In the first half of the nineteenth century the Cavatina was called output Aria, that is, the first Aria in the course of action, that which the hero or heroine appeared on the scene. Such, for example, cheerful, effervescent Cavatina Figaro from Rossini's "the Barber of Seville".
J. Rossini. The Figaro's Cavatina from the Opera "the Barber of Seville"
Muslim Magomaev Sings
And Glinka, following this tradition, called kawaminami first Aria Antonida in "Ivan Susanin" and Lyudmila in "Ruslan and Lyudmila".
However, later kawaminami became known arias from freer and large-scale construction. Such, for example, Cavatina Prince from "Mermaids" Dargomyzhsky or Cavatina Vladimir Igorevich from "Prince Igor" by Borodin.
A. Dargomyzhsky. Cavatina from the Opera Prince "mermaid".
Sings Sergei Lemeshev
