DOI: 10.36871/hon.202203015
Authors
O. A. Podguzova
State Music and Pedagogical Institute named after M. M. Ippolitov-Ivanov, Moscow, 109147, Russian Federation
Abstract
The article examines one of the forgotten works of the XXth century — mono-opera "The Accompanist" (1997) by Felix Markovich Yanov-Yanovsky (born 1934) interpreted by the People's Artist of the USSR Sergei Borisovich Yakovenko (1937–2020). Throughout his creative life, the singer actively promoted the modern vocal repertoire, constantly continuing his creative search. He turned to voluminous, complex compositions, which he interpreted as a one-man show. Using the example of mono-opera "The Accompanist", the principles of Yakovenko's work on the score, his special vocal direction, contributing to the disclosure of the inner content of the text, are revealed. The composer's words about Lucien Luc, the main character of the mono-opera, are presented. A wide range of issues concerning the playwright Marcel Mithois and his play "The Accompanist" in the context of French dramaturgy of the XXth century, is considered. The musical and dramatic properties of the composition are revealed, the inclusion of quotations from concerts by Ravel and Rachmaninov is noted. Special attention is paid to certain pages of the mono-opera clavier from Yakovenko's home archive with many notes of the singer, which enable to reveal most fully the principles of his interpretation. Yakovenko's remarks concerning the movement and emotional state of the performer are considered. The list of attributes that the singer used to create a visual mise-en-scene is presented. The article gives an approximate general plan of scenography, developed by Yakovenko, according to which a musical drama is played out on stage.
Keywords
unknown mono-opera "The Accompanist", materials from S. B. Yakovenko's archive, singer's executive vocal direction
