▁or ▁the ▁ch orus ▁could ▁interven e ▁between ▁the ▁cant abile ▁and ▁the ▁cab ale tta ▁so ▁as ▁to ▁fire ▁up ▁the ▁solo ist . ▁If ▁such ▁develop ments ▁were ▁not ▁necessarily ▁Ross ini ' s ▁own ▁in vention , ▁he ▁never theless ▁made ▁them ▁his ▁own ▁by ▁his ▁expert ▁handling ▁of ▁them . ▁A ▁land mark ▁in ▁this ▁context ▁is ▁the ▁cav at ina ▁" Di ▁t anti ▁pal p iti " ▁from ▁Tan cre di , ▁which ▁both ▁Tar us kin ▁and ▁G os sett ▁( am ong st ▁others ) ▁single ▁out ▁as ▁transform ative , ▁" the ▁most ▁famous ▁aria ▁Ross ini ▁ever ▁wrote ", ▁with ▁a ▁" mel ody ▁that ▁seems ▁to ▁capture ▁the ▁mel od ic ▁beauty ▁and ▁innoc ence ▁characteristic ▁of ▁Italian ▁opera ." ▁Both ▁writers ▁point ▁out ▁the ▁typical ▁Ross in ian ▁touch ▁of ▁avoid ing ▁an ▁" expected " ▁cad ence ▁in ▁the ▁aria ▁by ▁a ▁sudden ▁shift ▁from ▁the ▁home ▁key ▁of ▁F ▁to ▁that ▁of ▁A ▁flat ▁( see ▁example ); ▁Tar us kin ▁notes ▁the ▁implicit ▁pun , ▁as ▁the ▁words ▁talk ▁of ▁returning , ▁but ▁the ▁music ▁moves ▁in ▁a ▁new ▁direction . ▁The ▁influence ▁was ▁last ing ; ▁G os sett ▁notes ▁how ▁the ▁Ross in ian ▁cab ale tta ▁style ▁continued ▁to ▁inform ▁Italian ▁opera ▁as ▁late ▁as ▁Giuseppe ▁Ver di ' s ▁A ida ▁( 1 8 7 1 ). ▁ ▁Str ucture ▁ ▁Such ▁struct ural ▁integration ▁of ▁the ▁forms ▁of ▁vocal ▁music ▁with ▁the ▁dram