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M. Konarev

About genre, dramaturgical and figurative-intonational features of the opera «Stolen Sun» by B. I. Tishchenko

The article is devoted to the features of the genre, dramaturgy and the intonational structure of the opera “The Stolen Sun” by B. I. Tishchenko. The objectives of the study were to consider the originality of the composer’s approach to the interpretation of the poetic source; to analyze the intonational sources of musical material and determine the genre of the opera; to identify the satirical features and the method of their implementation in the composition. The main material of the study is the score of the opera “The Stolen Sun” based on the poetic tales of K. Chukovsky. It is noted that the opera of Tishchenko expanded the audience by rethinking and “maturing” of the poetic material, using “adult” musical language and the obvious refinement of expressive means. Tishchenko managed to create a monumental composition with a distinct humanistic concept and all the attributes of a full-fledged “grand” opera within the framework of an one-act “small” children’s opera with a 37-minute timing. In «The Stolen Sun» composer made the transition from the traditional genre-dramatic type of performance to a synthetic one, embodying the principles of a fairytale opera, satirical opera, and a «grand» opera. In the children’s fairytale opera of B. Tishchenko such techniques as parody, grotesque, and irony are widely used. This leads to the interaction on the semantic level of several meaningful layers, in particular, explicitly fairytale, mythological, and implicit, associated with various manifestations of humor.

Key words

opera, drama, genre, B. I. Tishchenko, intonation, K. I. Chukovsky, “The Stolen Sun”.