Alessandro Scarlatti was the first to make systematic use of that richer form of recitation known as recitativo stromentato.
The first of these was the recitativo secco, which means "dry recitative."
The recitativo secco was accompanied by the harpsichord, at which the composer himself presided.
The most important of all these improvements was the abandonment of recitativo secco.
In his "Otello" he abandoned the old recitativo secco and produced an opera with recitativo stromentato throughout.
In his Matthew Passion and some of his cantatas the organist is to play short chords in recitativo secco.
The first interruption, indeed, was a recitativo with chords, followed by a verse from the leading treble.
The extreme development of recitativo stromentato is to be found in Wagner's later dramas, in which entire scenes are made of it.
This duet, charged with exotic rapture, opens with recitativo phrases for Ada.
It must consist of poetic passages connected by recitativo, to use an opera word; but it is perhaps better for that.