«The tales of Hoffmann» by J. Offenbach as a musical quintessence of romanticism
The article examines the influence of romantic philosophy principles and aesthetics on the compositional, genre and intonation aspects of opera «The Tales by Hoffmann» by J. Offenbach. With that end in view, the author uses and compares some various versions of the named work libretto and score. The study aims to establish the cause and effect relationship between the specifics of romantic thinking and the form of organization as applied to musical material. Using the method of complex analysis, the author reveals the innovative sources of J. Offenbach’s approach to the opera dramaturgy problems. In the researcher‘s opinion this approach is determined by the individual composer’s interpretation of such fundamental Romanticism principles as the image of the artist-demiurge, the «double-worlds» principle, the system of «masks-doubles» and other. A special attention in the published work is paid to the ways of representation of romantic irony at the opera stage. The author of the article examines in detail the manifestations of this phenomenon at the different levels of theatrical performance – from conceptual to intonation one. It allows the researcher to draw the conclusion about the romantic aesthetics comprehensive influence on the basic laws of opera genre which formed during the XIXth century.
J. Offenbach, «The Tales by Hoffmann», romanticism, opera dramaturgy, romantic irony.