Ru
EnA. Sitalova, T. Shak
Vocal works based on poems by A. Akhmatova in contemporary feature films: the conceptual role and peculiarities of functioning
The article is devoted to vocal works based on A. Akhmatova’s poems, presented in contemporary Russian cinema. Analytical coverage of the soundtracks of the feature films “Come to See Me...” (2000, directed by O. Yankovsky, composer V. Bibergan) and “A Life Is Only One” (2003, directed by V. Moskalenko, composer A. Rybnikov) is intended to reveal the significant role of newly created “Akhmatova’s” romances as components of the dramaturgy and composition of screen works. It is noted the musical line of the melodrama “A Life Is Only One”, which centers on the image of the lyrical heroine, characteristic of A. Akhmatova’s poetry, is built on the contraposition of two themes: the song “Rosehip” (self-quotes from the rock opera “Juno and Avos” by A. Rybnikov) and the romance “Oh, life without tomorrow!”, expressing the key idea of the film. The aforementioned romance appears in the film as a standalone vocal episode; however, its intonations form the thematic basis of the soundtrack.
The music for the film “Come to See Me...” unites five recurring themes that acquire leitmotif significance. The main leitmotif, symbolizing the lyrical relationships between the main characters, is the theme of the romance “Come to See Me...” which appears at every climactic moment of the action. This theme gradually develops from a series of intonations and is fully represented in the film’s finale. The lyrical genre of the elegiac romance allows for the capture of philosophical reflections on the meaning of life and the complex problems of human existence: loneliness, devotion to home and family, the search for love and happiness. The film’s conceptual idea of the life-giving power of goodness, hope, and bright thoughts is convincingly embodied in the poetry by A. Akhmatova and the music by V. Bibergan. The article concludes by emphasizing that highly artistic examples of such romances, originally created for screen productions and endowed with applied functions, are becoming autonomous musical works – objects of contemporary performing interpretations.
Key words
poetry by A. Akhmatova, musical line of movie, romance genre, dramaturgy and composition of contemporary film text, A. Rybnikov, V. Bibergan.
For citation
Sitalova A., Shak T. Vocal works based on poems by A. Akhmatova in contemporary feature films: the conceptual role and peculiarities of functioning. In: South-Russian Musical Anthology. 2025. No. 3. Pp. 127–135.
