=Recitativo Secco.= Simple recitation supported only by slight chords. (Much used by Mozart.) =Recitativo Stromentato.= Accompanied recitative, the orchestral part having individual interest and importance. =Ritornello.= An instrumental interlude between scenes, or during the course of a scene. =Romantic Opera.= A class of opera dealing with legendary or supernatural subjects rather than classic themes. Its application is chiefly to operas of the Weber-Marschner school. =Scena.= A long and important operatic solo, often in several movements, for a solo voice. It may consist of recitative or of aria portions, or both, but should be dramatic in its construction. =Scenario.= A synopsis of the plot and scenes of the libretto of an opera. =Secco.= (_See_ Recitative.) =Singspiel.= The German form of opera comique, with both music and spoken dialogue. =Tessitura.= The _range_ of a vocal composition—_i.e._, as to whether it lies high or low in the compass of the voice. =Transcription.= The more modern name for Pot-pourri. =Tremolo.= A rapid reiteration of the same note; much used on the stringed instruments for dramatic purposes. =Vaudeville.= A short operetta (French), usually of a frivolous nature. =Vorspiel= (German). _See_ Overture. =Zwickenspiel= (German). An intermezzo or interlude. Appendix D. List of Instruments used in the Orchestras of Composers of different periods of Opera. 1. The first real Italian opera, _Euridice_, by Peri (1600)— 1 Chitarone 1 Lira Grande 1 Viol di Gamba 1 Theorbo 3 Flutes 2. Monteverde’s _Orfeo_ (1608)— 2 Gravicembali (Clavicembali) 2 Contrabassi da Viola 10 Viole di Brazzo 1 Arpa Doppia 2 Violini Piccioli alla Francese 2 Chitarroni 2 Organo di Legno 1 Regal 3 Bassi da Gamba 4 Tromboni 2 Cornetti 1 Flautino (Flageolet) 1 Clarino (Soprano Trumpet) 3 Trombe Sordini (Muted Trumpets) Except for the smaller number of strings this orchestra is pretty well as large as a modern full operatic orchestra, but its constitution and effect are absolutely different, and of course in the present day hardly producible. The gambas were used to accompany Orpheus, the violas Euridice, the guitars Charon, the organs Apollo, and the trombones Plato. 3. Gluck’s _Alceste_ (1767)— 2 Flauti Traversi 2 Oboe 2 Corni 3 Tromboni 2 Fagotti 2 Trombe Strings This, of course, is an approximation to the modern orchestra, but we must notice the absence of clarionets and percussion instruments. 4. Mozart’s _Figaro_ (1786)—