endeavouring to give the tune [...] an expression answering to the underlying Word-text". This attitude was to underlie Wagner's would-be deconstruction of aria in his concept of Gesamtkunstwerk. 19th century Despite the ideals of Gluck, and the trend to organise libretti so that arias had a more organic part in the drama rather than merely interrupting its flow, in the operas of the early 19th century, (for example those of Gioachino Rossini and Gaetano Donizetti), bravura arias remained focal attractions, and they continued to play a major role in grand opera, and in Italian opera through the 19th century. A favoured form of aria in the first half of the 19th century in Italian opera was the cabaletta, in which a songlike cantabile section is followed by a more animated section, the cabaletta proper, repeated in whole or in part. Typically such arias would be preceded by recitative, the whole sequence being termed a scena. There might also be opportunities for participation by orchestra or chorus. An example is Casta diva from the opera Norma of Vincenzo Bellini. After around 1850, aria forms in Italian opera began to show more variety – many of the operas of Giuseppe Verdi offer extended narrative arias for leading roles that enable, in their scope, intensification of drama and characterisation. Examples include Rigoletto's condemnation of the court, "Cortigiani, vil razza dannata!" (1851). Later in the century, the post-1850 operas of Wagner were through-composed, with fewer elements being readily identifiable as self-contained arias; whilst the Italian genre of verismo opera also sought to integrate arioso elements although still allowing some 'show-pieces'. Concert arias Concert arias, which are not part of any larger work, (or were sometimes written to replace or insert arias in their own operas or operas of other composers) were written by composers to provide the opportunity for vocal display for concert singers; examples are , Op. 65, by Beethoven, and a number of concert arias by Mozart, including Conservati fedele. Instrumental music The term 'aria' was frequently used in the 17th and 18th centuries for instrumental music used for dancing or variation, and modelled on vocal music. For example, J. S. Bach's so-called "Goldberg Variations" were titled at their 1741 publication "Clavier Ubung bestehend in einer ARIA mit verschiedenen Verænderungen" ("Keyboard exercise, consisting of one ARIA with diverse variations.") The word is sometimes used in contemporary music as a title for instrumental