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The opera “Mlada” occupies a special place in the work of the Russian “composer-storyteller” N. A. Rimsky-Korsakov. According to him, it is a “study” for a more successful opera “Sadko”. Despite the fact that the composer himself and critics noted the dramatic weakness of the libretto, the artificiality of intrigue and the absence of lively characters, the opera-ballet “Mlada” is unique in its genre, requiring the use of musical and choreographic means, stands out for its orchestral coloring in the depiction of the fantastic, magical and folk, “the world of the Slavs” and the world of other cultures, the picturesque music, the system of leitmotifs. B. V. Asafiev considered “Mlada” “undeservedly forgotten”, full of pictorialism, enchanting, valuable for its spectacular and musical side and unique symphony. Within the framework of the festival “Rimsky-Korsakov–175” (2019), “Mlada” was characterized by V. A. Gergiev as “a very expensive project”, the actualization of which is due to the fact that "we have gaps in the national repertoire". This study offers an attempt to apply modern philosophical approaches to the analysis of this work. It is proposed to understand this work as communication in the interpretation of N. Luhmann (the unity of information, message, understanding), which is encoded in accordance with the goals of success within the subsystem of art. The method of analysis of differences (i.e. forms, techniques used by the author) within the opera is used, as well as comparison with the cultural context of the historical period. The opera-ballet “Mlada” is considered in the context of the network of communications and memory of the system of musical art during its creation, the reception of the original idea of 1872, the theoretical and actual conditions of its composition, which influenced the semantic connotations in it. The involvement of “Mlada” in the system of art, which testifies to its communicative success, is analyzed. Semantic distinctions are revealed: antiquity / modernity; fantasy (fabulous, mythological) / reality; expressibility in language, singing / silence, inexpressibility; Slavic culture (“Rusinism”) / other cultures; realm of light / realm of darkness; world with gods / transcendent Christian God (audience discrimination); loyalty to one's gods / morality; individual / society. U. Eco's method of semiotic analysis is used, which makes it possible to interpret musical forms (leitmotifs, melodies, harmonic solutions) as signs associated with a certain meaning that can be decoded and interpreted., Опера «Млада» занимает особое место в творчестве русского «композитора-сказочника». По словам самого Н. А. Римского-Корсакова, она представляет собой «этюд» к более удачной опере «Садко». Несмотря на то, что сам композитор и критики отмечали драматургическую слабость либретто, искусственность интриги и отсутствие живых характеров, опера-балет «Млада» уникальна своим жанром, требующим использования музыкальных и хореографических средств, выделяется оркестровой колоритностью в изображении фантастического, волшебного и народного, «мира славян» и мира других культур, живописностью музыки, системой лейтмотивов. Б. В. Асафьев считал «Младу» «незаслуженно забытой», полной изобразительности, феерической, ценной своей зрелищно-музыкальной стороной и уникальным симфонизмом. В рамках фестиваля «Римский-Корсаков-175» (2019) «Млада» была охарактеризована В. А. Гергиевым как «очень дорогостоящий проект», актуализация которого обусловлена тем, что «у нас зияющие пустоты в национальном репертуаре». Настоящее исследование предлагает попытку применить современные философские подходы к анализу данного произведения. Предлагается понимание этого произведения как коммуникации в трактовке Н. Лумана (единство информации, сообщения, понимания), которая кодируется в соответствии с целями успешности внутри субсистемы искусства. Используется метод анализа различений (т. е. форм, приемов, которые использует автор) внутри оперы, а также сопоставление с культурным контекстом эпохи. Опера-балет «Млада» рассматривается в контексте сети коммуникаций и памяти системы музыкального искусства в период ее создания, рецепция первоначального замысла 1872 года, теоретические и фактические условия ее сочинения, повлиявшие на смысловые коннотации в ней. Анализируется включенность «Млады» в систему искусства, свидетельствующая о ее коммуникативной успешности. Выявляются смысловые различения: древность / современность; фантастичность (сказочность, мифологичность) / реальность; выразимость в языке, пении / безмолвность, невыразимость; славянская культура («русинность») / другие культуры; царство света / царство тьмы; мир с богами / трансцендентный христианский Бог (различение аудитории); верность своим богам / мораль; личность / общество. Применяется метод семиотического анализа У. Эко, позволяющий трактовать музыкальные формы (лейтмотивы, мелодии, гармонические решения) как знаки, связанные с определенным смыслом, который можно декодировать и интерпретировать.

Е.И. Фомин до сих пор остается малоизученной фигурой в русской музыке, а немногие дошедшие до нас сочинения воспринимаются как явления до некоторой степени «случайные», возникшие благодаря самобытности его недооцененного таланта. Однако подробное изучение опер Фомина и исторического контекста их появления позволяет установить их крепкую связь и взаимообусловленность. В статье в фокусе внимания оказываются увертюры трех полностью дошедших до нас музыкально-сценических произведений: опер «Ямщики на подставе», «Американцы» и мелодрамы «Орфей». При подробном анализе тематизма, методов его развития и общего построения музыкальной формы выявляются особенности, делающие каждую увертюру воплощением индивидуальной концепции сценического произведения. В «Ямщиках на подставе» главной особенностью является использование народно-песенного тематизма, цитат из сборника Н. Львова – И. Прача, в «Американцах» – богатство и разнообразие тематического материала, отражающее многоперсонажность оперы, в «Орфее» – крайняя драматичность развития и конфликтность сопоставлений. Также «Орфей» рассматривается в контексте реформы оперного либретто серьезной оперы в конце XVIII в., что привело к «моде» на трагические окончания в музыкально-театральных спектаклях., E.I. Fomin still remains a little-studied figure in Russian music, and the few compositions that have come down to us are perceived as “accidental” phenomena to some extent, which arose due to the originality of his underestimated talent. However, a detailed study of Fomin’s operas and the historical context of their appearance allows us to establish their strong connection and interdependence. The article focuses on the overtures of three fully extant musical and stage works: operas “Coachmen”, “The Americans” and melodrama “Orpheus”. A detailed analysis of thematism, methods of its development and the general construction of the musical form reveals the features that make each overture the embodiment of an individual concept of a stage work. In “Coachmen” the main feature is the use of folk-song thematism, quotes from the N. Lviv – I. Prach collection, in “The Americans”– the richness and variety of thematic material reflecting the multipersonality of the opera, in “Orpheus”– the extreme dramatic development and conflict. “Orpheus” is also considered in the context of the reform of the opera libretto of opera seria at the end of the XVIII century, which led to the “fashion” for tragic endings in musical theater performances.

Using meaningful historical material, the article explores the parallels of the creative careers of such great developers of the Russian opera of the late 19th – early 20th centuries as F. Chaliapin, S. Mamontov, and V. Telyakovsky. It was the period of rapid development of innovative stage direction, vocal art, and stage design. The outstanding organizers of theater business S. Mamontov and V. Telyakovsky were at the heart of that creative seething. Being representatives of different social strata (the merchant class and higher nobility), they attracted vivid talents and opened them the way of the private and state opera, respectively. The flourishing of operatic art led to a completely new level of performance. F. Chaliapin and a number of other outstanding representatives of Russian opera began their careers at that time. S. Mamontov’s Private Opera which played a significant role in the development of Russian operatic art was founded in 1896. The repertoire of this theater consisted of works by Rimsky-Korsakov, Mussorgsky, and Borodin. Innovative approaches to the opera performance which was considered as a living synthetic phenomenon integrating the concepts of production and stage design were implemented on the Russian stage for the first time. In its productions, Mamontov’s Private Opera used the principles of realism, which corresponded to the spirit of the works performed. Meanwhile, the development of Russian opera during this period was taking place against the background of complex social relations which aggravated many contradictions both in the life of the society as a whole with its differentiation into metropolitan and provincial life, and in the life on the stage with its specific very mobile interpersonal communications. The article focuses on the careers of S. Mamontov, F. Chaliapin, and V. Telyakovsky. Each of them made an invaluable contribution to the development of Russian opera. From the perspective of the historical culturological approach, the article examines the complicated relationship between the prominent Russian philanthropist and theater director Savva Mamontov, the flexible administrator Vladimir Telyakovsky, and the outstanding opera singer Feodor Chaliapin, and their influence on the formation of the personality of an opera performer and on the development of operatic art in Russia as a whole. The article presents abundant documentary evidence of the peculiarities of their relationship which ultimately determined the vector in the development of the Russian opera theater.

This article seeks to contribute to the ongoing revision of the historiography on eighteenth-century Russian music in general, and Russian opera in particular. After an extensive survey of the state of the field, the author adopts a multi-disciplinary approach (combining musical and philological studies) to analyse recently published primary sources about the reception of Italian opera seria in early imperial Russia. The article demonstrates that far from merely providing amusement for the Court of three consecutive female monarchs, Italian composers and their works engaged in complex ways with a much more variegated Russian "public." The author suggests that the creation of this music-listening and -performing domestic public was indebted to Italian operatic traditions and, at the same time, intimately connected to local traditions of musical performance.

The publication is devoted to the consideration of the peculiarities of the reception of Russian opera tradition in the Chinese opera of 20th century. The significant role of the historical and the cultural events that affected the spread Russian opera in China is analyzed. Particular attention is paid to the study of the activities of representatives the Russian emigration in the field of opera art. It was emphasized that the influence of Russian and foreign opera contributed to the formation of the genre the Chinese opera of the European type.

The article (written in the genre of “intellectual area studies”) discusses the circumstances of the stay of the Nobel laureate in literature Ivan Alekseevich Bunin (1870-1953) on the island of Capri, near Naples. It is noted that I.A. Bunin is one of the main “travelers” in Russian literature: in addition to Europe, he traveled to North Africa, Asia Minor and the Middle East, even reaching Ceylon. During these frequent months-long “voyages,” Bunin during his lifetime repeatedly received reproaches from his contemporaries for “being alienated from Russia.” The author of the article, on the contrary, believes that for Bunin (who considered himself the literary successor of N.V. Gogol) there were the concepts of the road and journey that were the most natural and organic context for thinking about Russia and the peculiarities of its historical fate. The article shows that the island of Capri has become a special place in the intellectual biography of Bunin: there he and his wife V.N. Muromtsev-Bunin spent three creatively fruitful winters of 1911/1912, 1912/1913 and 1913/1914. The center of Bunin’s Capri is the Grand Hotel Quisisana (which still exists today), which became the scene of one of Bunin’s most famous stories “The Gentleman from San Francisco.” The author of the article shows that it was on the island of Capri that I.A. Bunin not only wrote dozens of his best works about Russian life, but also developed the principles of his own “philosophy of creativity.” The article analyzes the evolution of relations between I.A. Bunin with the Russian “residents” of Capri: the “proletarian writer” M. Gorky (A.M. Pesh-kov), the writer L.N. Andreev and the outstanding Russian opera singer F.I. Chaliapin.

Actuality of work consists of revision some of theoretic installations, what are determined in XX century to religion problematic in Russian art. In real time, when the bans were lifted on this theme, actuality are seems the researching with this point of view exactly Russian opera as most democratic and available for perception view of music art. Accordingly, analysis of operas with suggesting point of view is demanding reconsidering some position in musicology of XX–XXI centuries. With this connected the purpose of this article – the revealation of religious aspects in Russian opera of boundary of XIX–XX centuries. The methodology. For accievement of this purpose we use the methods of musicological and genre-style analysis of operas of composers boundary of XIX–XX centuries. Scientific novelty consist of that historical-cultured and theoretical analysis of Russian operas of this period in attitude of religious aspects is one of insufficient researching section of native musicologist and it need especial intent attention of researchers for position of XXI centuries musicology. Conclusions of article permit to say about mutual influence of secular professional and spiritual aspects. To some extent analysis of Russian opera with religious and spirit problematic point of view allow to project some historic aspects of boundary of XIX–XX centuries to the midterm period of XX–XXI centuries.

In this article, the author tries to present the issue of blank spots in the history of Polishmusic since 1794 (the world premiere of Cud mniemany, czyli Krakowiacy i Górale [The supposedmirtacle, or Cracovians and highlanders] composed by Jan Stefani to the libretto of Wojciech Bogusławski is regarded as a symbolic beginning of national style in Polish music) up to the end of the SecondWorld War. It was a great period in history when Poland twice did not exist as a state (between1795 and 1918 and between 1939 and 1945).At the beginning the attention is drawn to the Polish music in the nineteenth century. Author describes new discoveries such as the Second Piano Quintet in E flat Major (with double bassinstead of second cello) by Józef Nowakowski (Chopin’s friend), and String Quartets op. 1 and monumentaloratorio Passio Domini Nostri Jesu Christi by Józef Elsner who was Chopin’s teacher in the Conservatory of Music in Warsaw (Elsner’s Passio discovered at the end of the twentieth century isregarded now as the most outstanding religious piece in the history of Polish music in the nineteenth century). Among other works author also mentions romantic opera Monbar (1838) by Ignacy Feliks Dobrzyński and first opera of Stanisław Moniuszko Die Schweitzerhütte (about 1839) written to the German libretto during composer’s studies at Singakademie Berlin. Addressing the issue of Polish music of the first half of the twentieth century author draws attention to the composer Eugeniusz Morawski regarded as the leading Polish author of programme music next to Mieczysław Karłowicz (unfortunately Morawski is still forgotten figure in the Polish musical life). Among others the importance of symphonic heritage of Feliks Nowowiejski, an author ofextremely popular in Europe during the second decade of twentieth century oratorio Quo vadis, is mentioned. At the end of article, the author takes up the problem of the enigmatic figure of Adolf Gużewski.The whole musical output of Gużewski, whose opera Dziewica lodowców [The Ice Maiden] was applauded in Warsaw and Russian opera houses in the second decade of the twentieth century, is now considered lost.

Розглянуто творчість сучасного російського композитора Андрія Тихомирова, зокрема його оперні опуси. Проаналізовано музичні й драматургічні компоненти камерної опери «Останні дні» та оперу великого формату «Дракула». Автор спирається на музичний контекст епохи, на музику, яка «звучить навколо» (рок-, поп-музика, бардівська пісня, джаз, масова пісня тощо). Композитор творить у нерозривному зв’язку з класичними традиціями європейського і російського оперного театру. Музикознавці і музичні критики підкреслюють, з одного боку, безсумнівну оригінальність творчого методу А. Тихомирова, з іншого, його живий зв’язок із класичною спадщиною і методологією композиції. Досліджено композиційну будову опер, драматургічний розвиток і логіку, виявлено їх літературні витоки, а також поєднання дії та композиторських музичних форм і засобів музично-драматургічної виразності. Розкрито тісний зв’язок оперних опусів А. Тихомирова з традиціями російської класичної музики і російської та європейської класичної літератури. Процитовано програмні установки композитора теоретичного характеру, його філософські й естетичні погляди на природу опери, музичного театру, академічної музики, на шляхи її подальшого розвитку, на кризу оперного жанру. Наведено важливі біографічні відомості про композитора, охарактеризовано його творчість, основні етапи її розвитку., Relevance of the study. The work of a contemporary Russian composer, graduate from the Leningrad Conservatory, Andrei Tikhomirov, is considered, with the main emphasis on his operatic work being made. The music and dramaturgical components of his chamber opera “The Last Days” and the large format opera “Dracula” were subjected to analysis.Main objective(s) of the study. The author’s means of creating music. He has relied on the musical context of the epoch, the music “sounding around” (rock, pop music, bard song, jazz, mass song, etc.). His loyalty to the melodic gift, has forced him to create in close connection with classical traditions born by European and Russian opera theaters.Methodology. Evidence is given by authoritative domestic musicologists and music critics, emphasizing, on the one hand, the undoubted originality of A. Tikhomirov’s creative method, and, on the other, his living connection and reverence for the classical heritage and composition of European academic music. Both operas have been investigated for compositional composition, dramatic development and dramatic logic; their literary origins are indicated, as well as conjugation of action and composer’s findings of adequate musical forms and means of musical and dramatic expressiveness.Results / findings and conclusions. The close relationship of A, Tikhomirov’s operas with the traditions of Russian classical music and Russian and European classical literature is shown. There are cited software installations of the composer of a theoretical nature, his philosophical and aesthetic views on the nature of opera, musical theater, academic music, ways of its further development, the essence of the crisis of the opera genre.Significance. In addition, the article contains important biographical information about the composer, a general description of his work and the stages of its development. The article puts an emphasis on the development of possibilities of composer thought and technology (including in the operatic genre) in modern conditions, without breaking with the traditions of European classical music., Рассмотрено творчество современного российского композитора Андрея Тихомирова, в частности его оперные произведения. Проанализированы музыкальные и драматургические компоненты камерной оперы «Последние дни» и оперы большого формата «Дракула». Отмечено обращение автора к музыкальному контексту эпохи, к музыке, «звучащей вокруг» (рок-, поп-музыка, бардовская песня, джаз, массовая песня и пр.). Подчёркнуто, что его творчество неразрывно связано с классическими традициями европейского и российского оперного театра. Авторитетные отечественные музыковеды и музыкальные критики отмечают, с одной стороны, оригинальность творческого метода А. Тихомирова, с другой, – его живую связь с классическим наследием, с методологией композиции. Исследованы композиционное построение, драматургическое развитие и логика опер, указаны их литературные истоки, отмечена адекватность музыкальных форм и средств музыкально-драматургической выразительности. Раскрыта тесная связь оперных опусов А. Тихомирова с традициями русской и европейской классической литературы. Процитированы программные установки композитора теоретического характера, рассмотрены его философские и эстетические взгляды на природу оперы, музыкального театра, академической музыки, на пути её дальнейшего развития, на причины кризиса оперного жанра. Статья содержит биографические сведения об А. Тихомирове, общую характеристику его творчества и основных этапов его развития.

The article examines the activities of the Musical Classes of the Rostov and Novocherkassk Sections of the Imperial Russian Musical Society (IRMS) from the perspective of the role of practical music-making in acquiring knowledge of the art of music. The statistics of the student concerts is brought in, the consistency in their organization is marked, on the basis of which the conclusion is arrived at that the main particular feature of the Musical Classes affiliated with the IRMS was the practical orientation of the instruction. Various forms of music-making are examined: solo performances, as well as those as part of ensembles and symphony orchestras. The repertoires of the student concerts were comprised predominantly of works by the composers of the Classical-Romantic period. The program of the student chamber ensemble morning and evening concerts were distinguished by the diversity of their programing, their cognitive constituent, as a rule, was connected with a panorama of names, genres and forms. The programs of the student orchestral concerts are perceived to have been more organic in their constituency. They were also frequently comprised according to the principle of contrast. Of great significance were the student opera productions. As the result of active work of the Opera Classes of the IRMS, the students mastered in a practical way large strata of Western European and Russian opera classics. In the general educational process a significant role was also played by the “adult” concerts, especially in such formats as monographic and historical concerts, as well as concert-lectures. Keywords: musical education, the musical life of Rostov, the musical life of Novocherkassk, student concerts.

В статье анализируется первая опера выдающегося русского композитора А. С. Аренского «Сон на Волге», написанная по комедии А. Н. Островского «Воевода». Хотя это сочинение принадлежит к раннему периоду творчества композитора, в нем уже проявились важные особенности его стиля, типичные для всех последующих музыкально-сценических произведений, и были найдены многие характерные для его театральных опусов драматургические принципы. Кроме того, автор сравнивает либретто оперы Аренского с оперой П. И. Чайковского по той же пьесе, указывая некоторые важные различия., The article analyses Dream on the Volga — the first opera by the prominent Russian composer Anton S. Arensky, based on the Alexander N. Ostrovsky’s play The Voyevoda. Although this composition was written in the early period of the composer’s creative activity, a lot of important features of his individual style, as well as principles of dramaturgy typical for his works for musical theatre, manifested in it. The author also compares the text of Arensky’s opera with Pyotr I. Tchaikovsky’s opera on the same plot, indicating some crucial differences., Журнал Общества теории музыки, Выпуск 2 (34) 2021, Pages 1-7

This chapter explores the tension between national and international operatic repertories in the case of nineteenth-century Russia. It discusses conceptual problems associated with the notion of a national canon, which is frequently conceived of in a binary opposition to an international or universal one. The discussion of Russian musical life charts the reception of foreign repertories as well as the canonization of Mikhail Glinka’s operas Zhizn’ za tsarya (A life for the tsar, 1836) and Ruslan i Lyudmila (Ruslan and Lyudmila, 1842), and concludes by showing how the tensions between foreign and domestic works played out differently in critical and historical writing from the way they did in the performing repertory. This chapter is paired with William Weber’s “The survival of English opera in nineteenth-century concert life.”

Актуальность исследования и научная новизна работы определяются тем, что впервые на основе неопубликованных архивных документов (ГАРФ, КР РИИИ, РГИА) рассмотрены взаимоотношения выдающегося русского дирижера и композитора Эдуарда Направника и его августейшего покровителя, президента Русского музыкального общества великого князя Константина Николаевича. Используются различные методы источниковедческого анализа, в том числе перекрестное комментирование. Затронуты следующие сюжеты: первое знакомство, крещение детей и помощь в принятии русского подданства; премьера «Нижегородцев»; интрига С.А. Гедеонова о замене Направника Балакиревым; контакты с К.К. Кистером и Н.А. Лукашевичем, директорами Петербургской консерватории и Русского музыкального общества. Завершает статью приложение, содержащее высказывания вел. кн. Константина Николаевича о произведениях Направника, премьеры которых состоялись в Мраморном дворце и в концертах Русского музыкального общества., The relevance of research and scientific novelty of the work are determined by the fact that for the first time on the basis of unpublished archival documents (State Archive of the Russian Federation, Cabinet of Manuscripts of the Russian Institute of Art History, Russian State Historical Archives) analyzed the relationship of the outstanding Russian conductor and composer Eduard Nápravník, and his august patron, the President of the Russian musical society the Grand Duke Konstantin Nikolayevich. Various methods of source analysis are used, including cross-commenting. The following stories are considered: first acquaintance, children’s baptism and assistance in accepting Russian citizenship; the premiere of «The People of Nizhny Novgorod»; the intrigue of S. Gedeonov about replacing Nápravník with Balakirev; contacts with K. Kister and N. Lukashevich, Directors of the St. Petersburg Conservatory and the Russian musical society. The article concludes with an Appendix containing the statements of the Grand Duke Konstantin Nikolayevich about the works of Nápravník, first performed at the Marble Palace and in concerts of the Russian Musical Society., Музыковедение, Выпуск 11 2020

В российском оперном сезоне 2016–2017 годов были представлены сразу две постановки оперы Мечислава Вайнберга и Александра Медведева «Идиот»: в Большом театре в Москве и на сцене Мариинский-2 в Санкт-Петербурге. Созданная в 1986 году, опера «Идиот» ждала полноценной премьеры на отечественной сцене 30 лет и стала настоящим событием музыкального мира. Обращение авторов музыкальной драмы к сюжету самого «загадочного» романа Достоевского видится закономерным. Оно обусловлено общностью взглядов на жизнь М. С. Вайнберга и Ф. М. Достоевского: оба, несмотря на перенесенные страдания, сохранили веру в человека и светлые идеалы. Косвенным стимулом к созданию оперы можно считать общение композитора с Н. Я. Мясковским, который на протяжении пяти лет работал над оперой «Идиот», но так и не завершил ее. Идея обращения к роману «Идиот» принадлежит либреттисту Александру Медведеву. Анализ либретто и драматургии произведения позволяет утверждать, что авторы стремились максимально полно представить Князя Мышкина как «положительно прекрасного человека» и создать образ главного героя, близкого первой редакции романа Достоевского. Следуя общей логике сюжета, Медведев свободно компилирует фрагменты, фразы и отдельные слова литературного первоисточника, подчеркивая «надмирный» и возвышенный характер Князя Мышкина. Монологи героя основаны на текстах романа, где он рассуждает о природе, первоначале бытия, провидит других персонажей в идеальной проекции. В первый монолог Князя (3 картина) включена известная цитата из письма Достоевского к брату Михаилу. В либретто также фигурируют поэтические строки Н. М. Языкова и Я. П. Полонского, которые представлены в популярном в XIX веке жанре романса, что не только служит созданию атмосферы картины «День ангела», но и ярко контрастирует сценам с участием Мышкина. Принцип антитезы используется и в других картинах, чтобы подчеркнуть острый динамичный характер развертывания действия, которое завершается трагической развязкой., In the Russian 2016–2017 opera season two productions of “The Idiot” by Mieczysław Weinberg and Aleksandr Medvedev were presented at once: in the Bolshoi Theatre, Moscow, and in Mariinsky II (Second stage), St. Petersburg. “The Idiot”, composed in 1986, had been waiting for a proper staging in Russia for 30 years, so it became a significant event. The authors’ turning to the most “mysterious” novel by Dostoyevsky seems to be logical. It is determined with M. S. Weinberg’s and F. M. Dostoevsky’s common life outlook. Both of them preserved their faith in man and fair ideals in spite of sufferings. An implicit motivation to compose the opera could be also Weinberg’s association with N. Ya. Myaskovsky, who had been working over “The Idiot” but had not completed it. The libretto and dramaturgy analysis makes it possible to claim that the authors tended to represent Prince Myshkin as a “positively beautiful man” to the full, as well as to form the image of the main character close to the first version of Dostoevsky’s novel. Following the general plot logic, Medvedev freely compiles fragments, phrases and separate words of the literary source emphasizing the “supernal” and high-minded character of Prince Myshkin. The hero’s monologues are based on the texts where he speculates about the nature and the alpha of existence, where he foresees the ideal projection of other characters. Besides that, the first monologue of Prince Myshkin (scene 3) includes the widely known quotation from Dostoevsky’s letter to his brother Mikhail. The libretto also comprises the poetic lines by N. M. Yazykov and Ya. P. Polonsky presented as a romance— a genre popular in the 19th century. Engaging these texts not only creates the atmosphere of the “Name Day” scene but also vividly contrasts against the scenes with Myshkin. The antithesis principle is also used in other scenes to emphasize the sharp dynamic character of unravelling the action which ends tragically., Научный вестник Московской консерватории, Выпуск 3 (42) 2020, Page 112–125

Las óperas «rusas» del compositor valenciano Vicente Martín y Soler fueron creadas durante su estancia en la corte de Catalina II, a partir de libretos escritos por la misma zarina. Catalina valoraba el teatro musical por considerarlo un instrumento útil tanto ideológica como moralmente. Por eso reorganizó el teatro cortesano y prestó una especial atención al desarrollo de la opera rusa y en ruso. En el contexto histórico de la época, Martín y Soler participó en esos proyectos ideológicos y políticos de la emperatriz, a pesar de que regulaban y limitaban el arte del mismo compositor. The «Russian» operas of the Valencian musical composer Vicente Martín y Soler, were created during his stay at the court of Catalina II, from librettos that were written by the tsarina. Catalina valued musical theatre as an instrument useful both ideologically and morally. For this reason she reorganized the court theatre and paid special attention to the development of the Russian opera and in Russian language. In the historical context of the time, Martín y Soler participated in those ideological and political projects of the Empress, although these regulated and limited the art of the composer himself.

The problem of studying the Russian musical-theatrical art of the 18th century presents itself as a very timely one, which is confirmed by the fact that specimens of this genre have been studied very little and have been obviously underappreciated. One of the founders of the Russian musical theater is composer Dmitri Bortnyansky, who played a special role in the formation and development of the 18th century musical theater. His artistic activities as a Kappelmeister took course in the “small court” of the heir to the throne Pavel Petrovich and his wife Maria Feodorovna. In Pavlovsk and Gatchina, where Maria Feodorovna formed a group of “noble actors” the premieres of three of Bortnyansky’s operas took place (“The Signor’s Festivity,” “The Falcon” and “The Son-Rival”). The aesthetics of court art was based on the principles of gallantry and “pleasure,” which in many ways determined the stylistics of the studied operas by Bortnyansky. The characteristic features of his theatrical compositions for the “small court” had to include: the recreational function of the theatrical performance; the slant towards a conflict-free type of dramaturgy (or to a considerable alleviation of the existent conflict); a stable reference to the genre of the pastoral; a mandatory happy solution of all the collisions in the plot; accentuations of the motives in the plot capable of creating an atmosphere of gallantry; a deliberate idealization of the protagonists and demonstration of their exclusive noble qualities. In the musical sense this presupposes simplicity and clarity of the homophonic texture; pliancy and fluidity of the melodic development; a characteristically standard tonal and harmonic development; a compositional dramaturgy devoid of complexity; reliance on dance genres. At the same time the composer in his works creates the first examples in Russian opera of dramatic vocal numbers disclosing the protagonists’ powerful emotional tumults of the soul (such as the aria of Donna Leonora in Act 2 of “The Son-Rival”). Thereby, Bortnyansky’s position at the “small court” made it possible for him to disclose his natural gift, his melodic gift and attempts at demonstrating the wealth of the inner world of man. Keywords: “small court” of successor to the throne Pavel Petrovich, gallant art, pastoral, opera, the musical legacy of Dmitri Bortnyansky, 18th century Russian opera.

В статье раскрывается историко-культурный контекст возникновения оперного жанра в России наряду с появлением первых отечественных профессиональных певцов. Прослеживается формирование национальной композиторской школы и становление оперного жанра. Автор выявляет основополагающие компоненты формирования русской вокальной школы конца XVIII в. и отмечает, что отечественная вокальная традиция формировалась на основе синтеза итальянского бельканто и русской школы пения. Плеяда первых русских певцов и композиторов заложила прочные основы профессионального национального музыкального искусства., The paper reveals the historical and cultural context of the emergence of opera in Russia alongside with the fi rst Russian professional singers. The formation of the national composing school and the opera genre is traced. The author determines the essential components of the formation of the Russian vocal school of the late 18th century and notes that the Russian vocal tradition was based on the synthesis of Italian bel canto and the Russian school of singing. A galaxy of the fi rst Russian singers and composers laid a fi rm foundation for the Russian professional musical art., Университетский научный журнал, Выпуск 51 2019

Статья посвящена проблеме изучения исторического контекста в русских операх как необходимого фактора создания полноценного сценического образа для исполнителя-вокалиста. Статья опирается на фундаментальные исследования в этой области русских музыковедов, историков и культурологов в китайской научной мысли эта проблема еще не нашла отражения. Исторический контекст рассматривается в двух русских операх: Евгений Онегин П. И. Чайковского и Царская невеста Н. А. Римского-Корсакова, которые дают достаточно контрастные представления об историческом времени разных эпох. В опере Евгений Онегин акцент делается на противопоставлении картин провинциального помещичьего быта и столичного Петербурга. Как особая примета времени рассматривается дуэль Ленского и Онегина: как социально-знаковое явление и как трагедия человеческих отношений. В опере Царская невеста в изучении исторического контекста основное внимание уделено особым явлениям в период царствования Ивана Грозного: опричнине, смотру невест и трагедийному исходу любовных отношений главных действующих лиц. Понять и выразить всю глубину исторической правды в этих операх задача непростая для певца-вокалиста. Изучение исторического контекста в каждой опере поможет создать полноценный сценический образ., The paper is devoted to the problem of studying the historical context in Russian operas as a necessary factor in creating a full-fl edged stage image for a vocalist. The paper is based on the fundamental research in this area by Russian musicologists, historians and cultural scientists in Chinese scientifi c thought, this problem has not yet been refl ected. The historical context is considered in two Russian operas: Eugene Onegin by P.I. Tchaikovsky and The Tsars Bride by N. A. Rimsky-Korsakov, which give quite contrasting ideas about the historical time of different eras. In the Eugene Onegin opera, the emphasis is made on contrasting the provincial landlord life and the capital city of St. Petersburg. As a special sign of the time, the author considers the duel between Lensky and Onegin: as a socially signifi cant phenomenon and as a tragedy of human relations. In the opera The Tsars Bride, the study of the historical context focuses on the special phenomena under the reign of Ivan the Terrible: the oprichnina, the brides viewing, and the tragic outcome of love relationships of the main characters. To understand and express the whole depth of the historical truth in these operas is not an easy task for the singer-vocalist. Studying the historical truth in each opera will help create a full-fl edged stage image., Университетский научный журнал, Выпуск 50 2019

This article delves into the lives and careers of two significant Russian singers: the bass Osip Petrov and his wife, the mezzo-soprano Anna Vorobyova, who created or inspired leading roles in operas by Glinka, Dargomïzhsky and Musorgsky. Over the course of a career that spanned some four decades, Petrov would become the most celebrated Russian bass of the nineteenth century; Vorobyova, whose career was cut short by a tragic accident, would turn her attention to the private sphere and incubate a younger generation of musicians. Drawing on reviews, memoirs and personal correspondence, I chart the influence of this couple not only on individual composers and operas, but also on the development of stock characters such as the father, the buffoon, the antihero and the trouser role.

This paper focuses on Catherine II?s The Early Reign of Oleg (1790) as a demonstrative performance of the sovereign?s policy. In the context of Catherine?s early nationalistic pride and her ?Greek project?, the performance is understood as a synthesis embodying in music the vision of Russia as an Empire ready to receive the heritage of Byzantium, thanks to Sarti?s use of modes combined with the Russian folk elements introduced by Canobbio and Pashkevich. In this context, Nikolay L?vov represents the joining link, having theorized that Russian folk music originated from ancient Greek music.

Cultural life of Belgrade in the period between the two Worlds Wars was also defined by establishment and development of numerous artistic associations, organizations and societies. Around 40,000 Russian refugees stationed in the Kingdom of Serbs, Croats and Slovenes in the first decade after the First World War, seeking refuge after the October revolution and the civil war. They have influenced development of the cultural life in the newly formed Balkan state. Establishment of two independent departments - The Opera (1919) and The Ballet (1922) - within the Belgrade National Theater, lead to popularization of theatrical arts (drama, opera and ballet). Russian artists and stagehands employed in the National Theater significantly contributed in the fields of performance interpretation, scenery and costume, as well on the artistic and directorial level. The problem of language barrier and poor pronunciation of the Serbian language of Russian singers became an element of discrimination and segregation in a rivalry between the Russian and the Serbian opera soloists. In that context, the first working decade showed noticeable slowing of development i.e. stagnation of the Belgrade's Opera scene, and offered poor conditions for creating the national opera style.