The action is carried forward in Dido by arioso passages.

The style is typical for Bach's treatment of such words, between arioso and aria.

The first vocal movement is an arioso, accompanied only by the continuo.

Unlike the opera itself, the arioso is relatively well known, whether sung or played on an instrument.

So we've introduced a very brief little arioso from "Teseo," an earlier piece.

The last recitative leads in an arioso to the chorale.

The continuo and the voice use similar material in this arioso, intensifying the words.

The movement has no title and is between aria and arioso.

The opening chorus has an unusual structure, which includes an arioso passage for the bass voice.

Bach treats it, as if Jesus said the words himself, between arioso and aria.

The recitatives lean toward arioso at times, typical for Bach's music in the period.

The players operate under the umbrella title of the Arioso Ensemble.

Much of the dialogue is delivered in Massenet's subdued arioso style.

But they also begin to admit a clear differentiation between recitative, arioso, and song within a single piece.

It is described as a slow arioso with many dramatic pauses and tempo fluctuations.

It is followed by an expressive Arioso initiated by the brass section.

The four recitatives all end as an arioso.

The fourth movement combines elements of aria, recitative, and arioso.

In the version for male-voice choir the Arioso (part 4) is skipped.

Both recitatives begin secco and end as an arioso.

The vocal lines are arioso, the music modernist.

She made her debut at the Arioso Ball in Wilmington.

The second movement is like an arioso for a rhapsodic first violin, cushioned by the other strings.

They can distinguish an aria from an arioso.

Act 5 scene 2), the editor provides a second flute, making this moving arioso more Bach-like than ever.