▁Richard ▁Tar us kin ▁also ▁notes ▁that ▁the ▁second ▁theme ▁is ▁always ▁announced ▁in ▁a ▁wood wind ▁solo , ▁whose ▁" catch iness " ▁" etch [ es ] ▁a ▁distinct ▁profile ▁in ▁the ▁a ural ▁memory ", ▁and ▁that ▁the ▁rich ness ▁and ▁invent iveness ▁of ▁his ▁handling ▁of ▁the ▁or chestra , ▁even ▁in ▁these ▁early ▁works , ▁marks ▁the ▁start ▁of ▁"[ t ] he ▁great ▁nin ete enth - century ▁flow ering ▁of ▁orch estr ation ." ▁ ▁A rias ▁ ▁Ross ini ' s ▁handling ▁of ▁a rias ▁( and ▁du ets ) ▁in ▁cav at ina ▁style ▁marked ▁a ▁development ▁from ▁the ▁eigh teenth - century ▁common place ▁of ▁rec itative ▁and ▁aria . ▁In ▁the ▁words ▁of ▁Ross elli , ▁in ▁Ross ini ' s ▁hands ▁" the ▁aria ▁became ▁an ▁engine ▁for ▁re le asing ▁em otion ". ▁Ross ini ' s ▁typical ▁aria ▁structure ▁involved ▁a ▁lyr ical ▁introduction ▁(" c ant abile ") ▁and ▁a ▁more ▁int ensive , ▁brilliant , ▁conclusion ▁(" c ab ale tta "). ▁This ▁model ▁could ▁be ▁adapted ▁in ▁various ▁ways ▁so ▁as ▁to ▁forward ▁the ▁plot ▁( as ▁opposed ▁to ▁the ▁typical ▁eigh teenth - century ▁handling ▁which ▁resulted ▁in ▁the ▁action ▁coming ▁to ▁a ▁halt ▁as ▁the ▁requ is ite ▁repe ats ▁of ▁the ▁da ▁cap o ▁aria ▁were ▁undert aken ). ▁For ▁example , ▁they ▁could ▁be ▁pun ctu ated ▁by ▁comments ▁from ▁other ▁characters ▁( a ▁convention ▁known ▁as ▁" pert ich ini "),