"Che gelida manina, se la lasci riscaldar."

This aria has become so popular that you risk to not

appreciate its originality: a three-paragraph structure

musically independent who, without seeking a tonal balance,

achieves a completely perfect affirmation, along with a

crescendo of ardor which constitutes a hypotest of the words.

The beginning is all tender delicacy, with the vocal line dominated by

squiggles of discanto entrusted to the flute and a masterful use of the sixth

suspended degree, which suggests a repressed desire.

The second sentence ("Who am I? ... I am a poet"), bold and confident, is

introduced by a whole-tone chord that blurs the tonality 

original and thus allows the autograph and the printed score to be found again.

The point of arrival of the air is the Rodolfo motif that emanates from the strings divided into pianissimo to a full voice climax over the whole orchestra.

The story of Mimì's life ("They call me Mimì") completely contrasts with Rodolfo's eloquence, but also in this case the form springs from the expressiveness of the character. It begins as a rondo, whose theme is placed on the flat side (F major) of the main tonality of the aria (D major), so that its reprises suggest a modest lowering of the eyes. Only when she lets herself be carried away, first by a cheerful description of her daily occupations, then by the joy of the April sun, she forgets her insecurity and so the initial reason. At this point the rondo is grafted onto a wider tertiary design: here the doubling of the melody and the bass in the orchestra, more insistent than in any other previous context, increases the propulsive effect of the softly syncopated accompaniment.

The resumption brings the aria to a conclusion on a note of regret: the flowers that Mimì embroider have no scent.