•
Violetta dismisses these pensive feelings of love in a contrastingly bombastic and upbeat cabaletta in A-flat major.
•
Alfredo’s offstage interjection (again, of “A quell'amor ch'e' palpito”) makes the trills and rapid coloratura that represent Violetta’s frivolous side, superficial. The syncopation and vocal excess seem to become an attempt to drown Alfredo out.
“De’Miei Bollenti Spiriti:” Alfredo, tenor •
E-flat major key signature and offbeat accompaniment give the aria a lively and upbeat feel.
•
Musical ideas are developed throughout the aria. The lack of repetition makes the aria unpredictable and spontaneous.
•
The variety of vocal phrases provides opportunity for nuanced articulation and dynamic contrasts, adding to the spontaneity and genuineness of the aria.
“Di Provenza…No, Non Udrai” (aria and cabaletta): Germont, baritone •
The leisurely string and flute introduction and accompaniment in D-flat major set the peaceful rustic atmosphere, which is later reinforced by the text.
•
The steady vocal melody is simple and mostly stepwise, the note values are consistent, and the structure is strophic. These factors have a calming and comforting effect to the listener in the midst of Alfredo’s despair.
•
When Alfredo refuses to be consoled, Germont’s agitation shows in the brisk cabaletta (“No, Non Udrai”). The tempo picks up and the phrases are no longer consistent and clear.
•
Much of the melody remains stepwise, but does not move smoothly up or down. Instead the phrases end on vacillating 16th notes that show Germont’s waning patience.
•
The cabaletta has lost the poetic language and unhurriedness of “Di, Provenza.” The phrases often begin on off-beats, and dotted rhythms that propel the music forward and add to the sense of urgency in Germont’s tone.
21