Synonyms for duettino or Related words with duettino

ricercare              preludio              sonatina              praeludium              preludium              sonatine              divertimento              romanza              menuets              notturno              canzonetta              tarantelle              humoreske              terzetto              elegie              menuet              rondino              concertante              duetto              partita              quintetto              fantasie              ciaccona              rhapsodie              ricercar              berceuse              violine              romanze              lamento              barcarolle              toccata              fagote              barcarola              appassionato              violonchelo              festivo              passacaille              sonate              sarabanda              vivacissimo              pastorale              burlesca              sopran              capriccio              sinfonico              cavatina              minuetto              violoncelo              concertantes              variazione             

Examples of "duettino"
A duettino is an unpretentious duet with a concise form. Wolfgang Amadeus Mozart offers several well-known examples of the type, including "La ci darem la mano" from "Don Giovanni" and "Duettino No. 3" from "La clemenza di Tito", a song only twenty-four measures long. He also described "Via resti servita" in "The Marriage of Figaro" as a duettino.
By the time of Gioachino Rossini, a duettino was a common part of the introduction of the Farsa opera genre. Rossini composed several pieces in the form.
In 1992, Bayard performed the Ingolf Dahl Duettino for Flute and Percussion with Paul Renzi, principal flautist with the San Francisco Symphony.
"" (lit. "On the breeze...What a gentle little Zephyr) is a "duettino", or a short duet, from act 3 of Wolfgang Amadeus Mozart's opera "The Marriage of Figaro", K. 492, to a libretto by Lorenzo Da Ponte. In the duettino, Countess Almaviva (a soprano) dictates to Susanna (also a soprano) the invitation to a tryst addressed to the countess' husband in a plot to expose his infidelity.
Fenicio and Pilade meet, predicting Pirro's downfall if he goes ahead with his marriage to Andromaca (Duettino: "A così triste immagine" / "Such sad imaginings"). They leave in opposite directions.
Malcolm, who has overheard the conversation, approaches Elena and they pledge their undying devotion to each other (Duettino: "Vivere io non saprò/ potrò, mio ben, senza di te" / (Elena, then Malcolm): "Beloved, I shall not be able to live, my love, without you"). Together they leave.
The second act opens with a drinking song for Somarone and chorus with guitar and tambourine prominent. Next, in an extended air across a wide melodic span, Béatrice acknowledges that she too is powerless against love and in the following trio (added after the premiere) Héro and Ursule join her to extol the joys of marriage. There is a "" and the work ends with a brilliant duet marked scherzo-duettino for the title characters whose "sparkle and gaiety" end the comedy perfectly.
In the film "The Shawshank Redemption", prisoner Andy Dufresne (Tim Robbins) defies Warden Sam Norton (Bob Gunton) by playing the duettino over the prison's loudspeakers. Ellis Boyd "Red" Redding (Morgan Freeman) remarks in his voice-over narration: "I have no idea to this day what those two Italian ladies were singing about. [...] I'd like to think they were singing about something so beautiful it can't be expressed in words, and it makes your heart ache because of it." This is ironic as the opera characters are singing about a duplicitous love letter to expose infidelity, and Dufresne's wife's affair is the event which indirectly leads to his imprisonment.
Baldini's analysis of the structure of the score in relation to the drama (and the comparison between the two versions) is highly detailed and worthy of examination. He notes that it is not always the 1865 material which is better or more suited than that from 1847. Writing in the "Grove Dictionary", musicologist Roger Parker sees the opera as revealing Verdi's "attention to detail and sureness of effect unprecedented in earlier works. This holds true as much for the 'conventional' for formal experiments like the Macbeth-Banquo duettino in act 1."
The term "concerto" might also point to certain formal procedures. Liszt’s later addition of the "Andante sostenuto" part to the solo version results in sectional tempo (and mood) changes somewhat related to a baroque concerto. Another heritage from the baroque age is the idea of competing forces (solo against orchestra for example). The two-piano medium is excellently suited for projecting this concert style (also recognized by Stravinsky's "Concerto per due pianoforti soli" or Busoni's "Duettino concertante"). In a solo piece the idea of struggling forces would be expressed by different moods (registers, modes, keys, dynamics, tempos, etc.) pitted against each other (the opposing characters in "Faust"). It cannot be doubted that there exists more than just a technical connotation of the term "concerto" for Liszt's unlimited imagination.
Highlights include the Sinfonia (overture) in the style of contra dances. The entire opera shows the influence of Mozart's "Le nozze di Figaro", which was being successfully revived at the time. Among the musical highlights, besides the sinfonia, are Falstaff's strutting Act I patter aria, the quartet in Act I, the duettino "La stessa, La stessissima", the technically brilliant "laughter" trio in the opening moments of Act II, the canonical duet of Mr. and Mrs. Ford toward the end of Act II (featuring a rare late 18th century cello solo) and the grand finale to Act II. Throughout the score Salieri employs careful tone painting, parody of opera seria conventions, a more harmonically interesting structure for the secco recitative, and more involved counterpoint; traits that have helped return Falstaff to the playing boards.
Shepherds are watching flocks at dawn on the shore and men in the nearby forests are hunting (Chorus: "Del dì la messaggiera già il crin di rose infiora" / "It is the day of the harvest and rose tresses are fully blossomed). Elena appears in a boat on the lake and sings of her longing for her true love, Malcolm (Cavatina: "Oh mattutini albori| vi ha preceduti Amor" / "Love has preceded you, to awake me again from my slumbers"). At the edge of the lake, Elena hears the sound of horns and vainly hopes that Malcolm will be among the hunters. However, King James - who has disguised himself as "Uberto" in the hope of meeting the beautiful Elena - approaches from a distance, claiming to be a lost hunter. She offers him shelter and James accepts, and the two cross the lake towards Elena's home (Duettino: "Scendi nel piccol legno" / "Get into my little boat"). As they sail off, the men in his entourage arrive, searching for the disguised King (Chorus: "Uberto! Ah! dove t'ascondi?" / "Oberto, where are you hiding?"). Frustrated, they agree to widen the search and pray for guidance in finding their leader.
The next scene is in the palace of the Duke. Also Arturo, cousin and equerry of the Duchess, has fallen in love with her, but knows that his love is without hope (Aria and Cavatina: "Con la luce, con la vita / Un sol momento" / "With light, with life / Only one moment"). Caterina appears, worried for losing her handkerchief, then Arturo reads some love verses of the French poet Pierre de Ronsard ("Deh! non pensar che spegnere" / "Do not believe that I can extinguish"). Later the Duke forces Caterina to admit to have been courted by San Megrino (Duet: "E infierir così potete / Ah! lo veggo, un'imprudenza" / "And you can keep going at me / Ah! I see, an imprudence"). Caterina is forced by the Duke to write a letter to San Megrino to invite him in her rooms and set a trap. Caterina, under surveillance of her husband, asks Arturo to deliver the message. Arturo realizes that it is an invitation for San Megrino and would like not to leave her (Duettino: "Io lasciarti? Sì afflitta" / "That I leave you / So afflicted"). Caterina thinks disconsolate to her destiny, while the Duke anticipates his revenge (Finale I: "Veggo, ah! veggo il destin" / "I see, ah! I see the destiny").
"Là ci darem la mano", number 7 in the score, starts in the key of A major with a tempo indication of "andante" and a time signature of . The vocal range for Don Giovanni covers E to E, Zerlina's range covers E to F. The piece is labelled a "duettino", a "little duet". This may be because the two roles sing only as a duet towards the very end of the piece, after Zerlina's assenting "Andiam!". Until then, Giovanni tries to seduce Zerlina, but she is torn between Giovanni's exhortations and her fidelity to Masetto. Finally, the signal for her submission is a swerving chromatic melodic line, falling over almost an octave during 3 1/2 bars. After a fermata emphasising Zerlina's weakening resolve, the tempo then changes to "allegro" and the time signature to . A proper two-part duet, much of it in third parallels, is then sung for most of the remaining 32 bars. A performance takes between 3 and 3 1/2 minutes.
Figaro happily measures the space where the bridal bed will fit while Susanna tries on her wedding bonnet in front of a mirror (in the present day, a more traditional French floral wreath or a modern veil are often substituted, often in combination with a bonnet, so as to accommodate what Susanna happily describes as her wedding '). (Duet: ' – "Five, ten, twenty"). Figaro is quite pleased with their new room; Susanna far less so (Duettino: "" – "If the Countess should call you during the night"). She is bothered by its proximity to the Count's chambers: it seems he has been making advances toward her and plans on exercising his "droit du seigneur", the purported feudal right of a lord to bed a servant girl on her wedding night before her husband can sleep with her. The Count had the right abolished when he married Rosina, but he now wants to reinstate it. Figaro is livid and plans to outwit the Count (Cavatina: "Se vuol ballare signor contino" – "If you want to dance, sir count").
The artist enters with the mail, again addressing her as Eve. In the mail he learns he has sold another painting of her, and mentions he has sold a number of paintings since they were married. She places one, a letter from Countess Corticelli, in her bosom. Another brings notice of Dr. Schön's engagement, which seems to trouble her. They sing a love "duettino", "Ich finde, Du siehst heute reizend aus – Ich komme aus dem Bad" (I find you so beautiful today – I have just come from my bath). She is visited by Schigolch, who remarks of the artist ("chamber music", "Den hab'ich mir auch ganz anders vorgestellt"; I thought he would be different than he is). Schigolch is an asthmatic beggar who seems to have been featured in her past in an unspecified way, he asks for money which she gives him, and when he calls her "Lulu", she states she has not been called that in a long time. As she is showing him out, Dr. Schön arrives ("sonata movement") and recognises him, referring to him as Lulu's father, which she does not deny. Dr. Schön asks Lulu to stay out of his life from now on, since he is engaged and it would be scandalous for them to see each other socially, but she says she belongs only to him ("coda: love theme". "Wenn ich einem Menschen auf dieser Welt angehöre, gehöre ich Ihnen"; If I belong to any man in this world, I belong to you). Their discussion reveals that all the good fortune Lulu has experienced comes from the interventions of Schön, and that they have been meeting regularly. The exchange becomes increasingly agitated, until the return of the artist, who asks what has transpired. Lulu leaves in a huff, while Schön implies that he has had a longstanding affair with Lulu, since she was twelve, and rescued her from the streets as a flower seller. The artist becomes increasingly distressed as he learns how little he knows about Lulu, not even her name, which appears to be different for every lover. Schön informs him about Schigolch being her father, and that after the death of his wife, Lulu appeared to be trying to take her place, so that he arranged to marry her off to Dr Göll. Increasingly Schön urges the artist to confront Lulu, which he agrees to and leaves the room, but a terrible groan is heard off stage and Schön discovers the artist has locked the door. Lulu returns and they discuss what to do next, but are interrupted by the arrival of Alwa, who announces that revolution has broken out on the streets of Paris, which is causing consternation back at the newspaper office. Lulu brings a hatchet, and they force open the door, only to find the artist is dead. From a partly audible telephone conversation Schön has, which he implies is with the police, it is revealed that the artist cut his throat. Lulu, once again, is unmoved by the tragedy, while Schön and Alwa hope that the political news will sweep aside the scandal. When Schön calls her "Ungeheuer!" (Monster!), Lulu hints that she and Dr. Schön will be married after all ("Lulu motif": "Sie heiraten mich ja doch!"; You will marry me after all). The curtain falls as the door bell rings, which they believe is the police.