Party soprano in opera

Партія сопрано в опері «Царська наречена» М. Римського-Корсакова
Party soprano in opera "Regal bride" of N. Rimsky-Korsakov

Author(s): Mingjie Van
Subject(s): Theatre, Dance, Performing Arts, Music
Published by: Національна академія керівних кадрів культури і мистецтв
Keywords: timbre-kind of role; style of the epoch; style of the direction; lyrical "lung" soprano; "soprano of Rоssini";

Summary/Abstract: The purpose of the article given work is a determination of expressive specifics soprano Marfa in opera Rimsky-Korsakov "Regal bride" as lyrical "light" soprano, formed semantic opposition "soprano of Rоssini" on the strength of principle image opposition of personages in the romantic and rеаlistic operas first and second half XIX century. The methodology of the study - intonation approach of the school B.Asafiev in Ukraine, presented by works A.Sokol, E.Markova, O.Muravskaja and others, beside which inherent specified vision of the speech nature of the music is oriented on methods comparative history intonation analysis, as well as of the hermeneutical principle, allowing differentiate music-intonation trends upon their timbre marking to style of the epoch and style of the direction. The scientific novelty of the work is determined by the fact that for the first time in art criticism the decisive significance of the introduction of a new role of the lyrical, "easy" soprano in the second half of the nineteenth century, in accordance with the new type of figurative characterization of the heroine, childlike meek, Christianly submissive, fundamentally different from "demonism" a romantic female character, which was decided on the basis of the expressive possibilities of the "Rossiniyskiy" soprano. Conclusions. Done analysis to parties Marfa in opera N.Rimsky-Korsakov " Regal bride" in correlating with image Luchia in "Lucia di Lammermoor" G.Donizetti, which noted generality of the of a plot tumbling "madnesses from lost love", demonstrates independent importance of the timbre choice Rimsky-Korsakov in accordance with protection of the ideal "women-flapper", type, declared in lyrical opera Ch.Gounod and approved in "Ice-Princess" named Russian composer. The question is speech-intonation criteria of epochal choice vocal timbre in a personification of ideas, "spirit of the time" on G.Hegel.

  • Issue Year: 2018
  • Issue No: 10
  • Page Range: 286-291
  • Page Count: 6
  • Language: Ukrainian