The document discusses the structure and history of the da capo aria, a three-part operatic aria that became formalized in the mid-17th century. The da capo aria follows an ABA format, with a first section giving way to a contrasting middle section, and then a repetition of the first section to end. This last repeated section allows the performer to demonstrate their full vocal skills and techniques through embellishments and improvisations. While the aria became more formulaic over time, improvisation was restored in many productions starting in the mid-20th century.

1. The Structure and Form of the Operatic “Da Capo” Aria
Edward Reicin

2. Introduction
Edward Reicin is a Chicago attorney and entrepreneur who has also maintained a career
in the world of opera. As a bass who has performed in productions such as Don Giovanni
and The Magic Flute, Edward Reicin has extensive knowledge of the form and history of
the art form..

3. The two basic types of operatic singing are recitative, or talk-singing that primarily
moves the plot forward, and the aria. The latter is a song with accompaniment and
melody, designed to provide depth to characterization and express specific emotions
and thoughts.

4. The aria was formalized in the mid 17th century as the three-part “da capo” aria. The
ABA format is one of the first sections giving way to a contrasting middle section,
followed by a repetition of the first motif at the end. This last section tends to be
embellished to allow the performer to demonstrate the full extent of their technique.
Common changes include textures, mood, key, and tempo. In addition, the singer is
given reign to improvise ornaments and variations, particularly in slower arias.
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5. This improvisatory quality gradually waned from the 18th century, and the aria became
relatively formulaic. However, improvisation was restored in many productions starting
in the mid 20th century. Many have credited this as breathing new life into a traditional
art form