Ru
EnNguen Bao Yen, Yu. Finkelstein
Interpreting the vocal part of Tsarevna the Beloved Beauty in the opera “Kashchei the Immortal” by N. Rimsky-Korsakov in context of composer’s operatic dramaturgy
The article highlights the complex of expressive means characteristic of the vocal part (soprano) of Tsarevna the Beloved Beauty in N. Rimsky-Korsakov’s opera “Kashchei the Immortal”. It is noted that a fairy-tale is a typical variety of his operatic work, represented by four works that were oriented towards the creative individuality of N. Zabela-Vrubel. The problem of the composer’s reading of female fairy-tale images as various modifications of the archetypal plot about the sea maiden who disappears or transforms in the finale of the opera (Snow Maiden, Volkhova, Swan Tsarevna, Kashcheevna, Shemakha Tsarina) is outlined. The only exception in this series is Tsarevna the Beloved Beauty from the opera “Kashchei the Immortal” – a character in the real imagery sphere.
The role of Tsarevna the Beloved Beauty is analyzed from the standpoint of the artistic and imagery embodiment of this personage and its musical-dramatic development. It is noted that Tsarevna’s part concentrates dual features. Signs of her “earthly” appearance are Russian song, romance and arioso intonations. In contact with negative fantastic characters (the scene with the mirror, the “evil” Lullaby of Tsarevna), the named part clearly approaches their style. In accordance with the presence of the named image in the “light” or “dark” sphere, the composer uses a high or low register of a certain singing diapason, specific intonation techniques, a scale of loudness dynamics, etc. The general direction of dramaturgic development (“from darkness to light”) is naturally accompanied by a similar affirmation of joyful feelings and a positive attitude in Tsarevna’s part. In addition, the originality of the vocal part of the named character is predetermined by the characteristic features of the musical language inherent in the composer’s late work, the enrichment of the mode and harmonic palette in his operas of the 1900s.
Key words
N. Rimsky-Korsakov, operatic creative work, soprano parts in fairy-tale operas, “Kashchei the Immortal”, Tsarevna the Beloved Beauty.
For citation
Nguen Bao Yen, Finkelstein Yu. Interpreting the vocal part of Tsarevna the Beloved Beauty in the opera “Kashchei the Immortal” by N. Rimsky-Korsakov in context of composer’s operatic dramaturgy // South-Russian Musical Anthology. 2024. No. 1. Pp. 109-118.
