UDC 782
DOI: 10.36871/hon.202303113
Authors
Nguen Bao Yen,
Russian State University named after A. N. Kosygin
Institute “Maimonides Academy”, Moscow, 115035, Russian Federation
Abstract
When studying Russian operas based on fairy-tale plots, it is important to consider littleknown samples, including Tchaikovsky's second opera “Undine”. Extant in the form of five fragments, it is an essential component of the Russian tradition of adapting archetypal stories about sea maidens in the Romantic era. The article analyses the expressive means of the musical text and the vocal part of Undine. The colourful and magical are conveyed through orchestral writing with the timbres of harp, woodwind and string instruments typical for the “mermaid” imagery, and the corresponding textural and performance techniques. The influence of the fairy-tale plot finds its expression in the vocal part of the main character. Embodying the image of the sea maiden by musical means, the composer uses a range of means developed earlier in composer's practice. All these characteristics were later implemented in other works by Tchaikovsky — in his Second Symphony, music for Ostrovsky's drama “The Snow Maiden” and the ballet “Swan Lake”. It is revealed that the features of Undine's vocal part are determined by the psychological state of the character and are expressed in the combination of declamation and cantilena and the absence of coloratura technique, which is embodied in the composer's later operas.
Keywords
Tchaikovsky, opera, Undine, archetypal plot, image of the sea maiden, soprano
