This number, unlike most of Verdi's finales which are concerted, closes the act.
The music of the work is very dramatic in its character, some of the finales being the strongest Donizetti has written.
There is certainly more music in one of the finales of a modern work than in the five acts of an opera of Lulli's.
The composer who introduced dramatic finales into serious opera, was Paisiello.
She animated the singers, the chorus, the orchestra, even in the finales and concerted pieces.
Of course the concerted pieces suffer by this, or rather the number of concerted pieces is diminished, and to the same cause may, perhaps, be attributed the absence of finales in La Muette.
But not only his finales are full of that entrancement.
This is the case from Pergolese and Durante, who introduce the most laughable little trills into their “Gloria,” down to the opera finales of the present day.
All pieces d'ensemble and bothfinales were sung without her, and yet, as she could find no substitute, she was obliged to appear before the public every evening.
These finales make a perfectly harmonious effect, and wanting as they are in depth and vigour, preserve throughout the genuine character of an opera buffa.
The finales (12, 22) of the first and second acts are masterpieces; the separate characters act and react on each other {OPERA BUFFA.
There were two elaborate finales (for a piece in one act a fair supply!
Next to these two finales a prominent position is assigned to the sestet (Act III.
The finales have more meaning and emphasis than has hitherto been the case in Mozart's instrumental compositions.
In the two finales their relative position was settled before he proceeded to the working-out.
The other movements are fully developed, and sometimes carried out at great length, but the main features are always distinct and well preserved; the outline of the finales is less firm, and capable of a lighter and more varied treatment.
After the finales in Figaro and Don Giovanni, the possibility of the modern music drama lay bare.
Finally, Mozart's most dramatic finales and concerted numbers are more or less in sonata form, like symphonic movements, and must therefore be classed as musical prose.
His finales are always bright and lively, and frequently sparkle with gayety.
His finales were long concerted pieces in which the various voices were united in rich harmonies so as to produce a strong effect.
Meyerbeer's distribution of arias, duets, ensembles, and finales is the result of a deliberate eclecticism.
This sketchbook contains first of all the two new finales for the opera.
Of rebuilding and alteration, their slow movements and finales give evidence; and of enlargement, all the three sections of movements in so-called sonata-form.
The finales are poorly constructed, with little invention and less progress of dramatic intensity.
And, in the finalesof the sonatas there is a movement in those of Beethoven which we look for in vain in those of the older composers.
The above list will hopefully give you a few useful examples demonstrating the appropriate usage of "finales" in a variety of sentences. We hope that you will now be able to make sentences using this word.
