In Baroque music this usually occurs at the very end of a piece, repeating the final phrase with added ornamentation.
At the end of the song, an instrumental portion is played from an earlier soliloquy of the antagonist, in which he was significantly more confident.
In "Edelweiss" (reprise), the entire Von Trapp family and Maria sing and are later joined by the audience, whereas the original features Liesl and the Captain.
[citation needed] And in Jerome Kern and Oscar Hammerstein II's Show Boat, the song "Ol' Man River" is reprised three times after it is first sung, as if it were a commentary on the situation in the story.
In Mamma Mia!, however, the reprises for the title track, Dancing Queen, and Waterloo have no altering of the lyrics, and are just shortened versions of the originals featured earlier.
Nearing the end of the song, the rest of the company begins singing a slower version of the first verse of "Seasons of Love".
Anything but "neoclassical" or humbly imitative, driven by a complex cultural-aesthetic agenda, this model plays upon discriminate and polemical "repetition," upon a critical reprise, to borrow—or reprise, in my turn—a term from music and adapt it to underscore the strategic difference toward which postmodernism's repetitive acts are frequently geared....postmodernism's self-acknowledged reprises ever so often surprise us with their unexpected plot twists, media mixes, and other deflections, inflections, and irreverent revisions, both textual and contextual, sociocultural.