# The fourth movement, Scena e canto gitano (" Scene and gypsy song ") opens with five cadenzas — first by the horns and trumpets, then solo violin, flute, clarinet, and harp — played over rolls on various percussion instruments.

The canto then gives accounts of raids in the Moorish territory in which Cid and his men get rich off of the spoils.

This theme recurs in the line " a man on whom the sun has gone down ", a reference to the nekuia from canto I, which is then explicitly referred to.

The canto then closes with two passages, one a pastiche of Browning, the other of Edward Fitzgerald's Rubaiyat of Omar Khayyam, lamenting the lost London of Pound's youth and an image of nature as designer.

The canto then moves through memories of Spain, a story told by Basil Bunting, and anecdotes of a number of familiar personages and of George Santayana.

The canto then closes with more on economics.

This canto then moves to the fountain of Castalia on Parnassus.

The canto then proceeds to look at examples of benevolent action by public figures that, for Pound, illustrate this maxim.

The canto, and sequence, then closes with an extended treatment of the passage from the fifth book of the Odyssey in which a drowning Odysseus / Pound is rescued by Leucothea.

At the beginning of canto 2, after the " feigning dreame " and " faire-forged Spright " tell Archimago they failed to seduce Redcross, the enchanter first throws a fit and then moderates his behavior in a swerve that duplicates Redcross's swing from " fierce despight " to " sufferance wise " ( 1. 1. 50 ).

She asserted that there were only two styles of singing: " the good ... and the bad " and argued that a properly trained vocalist could sing the old bel canto style just as easily as the then newer, more dramatic style.

When asked about her repertory change in interviews the singer consistently states her intention to keep singing bel canto roles for as long as possible in order to maintain vocal health as she moves toward the heavier roles.

The canto moves on through a long passage remembering Pound's time as Yeats ' secretary in 1914 and a shorter meditation on the decline in standards in public life deriving from a remembered visit to the senate in the company of Pound's mother while that house was in session.

Towards the end of the canto, the Make it new ideograms from Canto LIII reappear as the poem moves back towards the world of myth, closing with another phrase from the Divine Comedy, this time from Purgatorio, Canto XXVIII.

The prolonged, climatic coloratura mad scene for Lucia in Donizetti's 1835 bel canto opera Lucia di Lammermoor is based on what in the novel were just a few bland sentences.

Over 10 million more spectators watched the TV show, Il V ° canto dell ’ Inferno (" The 5th Song of Hell "), broadcast by Rai Uno on 29 November 2007, with re-runs on Rai International.

Both of them featured bel canto works, dating from Rubini's day, in their operatic repertoires, and both of them can be heard on recordings which faithfully capture the distinct shimmer inherent in their timbre.

Another current popular approach that is based on the bel canto model is to divide both men and women's voices into three registers.

Rameau's comic opera Les Paladins ( 1760 ) is based on a story in canto 18 of Orlando ( though Rameau's librettist derived the plot indirectly via La Fontaine's Contes ).

First produced at La Scala on December 26, 1831, it is generally regarded as an example of the supreme height of the bel canto tradition.

* Tinamou sounds on the xeno canto collection

Surendra Verma's Hindi play Athavan Sarga, published in 1976, is based on the legend that Kālidāsa could not complete his epic Kumārasambhava because he was cursed by the goddess Pārvati, for obscene descriptions of her conjugal life with Lord Shiva in the eighth canto.

His Introdutione facilissima et novissima de canto ferma ( Rome, 1553, and again at Venice, 1561 ), contains an introduction to music, a section on improvised counterpoint, and his views on the three genera.

La sonnambula ( The Sleepwalker ) is an opera semiseria in two acts, with music in the bel canto tradition by Vincenzo Bellini to an Italian libretto by Felice Romani, based on a scenario for a ballet-pantomime by Eugène Scribe and Jean-Pierre Aumer called La somnambule, ou L ' arrivée d ' un nouveau seigneur.

Callas, in contrast, considered herself a dramatic coloratura soprano and started her career in the heaviest roles, but soon after, concentrated on the bel canto repertoire, which were not a good fit for Tebaldi's vocal range and technique.

Gruberová has made many recordings, most notably in recent years full-length recordings and extended selections from Donizetti's Tudor Queens trilogy and other bel canto operas, lately exclusively on Nightingale label.

The first canto, Christ's Victory in Heaven, represents a dispute in heaven between justice and mercy, using the facts of Christ's life on earth ; the second, Christ's Victory on Earth, deals with an allegorical account of Christ's Temptation ; the third, Christ's Triumph over Death, covers the Passion ; and the fourth, Christ's Triumph after Death, covering the Resurrection and Ascension, ends with an affectionate eulogy of his brother Phineas as Thyrsilis.

The term was never used in the most famous Italian texts on singing: Giulio Caccini's Le Nuove musiche ( 1601 / 2 ); Pier Francesco Tosi's, Opinioni de ' cantori antichi e moderni ( 1723 ); Giovanni Battista Mancini's Pensieri, e riflessioni pratiche sopra il canto figurato ( 1774 ); Manuel García's Mémoire sur la voix humaine ( 1841 ), and Traité complet de l ’ art du chant ( 1840 – 47 ); nor was it used by the English authors Charles Burney ( 1726 – 1814 ) and Henry Fothergill Chorley ( 1808 – 1872 ), both of whom wrote at length about Italian singing of a period when ornamentation was essential.

It is a verse tragedy based on the story of Paolo and Francesca from the fifth canto of Dante's Inferno.

This can be contrasted to another music ideal, bel canto, which intends to exploit human speech organs on the highest level to achieve an almost “ superhuman ” sound.

This canto begins with Pound looking out of the DTC at peasants working in the fields nearby and reflecting on the news of the death of Mussolini, " hung by the heels ".

These images are often intimately associated with the poet's close observation of the natural world as it imposes itself on the camp ; birds, a lizard, clouds, the weather and other images of nature run through the canto.

After more memories of America and Venice, the canto ends in a passage that brings together Dante's celestial rose, the rose formed by the effect of a magnet on iron filings, an image from Paul Verlaine of a fountain playing in the moonlight, and a reference to a poem by Ben Jonson in a composite image of hope for " those who have passed over Lethe ".

After an expanded clarification of the Annals of Spring and Autumn / " there are no righteous wars " passage from Canto LXXVIII, this canto culminates in images of the poet drowning in earth ( in a quasi-sexual embrace ) and a recurrence of the Greek word for weeping, ending with more bird-notes seen as a periplum.

At the centre of the canto there is a passage on monopolies that draws on the lives and writings of Thales of Miletus, the emperor Antoninus Pius and St. Ambrose, amongst others.

The canto closes with a passage that sees the return of the goddess as moon and Fortuna together with Greek forms of solar worship and the Flamen Dialis that is intended to integrate gold and silver as attributes of coin and the divine.

A literary example showing the understanding of the difference and the use of both words is the song Un canto a Galicia by Julio Iglesias.

The first book deals with the relationship between Latin and vernacular, and the search for an illustrious vernacular in the Italian area, while the second is an analysis of the structure of the " canto " or song ( also spelled " canzone " in Italian ), a literary genre.

Shelley in this canto “ expands his vision from the earthly scene with the leaves before him to take in the vaster commotion of the skies ”.

DeNeef argues that the final betrothal scene in canto 12 rewrites, but nevertheless recalls, the plot Archimago devised to dupe Redcross into distrusting and abandoning Una.

Arnaut's 4th canto ( see " Arnaut Daniel: Complete Works " external link below ) contains the lines that Pound claimed were " the three lines by which Daniel is most commonly known " ( The Spirit of Romance, p. 36 ):

The Cantos by Ezra Pound is a long, incomplete poem in 120 sections, each of which is a canto.

) Münch was a friend and collaborator of Pound in Rapallo, and the short prose section at the beginning of the canto celebrates his work on other early music figures.

The word Sagetrieb, meaning something like the transmission of tradition, apparently coined by Pound, is repeated after its first use in the previous canto, underlining Pound's belief that he is transmitting a tradition of political ethics that unites China, Revolutionary America and his own beliefs.

The latter canto is notable for Pound's suggestion that both Honoré Mirabeau in his imprisonment and Ovid in his exile " had it worse " than Pound in his incarceration.

Pound also claims in this canto that Anselm's writings influenced Cavalcanti and François Villon.

Canto CX opens with a pun on the word wake, conflating the wake of the little boat from the end of the previous canto and an image of Pound waking in his daughter's house in Tyrol, both from sleep and, by extension, from the nightmare of his prolonged incarceration.

Canto CXVI was the last canto completed by Pound.