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E. Andruschenko

Our Native Opera at the Close of the 20th Century in Its Dialogues with Musical: «А Golden Calf» by T. Khrennikov

The author of the article elucidates some actual problems of our country opera development during the last third of the 20th and the beginning of the 21st centuries. These problems are caused of the certain arterial process, namely democratization of opera genre and its directing towards rapprochement and various interactions with genre of musical. In particular the researcher applies to several comic operas which appeared at the close of Soviet era (the 1980s) and visually represented the named tendency in the opera poetics sphere. The special attention is given to the opera “A Golden Calf” composed by T. Khrennikov (1913–2007) and originally interpreted some major characteristic features of classical musicals. First of all, the question is the priority role of “choreo-plastic” dramaturgy, because the latter in fact receives equal rights conformably to the traditional dramatic spheres (literary-and-stage or musical). The intensive development to be realized by means of dance and pantomime includes complete choreographic items, and predestines the inseparable connections between Word, Music and Sense of Rhythm in a series of opera scenes. It allows outline the prospects of producer’s plastic interpretation for some episodes with more and less “veiled” dancing base. At the same time, other characteristic features of musical such as synthesizing processes which spread on musical-stylistic and musical-genre levels of dramaturgy, or specific (structure and sense) “bi-groundness” of libretto, are found a greatly selective realization in “A Golden Calf” (or don’t realize at all). It is evidence of primary support on the comic opera traditions re-interpreted and renovated in the new historical conditions by T. Khrennikov and his librettists (Ya. Khaletzkiy and I. Sharoev).

Key words

comic opera, musical, T. Khrennikov, “A Golden Calf”, “choreo-plastic” dramaturgy of opera staging.