UDC 782
DOI: 10.36871/hon.202304136
Authors
Alla A. Baeva,
Russian Institute of Theater Arts — GITIS, Moscow, 125009, Russian Federation
Abstract
The purpose of the article is to draw attention to modern Russian opera, its multifaceted study in university courses. In this regard, the operatic heritage of Russian composers of the last decades of the twentieth century is a significant artistic phenomenon. Note an undoubtedly important point: the search for new forms of synthesis on the musical and theatrical stage is not an end in itself for Russian masters, but rather an opportunity to embody current topics and ideas through the artistic prototypes they choose. At the same time, one of the characteristic trends of the end of the last century was the peculiar immersion of opera in its own historical past, which contributed to the disclosure of the deep properties of its genre components. Let us name just a few works that have attracted the attention of directors, conductors, performing musicians, and researchers. These are “Mary Stuart”, “Visions of Ivan the Terrible” and “Hamlet” by S. Slonimsky, “Till Ulenspiegel” and “The Mystery of the Apostle Paul” by N. Karetnikov, “Lolita” by R. Shchedrin and “The Foam of Days” by E. Denisov, “The Prophet” and “Young David” by V. Kobekin, “Antigone” by V. Lobanov and “When Time Runs Out of the Banks” by V. Tarnopolsky. On the example of N. N. Karetnikov’s large-scale opuses "Till Ulenspiegel" and "The Mystery of the Apostle Paul", the modern principles of musical and theatrical dramaturgy and features of genre formation are revealed.
Keywords
modern Russian opera, educational project, N. N. Karetnikov, “Til Ulenspiegel”, “The Mystery of the Apostle Paul”
