cabaletta formed as part of an evolution from early 19th century arias containing two contrasting sections at different tempi within a single structure into more elaborate arias with musically distinct movements. The term itself was first defined in 1826. It has a repetitive structure consisting of two stanzas followed by embellished variations. The cabaletta typically ends with a coda, often a very virtuosic one. Classic examples include "Non più mesta" from La Cenerentola by Rossini, "Vien diletto, è in ciel la luna" from I puritani by Bellini, and "Di quella pira" from Verdi's Il trovatore. 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: the duet between Gilda and Rigoletto in Act 1, Scene 2 of Rigoletto ends with a relatively slow cabaletta, whereas the cabaletta for their duet in Act 2 is quite rousing.
The numerical value of cabaletta in Chaldean Numerology is: 6
The numerical value of cabaletta in Pythagorean Numerology is: 2
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