OPERA AS THE THEME FOR A MUSICAL-THEATRICAL OPUS
OPERA AS THE THEME FOR A MUSICAL-THEATRICAL OPUS

Summary/Abstract: The article examines special theme of the opera genre, associated with the relationship between music and words in it. It became an impetus for the reformist aspirations of composers, while simultaneously revealing another hypostasis of opera as a special system of professional and psychological relations between participants in a creative project. The involvement of a genre-axiological approach, which is aimed at identifying the process of reassessment of values at each stage of the development of musical art, allows us to comprehend the originality of Capriccio by R. Strauss. The composer’s latest composition appears as a rethinking of previous experience against the background of operas by F. L. Gassmann, A. Salieri and W. A. Mozart with various versions of a similar theme. The inconsistency with the concept of “chamber quality”, the absence of a plot and character development in the traditional sense, the unresolved content motive of choice demonstrates the author’s individual concept, which does not fall under the established genre-style models.

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