FEMALE CHARACTERS IN ZAPOROZHETS ZA DUNAYEM ("A ZAPOROZHIAN (COSSACK) BEYOND THE DANUBE") BY S.HULAK-ARTEMOVSKY AND THEIR FATE IN STAGE PRODUCTIONS OF ODESSA MUSICAL THEATERS
Journal Title: Вісник Національної академії керівних кадрів культури і мистецтв - Year 2017, Vol 1, Issue 3
Abstract
In this case, we emphasize the creativity of the creator of the work on the "spirit of the times" and the actual ideas-images that are actualized in the present. Purpose of the work is to follow the original version of the genre of opera of S. Hulak-Artemovsky "Zaporozheian beyond the Danube" in contrast to the formed concept of "Italian imitation", which impoverishes the ideas about richness of the genre-style compositions in S. Hulak-Artemovsky’s work, focused in the interpretation of female parties of Odarka and Oksana. Methodological basis is the musicological intonational principle, that is, the verbal and expressive principle of the interpretation of musical instruments, which has deep roots in national music. We specially emphasize the methods of the style-genre comparative and musical hermeneutics in the traditions of the works of E.Markova school. Scientific novelty of the work is determined by the originality of the theoretical idea of the principle genre-style multiplicity of the work of the Ukrainian composer in inscribing its plot and means into the style-thinking paradigm of the "Sixtiers" of the nineteenth century and the reactivity to it of the "youth wave" of the early 21st century. Conclusions. S. Hulak-Artemovsky's opera "Zaporozhets za Dunayem" ("A Zaporozhian Beyond the Danube") can not be evaluated as "modeling of "Italian in Algeria" by J. Rossini or other Italian models, since there is really a complex synthesis of Italian influences and typologies of comic and lyrized-dramatic operas of French and German traditions. The piece of work of the Ukrainian author is the only one-of-a-kind in Russian and Ukrainian music reaction to the theme of the conflict of the "fathers and children" of the Sixtiers of the 19th century. The interpretation of the main characters' parties of Karas and Odarka does not allow the hyperbole of comedicizing and "aging" of the characters, since by that the poetics of national history and the dramatic tension in the opposition of the Ukrainian Cossacks to the Turkish patronage are removed. Odarka's party is built with the principle scale of the range and the genre coverage of the expression indicative of the "full" soprano, whereas the Oksana's party is less diverse and the range of its singing is narrowed, which indicates the setting for the mezzo- Soprano as "narrowed" in relation to the soprano as such.
Authors and Affiliations
Natalia Kadantseva
Keywords
Related Articles
- EP ID EP375930
- DOI -
- Views 70
- Downloads 0
SOCIOCULTURAL SPACE: LOOKING INTO THE FUTURE
The goal of the article is to study the influence of environment, to which a person belongs, on the formation of his genetics through the worldview and culture, based on the latest scientific approach – epigenetics. Rese...
I AM REMAINING FROM NAKKKIM ...
An extraordinary art event took place at the crossroads of the two central highways of Kiev, at the National Academic Opera and Ballet Theater, which attracted the attention of Kyivans and guests of the capital - the con...
IDEOLOGY AND SOCIO-CULTURAL FOUNDATIONS OF PROVIDING GOVERNANCE SERVICES
Purpose of Article. Reveal the ideology and highlight the socio-cultural foundations for the provision of govern-ance services derived from the analysis of leading-edge ideas of foreign and domestic scientists, and also...
MANIPULATIVE INFORMATION OPERATIONS: FACTORS OF INFLUENCE ON THE SOCIAL UNCONSCIOUS AND CULTURAL VALUES
The purpose of this article is to reveal the mechanism of penetration of technologies of manipulative influence on the mass consciousness and unconsciousness that are carried out in the modern geopolitical space to chang...
Neosymbolism of music of XX century and performance musicology
The Purpose given studies - reveal the basis an symbolism saturation of the music thinking begin XX century, as fixes the development an performance musicology as reactions to theories art on autonomy of performance art...