In the 17th and 18th centuries, the litonello was embedded in the aria as a continuation of the singing and to provide time for the actors to move. As early as the 14th century Italian madrigals, ritomello was arranged at the end. In Italian operas of the early 17th century, for example, in Monteverdi's "Orfeo" it was used as a four-bar instrumental music repeated four times before the prologue. From then until the 18th century, ritor nello was usually used as the prelude, interlude and coda of aria parts. Of course, litornello can sometimes involve more movement than the singer actually sings, such as walking from one end of the stage to the other, and thus be longer than the aria. Later, there will be a scene without the main character, or the main character will be on stage but not singing. Some theater companies will call this situation a "cut scene". Of course, such cutscenes are usually very brief.

The transition scenes of operas can also be performed by a band or a chorus, or even interspersed with dance and other means to enhance the atmosphere and express the emotions of the protagonist. For example, in the first act of Puccini's opera "Turandot", Prince Calaver witnesses the scene where the Prince of Persia fails to guess a riddle and is taken to the execution ground. The entire music symbolizes Calaver's visual experience. There is a juvenile chorus to the tune of "Jasmine" and derivative music of this tune, as well as the addition of a large number of choruses, which are all transitional music. This is followed by Calaver's myriad lamentations about the scene and the recitative of his dialogue with Tamerlane. After the Prince of Persia finally gave out his desperate cry, Kalafer, Tamerlane, Ping, Peng, and Pang continued the dialogue around discouraging Kalavor from guessing the riddle but Kalafur insisted on not changing his original intention, moving the plot forward.