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Subject: Re: Arias, duets, trios quartets and on and on
From: Vesna Danilovic <[log in to unmask]>
Reply-To:Vesna Danilovic <[log in to unmask]>
Date:Sun, 19 Feb 2017 20:13:05 -0500

text/plain (33 lines)

I am in complete agreement with Bob and don't think it's a matter of
academic pedantry. It is the quartet that starts with the tenor's line "A
te o cara" (hence the quartet is named after this line) which lasts for
about one minute until Elvira and others join in; then there is the repeat,
and so on. The quartet in RIGOLETTO also starts with the Duke's entrance of
about the same length as Arturo's entrance, and also with the later repeat
as in I PURITANI's quartet, but we don't call it "Bella figlia" aria;
rather, it's known as the "Bella figlia  dell'amore" quartet. The same is
with "A te o cara." Now that some tenors do Arturo's solo part from the "A
te o cara" quartet in concerts is a different matter. These clearly are
adaptations in inserting an orchestral substitute whenever the other three
voices should be joining in the quartet as written in Bellini's score.

"A te o cara" quartet (PURITANI)

"Bella figlia  dell'amore" quartet (RIGOLETTO)


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