"Sadko" is an epic work. Hence the smooth, wide and free-flowing musical narrative. The style of epic genres and content Novgorod epic due to the repetition of identical or similar scenic positions. Typical of other operas by Rimsky-Korsakov, it is carried out in this work with special perseverance. The dramatic “couples” are peculiar - the performances of two harpists at the feast of the brotherhood, two transformations of Volkhova and her sisters (the beginning and end of the scene at Ilmen Lake), two “golden miracles” in the 4th picture, sailing, and then the return of the ships. The two-part composition "Sadko" is also original - a kind of epic "dilogue" or a cycle of two epic "songs". This is due to the peculiar "duality" of the literary basis - the use of two versions of the Novgorod epic. Pictures 1-4 are the first “song”, 5-7th are the second “song”. Each of them has its own plot - the story of the enrichment of the guslar, the story of his wanderings - and partly his own actors, although the main characters go through the whole story. The two-part opera also appears in the presence of, as it were, two finals (the final sections of the 4th and 7th scenes) and two introductions - a repetition musical picture"The ocean - the sea is blue" in front of the scene on the ship serves as an indication that the action begins "again".
The opera opens with an orchestral "beginning", which draws the image of the "sea-okiyana", which dominates the entire work. The images are fantastic characterized tools , real - song . Man and nature in the understanding of the composer constitute an indissoluble unity.
The images of the fabulous underwater kingdom, embodied by means of flexible, whimsical melody and unusual harmonies, are opposed to the pictures of the real folk life and images of Russian people, in the description of which the main expressive means is Russian folk song.
The image of Sadko varies significantly within the 2nd c. (near Lake Ilmen). The music brilliantly expresses the "lyrical excitement" of the hero; Sadko's soul is revealed in communion with nature and pours out in a song glorifying its beauty. Exceptionally original vocal language operas. The composer wrote: “... what distinguishes my Sadko from a number of all my operas, and maybe not only mine, but also operas in general, is epic recitative . <...>This recitative is not a spoken language, but, as it were, a conditional epic tale or chant. Passing like a red thread through the entire opera, this recitative tells the whole work that national character, which can be fully appreciated only by a Russian person.
Along with the epic recitative in the parts of Sadko, Nezhaty, the composer widely used song warehouse (Lyubava) and various ariose forms . In the songs of merchant guests - Vedenetsky, Varangian, Indian - he showed a deep comprehension of foreign culture . The world of Rus' and the West, real and fantastic, the earthly world and the underwater kingdom is deeply and peculiarly embodied in the opera.
In general, the highest harmony of all elements was achieved in the opera, which once again confirmed the inviolability and vitality of Glinka's precepts.
The opera opens with the majestic orchestral introduction "Ocean-Sea is Blue".
Picture one - a large choral scene, opening with the chorus “We have gathered, trading guests”, full of violent fun. Its middle part consists of two episodes: a sedate, unhurried epic of Nezhata about Volkh Vseslavich And scene Sadko with the chorus "The day will be red at half a day" , in the center of which is his melodious recitative "If I had a gold treasury" , imperceptibly turning into an aria. The picture ends with a mocking and perky dance of buffoons "In the Great New City" , which is intertwined with the music of the initial choir.
Picture two alternates fantastic and lyrical scenes. A short orchestral introduction depicts a quiet evening on the shore of Lake Ilmen and prepares the beginning of Sadko's thoughtful and sad song. "Oh, you dark oak tree" . Choir of maidens of the underwater kingdom with coloratura singing of the sea princess "Get out of the blue of the lake" sustained in transparent light colors and full of serene peace. Lively round dance song Sadko "Play my goslings" gives way to a dreamy and pure love duet “Your braids shine with dew of honey” , into which the echoes of a round dance coming from afar are intertwined from time to time. The farewell of Sadko and Volkhova is interrupted by the mysterious trumpet signals and the calls of the Sea Tsar ( "Month of golden horns" ).
small orchestral introduction To third picture precedes recitative and Lubava's aria "All night I waited for him in vain" imbued with deep sadness and melancholy; when Sadko appears, sadness is replaced by joyful animation. In the next scene (" Ali, what a miracle happened to me?”) Lubava's agitated, full of love and concern remarks are contrasted with sadko's dreamy phrases; the melodies of Princess Volkhova sound in the orchestra. Sadko's resolute recitative and the abandoned Lyubava's passionate prayer complete the picture.
Fourth picture occupies a central place in the composition of the opera. It consists of two large parts: a monumental choral scene (trade near the pier) and a number of scenes associated with Sadko. In the first part, the mighty choirs of the people ("Look, people are free") , the monotonous singing of kalik passers-by, mischievous buffoons and tunes, mysterious prophecies the Magi, the voices of the abbots and Nezhata are closely intertwined, uniting in an extended ensemble, preparing the appearance of Sadko. A series of recitative episodes follow (argument with merchants, fishing), which are crowned with a solemn choir "Glory, glory to you, young gusler" and a glittering fanfare leitmotif of gold. Sadko's address to the squad and the choirs of the squad, sustained in the spirit of a free Russian song, frame the majestic singing of Nezhata “Like on the lake on Ilmen” . Rough, courageous Varangian song (Scandinavian) guest is replaced by a contemplative-lyrical Indian guest song and light, flowing in a wide melodic stream the song of Vedenetsky (Italian; city of Vedenets - Venice) guest . The finale of the picture, which began in chorus “And you keep the glorious path to Vedenets” , picks up Sadko - he sings a spacious Russian song "Height, heavenly height" , which is picked up by the squad and the people; supported by the orchestra, it expands and grows stronger, leading to a triumphant, powerful conclusion.
Orchestral introduction To fifth picture draws seascape(the music is the same as in the introduction to the opera). In the choral scene, Sadko with shipbuilders, conveying their bad forebodings, the melody of the song "Height eh, height" takes on a sad tone. Aria Sadko "Forgive me, subordinate squad" (farewell to the squad) is close to mournful lingering folk tunes. A wide orchestral episode, built on the themes of the sea, goldfish and the Sea King, depicts Sadko's immersion in the depths of the sea (transition to the next picture).
Picture six begins with the choir of the maidens of the underwater kingdom with the participation of Volkhova "Deep deep, Ocean-Sea" . To the bright glorious song of Sadko "The blue sea is menacing, wide" the voices of Volkhova, the Tsar of the Sea and his daughters join (“Well, much, Sadko, you sing-play”) . Shimmers with bright orchestral colors "Procession of the wonders of the sea" . Joyful wedding song "The fish walked, swam from Novogorod" is replaced by colorful dances of rivers and streams, gold-finned and silver-scaled fish. Sadko's dance song, at first calm, gradually revives, turning into a frenetic general dance. The menacing recitative of the Starchish sounds against the background of the powerful chords of the organ (“Ay, he danced at the wrong time, the King of the Sea is formidable”). Symphonic development musical themes of the sea, into which the voices of Sadko and Volkhova are woven, leads to the last, final scene of the opera.
Picture seven opens with a heartfelt, lyrically warm lullaby of Volkhova "Sleep walked along the bank" . Lubava's dreary lamentations sound in bright contrast to her. "Oh, I'm sick" turning into a joyful love duet . "And hello you, my desired husband" . Again heard the courageous melody of the song "Height, height » (the appearance of ships), which serves as the basis of a monumental ensemble with a choir "Glory to the Elder, the memory of the mighty" , crowning the opera with a powerful, jubilant anthem.
In this work, we consider chorus "The day will be red" from the first picture. Choir occupies important place in the composition of the entire opera - it precedes Sadko's recitative "Goy you, trading guests" and the aria "If only my beads-ships would run", in which, asking the guests for permission to "tell old times", Sadko condemns them, says that he "did not sit we would sit in Novgorod, "and would glorify his native city" along the distant seas, along the expanses of the earth.
Thus, the chorus of guests "The day will be red" - Start strings the main problem of the whole work, representation of the disputing parties - guests and Sadko.
II. Musical-theoretical analysis.
The choir is written in 11/4 time, in the key of C-dur, the main tempo is allegro non troppo (fast, but not too fast), = 208. It consists of three episodes - the guests' singing is divided into 2 parts by Sadko's recitative "Bow to you eminent guests" . First episode consists of three sentences of 6 bars, the first and third sentences are of repeated structure. The first is performed by the entire choir, the second - only basses, the third - tenors - a conversation takes place between the guests. Type of texture: homophonic-harmonic, in the first and second sentences - melodic.
Consider first sentence. The brisk unison melody of the choir and orchestra moves in even fourths, the eighths appear at first only on the sixth beat of the bar, which helps the composer to keep movement in such a small amount. melodic movement - wave-like, in thirds or in steps, which allows you to cover the octave range with ease. Due to the downward movement of the melody to the tonic (as in a genuine folk song) at the end of the second measure, the sentence is divided into two phrases.
Example #1
On the contrary, the upward movement at the end of the fifth bar allows us to convey the intonation of the question: “And only in olden days did people live happily?”. The sentence ends with a solemn unison exclamation "Goy!" (1) on the tonic, accompanied by pipes. musical movement in this measure it freezes, betrays the significance of the “said”.
[Goy thou(later also distorted "goiases") - salutatory-magnifying formula in the meaning "be alive!" or "Be healthy!". It is characteristic of oral folk art and is found primarily in the texts of epics. (“Oh, you are a goy, good fellow!”).]
Example #2
In second sentence orchestra texture changes - octaves horse racing oboe eighths duplicating the choir presented bass , and quarter- pizzicato the strings emphasize a new courageous character: the guests boast of “good horses”, heroic strength.
By the end of the sentence, the emotional intensity grows due to the dynamics, the return of the old texture and the jubilant conclusion: “Goy!”.
Example #3
Third offer has a repeated melody with the first sentence. The orchestral texture is enriched by the movement of the eighths of the violins, the roll call between the instruments (from the 6th beat of each bar), which creates the impression of lightness, playfulness. Contrasted with the second sentence. The contrast is also achieved due to the performance of this episode by tenors.
Example #4
The sentence ends with an orchestral break-transition to Sadko's recitative. In this measure, there is a deviation in the tonality of the third degree, Es-dur. The movement slows down due to the increase in durations - the quarters are replaced by halves.
Example #5
Second episode - Sadko's recitative "Bow to you, eminent guests!" written in time 3/2, key Es-dur. In general, the pace of performance remains the same (author's remark - L "istesso tempo - same tempo), Sadko sings freely a piacere - at will, rhythmically freely, arbitrarily. Another remark for the soloist - Recit. - abbreviated Recitando , Recitato - declaiming, telling.
This episode consists of 7 bars. Sadko enters on the second quarter of the second beat against the background of the orchestra's fermata on T 6 . The nature of the melody is similar to the choral melody from the first episode - the movement is stepwise or in thirds, smooth, undulating. Each phrase begins because of the beat, which conveys the speech intonations of the request: “ bow to you, eminent guests! bless to say the old days ... ". The character changes to a more resolute one (due to the fourth move and an increase in durations) with the words "Al sing a song."
In this episode, the orchestra plays a background role. The composer prepares the entry of the choir (the beginning of the next episode) by stepwise melodic movement of the soloist, dubbed by woodwinds, by a slight slowing down of the tempo.
All in all, agogica plays important role in this episode - thanks to remarks a piacere And Recit. the composer achieves special attention to the text.
Example #6
Final Episode “Sing about the glory of Novogorod to us” consists of 7 measures, performed at the same tempo (author's remark a tempo allegro non troppo - fast, but not too fast). A new tonality appears - H-dur, the melody and construction of the sentence are similar last sentence from the first episode. Music is enriched both in the choir and in the orchestra - due to divisions and octave doublings.
Example #7
The last 2 measures are an orchestral break, similar to the end of the first episode. The last chord seems to put an end to it - a quarter on the tonic, like the previous measure, prepares the next Sadko's recitative "Goy you, trading guests."
Example #8
III. Vocal-choral analysis.
This number includes a homogeneous male choir, represented by the parts of tenors and basses, each of which is divided into 2 groups (I and II). The first sentence is performed by the whole choir, the second - by basses, the third - by tenors. The final episode features the entire choir. Almost always the parts sound in octave doubling and are dubbed by the orchestra.
Party ranges:
Tenor from D minor to G1
Bass in F big up to first
General range of the choir: from F great to G first
The tessitura of the tenor part is medium-high. The tessitura of the bass part is rather average, in the second sentence of the first episode and in the third episode in B2 it is low. In general, the tessitura is convenient for execution.
Despite the apparent lightness of the choir, intonational difficulties are present in all parties.
In the first episode for both tenors and basses, this is mainly auxiliary movement of eighths and similar stepwise movements of the melody up one or two beats and the following return down again . The main motto when working on the purity of intonation can be called "accuracy", here the choirmaster must achieve exactly the accurate, clear performance of each sound, because. if even one sound is inaccurately performed at a fast tempo, the entire step sequence “moves out”.
Another difficulty is quarter jumps down to the II degree before the tonic (the last two beats of each measure) - there is a danger of intonational understatement, on which work must be done at a slow pace (see example No. 1).
In the fifth measure, you should pay attention to the jump in the bass (on the 7th beat of the measure).
The biggest difficulty, in my opinion, is third episode, because here there is a division of votes into T 1 / T 2 and B 1 / B 2.
The choirmaster should pay attention to the work on each part, because. found in T 2 and B 1 repeated repetition of the same sound , which is difficult to perform purely intonationally, without a gradual understatement. The same difficulties are horse racing in B 1 in bars 29 and 30 against the background of an increase in durations in B 2 and pronunciation of different text .
Example #9
IV. Performance analysis.
This choir is written in the tempo allegro non troppo (fast, but not too fast), = 208. This tempo is unchanged throughout the entire work, even in the second section - Sadko's recitative, which is performed more freely, there is a remark L "istesso tempo - the same tempo However, thanks to the fermata at the boundaries of sentences and Sadko's recitative, there are many agogic nuances here.
The first sentence is performed by a friendly, brave and cheerful F both in the choir and in the orchestra. A small dim., in my opinion, should be done only at the end of the second bar to emphasize the end of the phrase in literary text(see example No. 1). The sentence ends with a jubilant exclamation of "Goy!" on farm and FF. This sustained note can be left out of time, but it is necessary to maintain a sense of internal pulsation. Also, here it is important not to overexpose the fermata, because. otherwise, the overall movement will be disturbed. An underexposed fermata will lead to “crumpled up”, incompleteness of the whole sentence.
The second sentence is performed a little quieter - mF, p for the orchestra, a gradual increase in dynamics begins from bar 3 of the sentence (poco cresc.) and leads to a full F in bar 5, FF for the orchestra in the 6th. (see example No. 3). These dynamic changes are associated with a change in character - thanks to the timbres of the choristers (the sentence is performed by bass), this fragment sounds more ponderous, somewhat rude, in a heroic way.
The third episode "We have a lot of gold treasury" is similar to the first, it differs in dynamics. F for the choir, mp for the orchestra, no tempo changes. However, I think it's worth slowing down a bit to play the last choral measure before the recitative and the following orchestral measure to mark the end of the section. (see example No. 5)
As mentioned above, Sadko's recitative is performed more freely. I think the word, the speech of the soloist, was important for the composer. It is the expressiveness of the word that is worth paying attention to. Also, the functions of the hands should be clearly distinguished.
Dynamic plan of the section: the orchestra enters on sF and immediately leaves on p, freezes. The change in dynamics occurs only with the beginning of the third episode, the choir enters on the F dynamics, “overlapping” the soloist. The chorus ends with a short quarter chord on sF.
I think that here too one can slow down the penultimate orchestral measure somewhat.
The conductor's gesture is marcato (highlighting, emphasizing), which changes in character depending on dynamic nuance– the quieter the performance, the softer the gesture.
v. Conclusion.
Lasted over 40 years creative way Rimsky-Korsakov, the successor of Glinka's traditions. Rimsky-Korsakov's creative and musical-public activities are multifaceted: composer and conductor, author of theoretical works and reviews, editor of works by Dargomyzhsky, Mussorgsky and Borodin, he had a strong influence on the development of Russian music. For 37 years pedagogical work more than 200 composers studied with him at the conservatory, including: A. Glazunov, A. Lyadov, A. Arensky, M. Ippolitov-Ivanov, I. Stravinsky, N. Cherepnin, A. Grechaninov, N. Myaskovsky, S. Prokofiev and etc.
For me, Rimsky-Korsakov will forever remain a composer and storyteller. Listening to his music, you find yourself in an atmosphere of magic, in reality you see wonderful images "for a long time past days, legends of antiquity deep. I feel proud that this man was my compatriot.
VI. List of used literature
Internet resources:
1. Article about N.A. Rimsky-Korsakov from www.ru.wikipedia.org
2. Article by E. Gordeeva about N.A. Rimsky-Korsakov from www.belcanto.ru
3. Article Yu. V. Keldysh about mighty handful from the site www.belcanto.ru
4. A. Gozenpud. Article about the opera "Sadko" from the site www.classic-music.ru
5. Article by A. Chubrik Music of Rimsky-Korsakov in Spanish. Rachmaninoff from the site www.classic.chubrik.ru
6. Article "Rimsky-Korsakov N. Opera-epic "Sadko"" from the site www.dirigent.ru
Printed editions:
1. Romanovsky N.V. Choral dictionary. - M.: Music, 2005. - 230 p.
2. 100 operas. Comp. M. S. Druskin. Ed. 8. M.: Music, 1987 - 488 p.
3. Kruntyaeva, Molokova, Stupel. Dictionary of foreign musical terms.
4. R.N. Erman. Guidelines to work on the annotation choral work in the conducting class. - 83s.
5. Musin I. Conducting technique. M., 1967.
Opera is the highest genre not only of the dramatic family, but of the whole kind of interacting music. It combines a potentially large volume, versatility of content with a conceptuality that makes it somewhat analogous to a symphony in pure and program music or oratorios in the family of music and words. But in contrast to them, the full-fledged perception and existence of the opera presupposes a material and voluminous stage embodiment of the action.This circumstance - spectacle, as well as the difficulty of artistic synthesis in an opera performance, which combines music, words, acting and scenography, sometimes make us see in the opera a special phenomenon of art that does not belong only to music and does not fit into the hierarchy of musical genres. According to this opinion, the opera arose and develops at the intersection different types arts, each of which requires special and equal attention. In our opinion, the definition of the aesthetic status of opera depends on the point of view: in the context of the entire world of art, it can be considered a special synthetic type, but from the point of view of music, this is precisely a musical genre, approximately equal to higher genres other genera and families.
Behind this typological definition lies the fundamental side of the problem. The view of opera proposed here has in mind music as the dominant of artistic interaction, which determines the bias of its consideration in this chapter. “Opera is a work first of all
musical" - these significant words of the largest opera classic Rimsky-Korsakov is confirmed by the vast legacy and practice of several centuries, including our century, which has a full-fledged fund of artistically worthy, truly musical operas: it is enough to recall the names of Stravinsky, Prokofiev and Shostakovich, Berg or Puccini.
Confirm the dominant role of music in opera and special modern forms its existence: listening on the radio, in a tape or gramophone record, as well as Lately concert performance. It is no coincidence that the expression “listen to opera” is still common in everyday life and is considered correct, even if we are talking about going to the theatre.
The peculiarity of artistic synthesis in the opera under the auspices of music, according to the fair conclusion of V. Konen, “responds to some fundamental laws human psychology". In this genre, the need for intonational empathy with “the subtext of a dramatic plot, its ideological and emotional atmosphere, accessible for maximum expression precisely and only to music, is manifested, and the stage reality embodies in a concrete-content form a wider, general idea embodied in the opera score. primacy musical expressiveness constitutes the aesthetic law of opera throughout its history. And although in this history there were and are especially cultivated now many various options[an artistic synthesis with greater or lesser weight of word and action, an opera in the exact sense, these works can only be recognized when their dramaturgy finds a holistic musical embodiment.
So, opera is one of the full-fledged musical genres. However, it is unlikely that in the entire musical world there is an example of a genre that is so controversial. The same quality, synthetism, which provides the opera with completeness, versatility and breadth of influence, is fraught with primordial contradiction, on which crises depended, outbreaks of polemical struggle, attempts at reforms and other dramatic events that accompany the history of musical theater in abundance. No wonder Asafiev was deeply disturbed by the paradoxical nature of the very existence of the opera; How to explain the existence of this monstrous in its irrationality form and the constantly renewed attraction to it from the most diverse public?
The main contradiction of the opera is rooted in the need to simultaneously combine dramatic action and music, which by their nature require fundamentally different artistic time. Flexibility, artistic responsiveness of musical matter, its ability to reflect both the inner essence of phenomena and their external, plastic side encourage a detailed embodiment in music of the entire process of action. But at the same time, the indispensable aesthetic advantage of music - the special power of symbolic generalization, reinforced in the era of the formation of classical opera by the progressive development of homophonic thematics and symphonism, makes us digress from this process, expressing it individual moments in widely developed and relatively complete forms, because only in these forms can the highest aesthetic vocation of music be realized to the maximum.
In musicology, there is an opinion that the generalizing-symbolic aspect of the opera, most generously expressed by music, constitutes the "internal action", i.e., a special refraction of the drama. This view is correct and consistent with general theory dramaturgy. However, based on a wide aesthetic concept lyrics as self-expression (in the opera, first of all, the characters, but partly also the author), it is preferable to interpret the musical-generalizing aspect as a lyrical one: this allows you to more clearly understand the structure of the opera from the point of view of artistic time.
When an aria, ensemble or some other generalizing “number” appears during the course of the opera, it cannot be aesthetically comprehended otherwise than as a switch to a different artistic-temporal plan, where the actual action is suspended or temporarily interrupted. With any, even the most realistic, motivation for such an episode, it requires a psychologically different perception, a different degree of aesthetic convention than the actual dramatic opera scenes.
Another aspect of the opera is connected with the musical-generalizing plan of the opera: the participation of the choir as a social environment for the action or the “voice of the people” commenting on it (according to Rimsky-Korsakov). Since in mass scenes music describes the collective image of the people or their reaction to events, often occurring outside the stage, this aspect, which constitutes, as it were, a musical description of the action, can rightfully be considered epic. By its aesthetic nature, opera, potentially associated with a large volume of content and a plurality of artistic means, is undoubtedly predisposed to it.
Thus, in the opera there is a contradictory, but natural and fruitful interaction of all three generic aesthetic categories - drama, lyrics and epic. In this regard, the widespread interpretation of the opera as “a drama written by music” (B. Pokrovsky) needs to be clarified. Indeed, the drama is the central core of this genre, since in any opera there is a conflict, the development of relations between the actors, their actions, which determine the various stages of the action. And at the same time, opera is not only drama. Its integral components are also the lyrical beginning, and in many cases the epic one. This is precisely the fundamental difference between opera and drama, where the line of "internal action" is not isolated, and crowd scenes, although important, are nevertheless private elements of dramaturgy on the scale of the entire genre. Opera, on the other hand, cannot live without lyrical-epic generalization, which is proved "by the contrary" by the most innovative examples of musical drama of the last two centuries.
The aesthetic complexity of the genre is partly related to its origin: the creators of the opera focused on ancient tragedy, which, thanks to the chorus and lengthy monologues, was also not only a drama.
The importance of the lyrical-epic beginning for opera is evidently found in the composition of the opera libretto. There are strong traditions here. When reworking into a libretto, the original source is, as a rule, reduced: the number of actors is reduced, side lines are turned off, the action is focused on central conflict and its end-to-end development. And vice versa, all the moments that provide the characters with the opportunity to express themselves are generously used, as well as those that allow emphasizing the attitude of the people to the events (“Is it possible to make it so that ... there were people at the same time?” - Tchaikovsky’s famous request to Shpazhinsky about the denouement "Witches"). For the sake of completeness of the lyrics, the authors of operas often resort to more significant changes original source. An eloquent example is The Queen of Spades with its burning, tormenting feeling of love-suffering, which, contrary to Pushkin, serves as the initial stimulus for Herman's actions, leading to a tragic denouement.
The complex interweaving of drama, lyrics and epic forms a specifically operatic synthesis, in which these aesthetic aspects are able to pass one into another. For example, the decisive battle for the plot is given in the form of a symphonic picture (“The Battle of Kerzhents” in Rimsky-Korsakov’s “Tale”): the drama transitions into an epic. Or the most important moment of the action - the plot, the climax, the denouement - is musically embodied in the ensemble, where the characters express their feelings caused by this moment (the quintet "I'm scared" in "The Queen of Spades", the canon "What wonderful moment" in "Ruslan", a quartet in the last picture "Rigoletto", etc.). In such situations, the drama turns into lyrics.
The inescapable gravitation of the drama in the opera towards the lyrical-epic plan naturally allows for an emphasis on one of these aspects of dramaturgy. That's why musical theater to a much greater extent than the dramatic one, there are corresponding deviations in the interpretation of the operatic genre. Not by chance lyric opera 19th century in France or Russian epic opera were major historical events, quite persistent and influenced other national schools.
The correlation between the dramatic and lyrical-epic plans and the quality of artistic time associated with this make it possible to distinguish the opera genre into two main varieties - classical opera and musical drama. Despite the relativity of this distinction and the abundance of intermediate options (which we will touch on below), it remains aesthetically fundamental. Classical opera has a two-dimensional structure. Her dramatic plan, unfolding in recitatives and through scenes, is direct musical reflection actions where music performs a suggestive function and obeys the principle of resonation. The second, lyrical-epic plan is made up of finished numbers that perform a generalizing function and implement the principle of autonomy of music. Of course, this does not exclude their connection with the principle of resonation (since at least an indirect connection with the action is preserved in them) and their fulfillment of a suggestive function that is universal for music. The specifically theatrical-reproducing function is also included in the musical-generalizing plan and, thus, it turns out to be functionally the most complete, which makes it the most important for classical opera. In the transition from one dramatic plan to another, there is a deep, always noticeable to the listener, switching of artistic time.
The dramatic duality of the opera is supported by a special property artistic word in the theater, which distinguishes it from literature. The word on the stage always has a dual focus: both on the partner and on the viewer. In opera, this dual direction leads to a specific division: in the effective plan of dramaturgy, the vocally intoned word is directed; mainly on the partner, in the musically generalizing plan, mainly on the viewer.
The musical drama is based on a close interweaving, ideally a fusion of both plans of operatic dramaturgy. It is a continuous reflection of the action in music, with all its elements, and the contrast of artistic time is deliberately overcome in it: when deviating to the lyrical-epic side, the switching in time occurs as smoothly and imperceptibly as possible.
From the above comparison of the two main varieties, it becomes clear that the number structure, which traditionally serves as a sign of classical opera, is nothing more than a consequence of the distinction between its two planes, one of which requires the aesthetic completeness of its links, while the continuous composition of musical drama is the result of its dramatic solidity, a continuous reflection of the action in the music. The juxtaposition also suggests that these opera types must be distinguished from each other and from their constituent genres. As the subsequent presentation will show, this genre difference between the two types of opera is really essential and closely interconnected with their entire structure.
O.V. Sokolov.
The opera dates back to the turn of the 17th-18th centuries, where it was formed as an aristocratic entertainment. Since then, this genre has been improved, repeatedly changed, and eventually divided into many various kinds, which will be discussed in this article.
What is opera?
First of all, it is necessary to define what opera is - an art form. This is a musical and dramatic work, which is based on the combination of three arts - words, music and theatrical action. Dramatic texts in the opera are not spoken out, but are sung to instrumental accompaniment. In addition, there are usually musical interludes, and breaks in the plot are filled with ballet scenes.
The very first composition in this genre was written in 1600 based on the well-known legend about the singer Orpheus and his beloved Eurydice.
The main centers for the development of opera as an art form in general, as well as the formation of its many varieties, were, first of all, Italy and France.
Serious opera
So, one of the main types of opera in music is the so-called "serious" opera. It originated in Italy at the end of the 17th century among the composers of the Neapolitan school. Among the main themes of these works are mythological and historical-heroic. "Serious" operas were distinguished by a special pathos, magnificent expressive costumes. The long arias of the soloists prevailed, in which they expressed every, even the slightest emotion of the character, masterfully vocalizing. The functions of words and music were sharply and clearly separated.
Famous composers of the opera seria genre were Alessandro Scarlatti, Gluck, Salieri, Handel and many others.
comic opera
Like many other types of opera, comic opera originates in Italy in the 17th century. It is opposed to a "boring" serious opera and has completely different features: small scale, the prevalence of dialogue, a very small number of characters, the use of comic techniques. This type of opera has become much more democratic and realistic than the seria opera.
Different countries gave their names to the comic opera - for example, in Italy it was called opera buffa, in England - ballad opera, in Germany - singspiel, and in Spain it was designated as tonadilla. Accordingly, each variety had humor with a touch of national color.
Among the Italian composers, Pergolesi and Rossini worked in the genre of opera buffa, in France Monsigny and Gretry were engaged in this, and among the English, Sullivan and Gilbert were most famous.
semi-serious opera
Between serious and comic opera there is a genre of semi-serious opera (the so-called semi-series opera), hallmark which was a dramatic storyline ending happy ending. It appeared in Italy towards the end of the 18th century. This type of opera has not received special development.
Grand opera
This opera genre (grand opera) is French in origin, it arose in the first half of the 19th century. As the name implies, a grand opera is characterized by scale (4 or 5 acts, a significant number of performers, the participation of dancers and a large choir), monumentality, the use of historical and heroic plots and external decorative effects. The presence of a dance act was obligatory. famous representatives genre were the composers Spontini, Verdi and Aubert.
romantic opera
It originated in Germany in the 19th century. Her appearance is associated with general course romanticism that swept Germany at the end of the previous century, but in musical art romantic tendencies emerged several decades later. This current is characterized, in particular, by the rise national spirit which also appeared in the opera.
This genre includes all works written in romantic plot with a touch of mysticism and fantasy. Operas of this type were composed by Weber, Spohr, and partly by Wagner.
opera ballet
Otherwise, this variety was called the French court ballet, and originates, as the name suggests, in France at the beginning of the 18th century. Basically, the opera-ballet was created for various festivities of the royal court. The works were distinguished by pomp and brightness of the scenery and consisted of several small scenes that were in no way connected with each other in terms of plot. Here, opera as a type of theater manifested itself, perhaps, most clearly.
The French composer Jean-Philippe Rameau gave the greatest expressiveness and character to the opera-ballet, who also added high drama to the somewhat lightweight genre.
The genre outlived its usefulness soon enough, since its functions were quite specific and dependent on the venue. Despite the fact that separate samples of opera-ballet appeared until the 20th century, opera and ballet are still separate types of musical and theatrical art.
Operetta
Operettas were a much smaller genre of opera - small works with an unpretentious funny plot, a love and satirical line, as well as simple, well-remembered music. "Little Opera" originated in France closer to late XIX century.
There are various operettas in terms of the nature of the plot and content - most often they have lyrical and comedic shades. There are certain difficulties with the definition of this genre, since there are no strict limits that would distinguish, for example, operetta and opera buffa.
These are far from all types of opera that exist at the moment. As already mentioned, some of the varieties have disappeared, and in the new syncretic theatrical art new, as yet unnamed genres are born.
The National Academic Opera and Ballet Theater named after Solomiya Krushelnytska. Already more than a hundred rokіv at yogi walls sound the voices of the all-worldly masters of the operatic world.
History of the Opera House
The history of the Lviv Opera House began in 1885, when the river Poltva, which flows through the center of the city, became silted, they took it to the collector and made it underground. In order to restore the sound of the place, the city of vlad decided to build an opera theater here. For whom the competition was voted, Zygmunt Gorgolewsky, the architect of the royal palaces near Nimechchyna, was unanimously recognized as the winner. Yogo project zahopiv Zhuri not only beauty, but and innovative engineering thought. The architect adopted a smart and reasonable solution - to win the foundation of the same blocks, so that the better to build yoga on the ground with underground waters. In this rank, the Lviv Opera Theater is the only theater of the Old World, we will be inspired by the river.
Budіvnytstvo began in 1897, and the urochist for the theater started on August 4, 1900. The best artists and sculptors of Lvov worked on the decorations. Part of the color of beauty can be assessed by looking at the facade. Ale, it’s more richly attached in the middle, where you can eat with a tour, adding tickets for the opera or a simple entry ticket.
Exter "єr i inter" єr theater
Budynok was created in the style of the so-called “Vidensky pseudo-Renaissance”, in which the architecture of the renaissance and the baroque is far away. Shape the façade to oppose your grandeur, richness and versatility. Vіdomi sculptors created statues of the eight muses, like placements above the head cornice, and above them - a high-relief composition "Joys and suffering life."
Above the very entrance at the center of the towering Slava with a palm tree in her hands, as if to inspire, became the subject of a super trick. One eminent professor of medicine supposedly admitted that the sculpture does not seem to have such a round life. Vіn rushed, scho Slava rebuy on the fourth month of pregnancy. In order to win a super girl, the doctor turned to the sculptor, having worked over the monument, and asking for the girl’s address, what she called for the creator. As it turned out, the real lady had a child. Z "having understood the number and birth of the baby, the professor understood that the sculpture has been effectively" bula vagіtna "for a couple of months.
Not less hostile inter "єр theater, in which miraculously combine gilding, different-colored marmur, decorative paintings and different sculptures.
All the guests are quiet mirror hall from paintings and candles. I’ll name the wines like this, having removed the stars of the placement of one opposite one of the mirrors, as if visually increasing the placement. Behind the help of the arches, the hall is divided into three parts. Above the mirrors are paintings with fragments of operatic and dramatic plays. Under the plafond - canvases that reflect all the spirits of rock, different types of arts and professions. Busts of prominent playwrights and composers have been installed near the niches: Mykoli Lysenok, Mikhail Glinka, Pyotr Tchaikovsky, Semyon Hulak-Artemovsky.
On to another objects were saved for the speeches and speeches of Franz Josip.
Glyadatska Hall accommodating more than a thousand osib. This form is guessing the lyre, as it is composed of several tiers. The hall is decorated not only with paintings and sculptures, but with miraculous moldings. The theater has three balconies, some of which are unique. So on the first one there are twelve paintings, depicting gray marmur, like mythological scenes, on the other - atlanti, and on the third - women and human statues.
Above stage refinishing the ceiling "Apotheosis of Glory", sculptures of the Genius and the Angel, as well as the old coat of arms of Lviv. The decorative curtain “Parnassus” is of color and decorative, as if lowered from the forest of prem "єr and tracts of the bottom. It depicts the allegorical figures of the mythical gods.
Performances of the Lviv Opera
For the duration of the life of the theater, there were awards "both Ukrainian and foreign performances. So, on the stage of the Lviv theater, a production ballet performance "Swan Lake" by Pyotr Tchaikovsky. This day at the Lviv Opera House is also holding a recently revived Vidensky ball.
Yak dohati
To see the National Academic Opera and Ballet Theater named after Solomiya Krushelnytska, you can take a minibus or a tram that runs through the center of the city. Take minibuses No. 29, 32, 25. For a taxi, you need to go straight for the address: Svobodi Avenue, 28.
The opera begins its history at the turn of the 16th-17th centuries in the circle of Italian philosophers, poets and musicians - "Camerata". The first work in this genre appeared in 1600, the creators took as the basis of the plot famous story about Orpheus and Eurydice. Many centuries have passed since then, but composers continue to compose operas with enviable regularity. Throughout its history, this genre has undergone many changes, ranging from themes, musical forms and ending with its structure. What are the varieties of operas, when did they appear and what are their features - let's figure it out.
Opera types:
Serious opera(opera seria, opera seria) is an opera genre that was born in Italy at the turn of the 17th - 18th centuries. Such works were composed on historical-heroic, legendary or mythological subjects. A distinctive feature of this type of opera was excessive pomposity in absolutely everything - the main role was assigned to virtuoso singers, the simplest feelings and emotions were presented in long arias, lush scenery prevailed on the stage. Costumed concerts - that's what the seria operas were called.
comic opera originates in 18th century Italy. It was called opera-buffa and was created as an alternative to the "boring" opera seria. Hence the small scale of the genre, a small number of actors, comic tricks in singing, for example, tongue twisters, and an increase in the number of ensembles - a kind of revenge for the "long" virtuoso arias. In different countries, the comic opera had its own names - in England it is a ballad opera, France defined it as a comic opera, in Germany it was called a singspiel, and in Spain it was called a tonadilla.
semi-serious opera(opera semiseria) - a border genre between serious and comic opera, whose homeland is Italy. This type of opera appeared at the end of the 18th century, the plot was based on serious, and sometimes even tragic stories but with a happy ending.
Grand opera(grand opera) - originated in France at the end of the 1st third 19th century. This genre is characterized by a large scale (5 acts instead of the usual 4), the obligatory presence of a dance act, and an abundance of scenery. They were created mainly on historical themes.
Romantic opera - originated in 19th century Germany. This type of opera includes all musical dramas created on the basis of romantic plots.
opera ballet originates in France at the turn of the 17th-18th centuries. The second name of this genre is the French court ballet. Such works were created for masquerades, pastorals and other festivities held at royal and eminent courts. Such performances were distinguished by their brightness, beautiful scenery, but the performances in them were not connected by plot to each other.
Operetta- “little opera”, appeared in France in the 2nd half of the 19th century. A distinctive feature of this genre is a comic unpretentious plot, a modest scale, simple shapes, and "light", easily memorized, music.
