theme of the issue: Libretto for the Crisis Author: Sergey GolubitskyThe current theme of the issue continues the series about the impact of the crisis on the IT industry, which we started a week ago. But if in the last issue we were talking about real and tangible matters - goods, corporate budgets, workers

SECRET LIBRETTO "NORD-OST"

THE SECRET LIBRETTO "NORD-OST" Stanislav Belkovsky November 18, 2002 0 47(4670) Date: 19-11-2002 Author: Stanislav Belkovsky THE SECRET LIBRETTO "NORD-OST" (Why and for what did the hostages die?) Vladimir Putin lost the fight for Kaliningrad . This is the real outcome of the EU-Russia summit,

Libretto, on " hastily” made by Schikaneder, combined several plot sources. Initially, it was based on the popular fairy tale "Lulu" from a collection of fantastic poems. Wieland "Jinnistan, or Selected Tales of Fairies and Spirits". However, in the process of work, the plot was “redrawn”, changing greatly (up to the fact that the negative characters suddenly turned into positive ones, and vice versa).

At first glance, The Magic Flute is an opera-fairy tale, which glorifies the victory of light over darkness, good over evil, love over deceit, fortitude over cowardice, friendship over enmity. Actually last opera the composer is the deepest philosophical work, where the Mozartian ideal of a just state was embodied. Despite the complexity of the plot plot, the idea of ​​the opera is extremely clear: the path to happiness lies only through overcoming difficulties and trials. Happiness is not given by itself, it is acquired as a result of vitality and fidelity, devotion and patience, love and faith in good forces. It is also significant that the forces of good and evil are contained not only in human characters, they are rooted in the very foundations of the universe. In the opera, they are personified by magical symbolic characters - the wise magician Sarastro (bearer of the "sign of the sun") and the insidious Queen of the Night. Between the kingdom of the sun and the kingdom of the night, Tamino rushes about - a man who seeks the truth and comes to it through a series of trials.

the main theme of the "Magic Flute" - the exit from spiritual darkness into the light through initiation - is the key idea of ​​Freemasonry;

wizard's name "Sarastro" is an Italianized form of the name Zoroaster, a famous ancient sage, philosopher, magician and astrologer. According to Babylonian legends, Zoroaster was one of the first masons and the builder of the famous Tower of Babel (an image especially close to "freemasons"). In Egypt, this thinker was associated with the cult of Isis and Osiris, which also has an “echo” in the opera (the action takes place in Ancient Egypt, on the banks of the Nile, surrounded by palm groves, pyramids and temples dedicated to the cult of Isis and Osiris);

through the entire "Magic Flute" passes the symbolism of the number 3, which was sacred to the Masons (three Ladies, three Boys, three temples, three opening chords in the overture, etc.);

the ordeal that Prince Tamino undergoes during the opera is reminiscent of a Freemason's initiation ceremony. One of the trials takes place inside the pyramid, which is a traditional Masonic symbol.

With The Magic Flute, Mozart fulfilled his dream of creating a grand opera in German. Unlike most of the composer's other operas created on an Italian basis, it relies on the traditions singspiel . This is an Austro-German version of comic opera. . A feature of the singspiel is the alternation of completed musical numbers with spoken dialogues. Most of the performances are ensembles, very diverse in composition and combination of voices.

The typical plot of the singspiel is a fairy tale. The laws of a fairy tale allow the greatest surprises that do not require detailed explanations. That's why the basic principle dramaturgy The Magic Flute is a juxtaposition of short scenes with frequent changes of scene. In each such scene, the composer's attention is focused on this specific situation (the separation of lovers, the vengeful plans of the Queen of the Night, the ridiculous cunning of Monostatos, the comic adventures of Papageno) or on the description of images-characters.

Both acts of the opera end with grand finales. At the same time, a peculiar feature of The Magic Flute is the accumulation of events not in the 1st, but in the 2nd finale, and the abundance of private outcomes before the onset of the general, final outcome. First, Tamino and Papageno reach the gates of Wisdom and Love, then the fate of Papageno is resolved, who finally finds his Papagena ("Pa-pa-pa" duet). This is followed by the disappearance of the evil forces, whose power has come to an end. And only after all this comes the final celebration.

In the music of the opera, three leading figurative spheres are easily distinguished: Sarastro, the Queen of the Night and Papageno. Each of these heroes is associated with a certain complex of genre and thematic elements.

Mozart's Sarastro embodies the very popular in the 18th century the idea of ​​an enlightened monarch . He stands at the head of a perfect state, the people love and glorify him. Sarastro is fair, however, for good purposes he resorts to violence: he punishes Monostatos for pursuing Pamina; Pamina is forcibly kept in his kingdom in order to protect her from the evil influence of the Queen of the Night.

His kingdom is drawn in light, calm, majestic colors. Such are the two arias of Sarastro, the choirs and marches of the priests, the beat of the Boys, the duet of men-at-arms. The basis of their music is melodies in the spirit of strict polyphony, close to the Masonic songs of Mozart and his contemporaries, solemn marches, reminiscent of Handel's oratorios or Bach's orchestral overtures. In this way, Sarastro's sphere - this is a combination of song with hymn and chorality. Mozart strongly emphasizes its nobility, spirituality, radiance.

The evil, dark beginning in The Magic Flute does not seem too scary, is not taken very seriously, with a certain amount of irony. This sphere is represented by the vengeful Queen of the Night and her servant Monostatos.

The consignment Queens of the Night goes back to the seria style, although with elements of parody inherent in the comic opera. Mozart characterizes it by means of a virtuoso coloratura, technically very complex ( a prime example- "aria of revenge" from act II).

Sphere of Papageno - comedy, play Her genre basis- Austrian household song and dance music. Through the image of Papageno, The Magic Flute is more than any other Mozart opera connected with the Austrian folk theater. This funny character is a direct descendant of the national comic hero Hanswurst, although he has a different appearance (the product of a fairy-tale element, the "bird-man", Papageno personifies the natural, natural beginning in life). Folklore elements are clearly felt in both Papageno's arias ("I am a well-known bird-catcher ...", "Girl or wife ...") and brightly comic duets (for example, Papageno-Monostatos, frightened of each other, or Papageno-Papagena "Pa-pa-pa" ). In their music, the Haydnian tradition comes to life, but poetized.

The ratio of Tamino and Papageno in the tests is not unambiguous, it not only demonstrates the courage of one and the cowardice of the other, but to some extent gives a humorous connotation to the excessive solemnity of the situation in which the action takes place. Thus, the folk comic element acts as a kind of counterbalance to serious Masonic themes, while, thanks to the fairy tale opera genre, it coexists quite peacefully with philosophical problems.

The remaining heroes are distributed between these three spheres, and this does not always happen unambiguously. Thus, three ladies from the retinue of the Queen of the Night are only partially related to her sphere. In their musical characteristics, the features of the Austrian singspiel and buff occupy an important place, and only in the 10th scene, in the march of the conspirators, together with the Queen of the Night and Monostatos, do they acquire features that bring them closer to the sinister element of the Queen of the Night.

The image of Tamino evolves in accordance with the change in his attitude towards Sarastro: from an enemy, he becomes his follower and like-minded person - and this is reflected in his musical characteristic. If at the beginning of the opera Tamino's music is in many respects close to the style of the seria, then later it approaches the sphere of Sarastro.

Pamina, as the daughter of the Queen of the Night, largely inherits the seria language (for example, in aria g-moll No. 17), but in a duet with Papageno (No. 7), her musical characteristics acquire folk-song features.

On the whole, the arias of Tamino and Pamina lack virtuoso brilliance, are written in modest, singspiel forms, and are close to folk song lyrics. An example is the "aria with a portrait" (No. 3).

As for Monostatos, this is typical for comic opera Eastern villain, and his characterization is quite buffoonish. His musical speech features a fast-paced tongue twister.

In accordance with the genre specifics of The Magic Flute, the three indicated spheres do not come into conflict, as in Don Juan, they coexist peacefully (as happens in a fairy tale). At the heart of the opera is not a dramatic clash of antagonists and not a comedic rapid "unwinding" of intrigue, but an epic unfolding; not a conflict, but a comparison, not a progressive, purposeful process of thematic changes, mutual influences, but the dramaturgy of parallel layers.

Overture(the solemn introductory Adagio and the sonata Allegro, Es-dur) outwardly relies on French traditions. French overture - slow introduction and fugato. Adagio is powerful and solemn. Allegro on a lively, light theme (from the Clementi sonata).

Libretto

(Italian libretto, lit. - little book).
1) The verbal text is musical and dramatic. works - operas, operettas, in the past also cantatas and oratorios. Name due to the fact that the opera L. from the con. 17th century often issued for visitors to shopping malls in the form of small books. L. cannot be considered as independent. lit.-dramatic production; representing a lit.-dramatic. the basis of the opera, they acquire their true meaning and reveal their merits only in unity with music, when staging works. Up to ser. 18th century in the composition of L. a certain scheme dominated, due to the uniformity of musical and dramatic. tasks. Therefore, the same successful L. was often repeatedly used decomp. composers. Later L., as a rule, are created by the librettist in close contact with the composer, sometimes with his direct. participation, which ensures the individual character of the idea and a closer unity of action, word and music (such are the lines created by R. Calzabidgi for Gluck's Orpheus and Eurydice, L. Da Ponte - for Mozart's Don Giovanni, M. I. Tchaikovsky - to "The Queen of Spades" by Tchaikovsky, V.I. Belsky - to "Tsar Saltan", "The Legend of the Invisible City of Kitezh and the Maiden Fevronia" and "The Golden Cockerel" by Rimsky-Korsakov, etc.). Starting from the 19th century. some outstanding composers who possessed literary and dramatic. talent, L. created their operas on their own, without resorting to the help of a librettist or using it partially, for example. for the preparation of poetic texts (G. Berlioz, R. Wagner, A. Boito, M. P. Mussorgsky, in the 20th century - S. S. Prokofiev, K. Orff, J. F. Malipiero, J. K. Menotti and etc.).
Main The source of L.'s plots is art. literature - folk (myths, legends, epics, fairy tales) and professional (poems, novels, short stories, dramatic plays, etc.). L., not having any lit. prototypes are relatively rare (L. of Meyerbeer's opera "Robert the Devil", written by E. Scribe; L. of the opera "Khovanshchina" by Mussorgsky, created by the composer himself, and some others). When processed in Leningrad, literary works b. hours are subject to significant changes: sometimes only the plot is borrowed, in other cases the general composition is used, and partly the text. Often, this significantly changes the very concept of production. ("The Queen of Spades" by A.S. Pushkin and P.I. Tchaikovsky). Dramatic use cases prod. in L. completely or insignificantly. reduction and addition of the text in 19 and early. 20th century were single ("The Stone Guest" by Dargomyzhsky according to Pushkin, "Pelleas and Mélisande" by Debussy according to Maeterlinck, "Salome" by R. Strauss according to Wilde, etc.), in modern. Opera, they are quite common, not representing the exceptions. phenomena.
Types of L., their features are extremely diverse both in content and from the outside. general construction, the use of poetry and prose. text, the presence or absence of division of the text into numbers, etc. The history of opera is inextricably linked with the history of opera in all its genre and nat. varieties. Each historically specific type of opera (for example, Italian opera seria and opera buffa, French "grand" and comic opera, German singspiel, Russian historical and fairy tale opera, opera epic, etc.) has its own type L. One of the most important problems in creating L. is the combination of the logic of the stage. actions, i.e., natural. development of events and characters, with the laws of music. compositions: alternating wok., choreographic. and symphony. episodes, a change in pace and dynamics, the completeness of certain operatic forms (arias, monologues, ensembles), and finally, special requirements for the text (laconicism, ease of pronunciation, simultaneous combination of different texts in ensembles, etc.). Due to the specificity of L.'s dramaturgy, Ch. arr. minor poets and playwrights. However, prominent literary figures also took part in the creation of L. figures different eras(in the 18th century - P. Metastasio and C. Goldoni, in the 19th century - E. Scribe, V. Hugo, E. Zola, in the 20th century - G. Hofmannsthal, S. Zweig, J. Cocteau, P. Claudel and others). High skill was also achieved by certain writers who worked almost exclusively. in the genre of L. (P. J. Barbier, A. Meliak and L. Halevi in ​​France, F. Romani and S. Cammarano in Italy, V. I. Belsky in Russia, etc.).
2) Literary script for a ballet performance.
3) Summary of the content of opera, operetta, ballet.
Literature: Yarustovsky B., Opera dramaturgy of P. I. Tchaikovsky, M. - L., 1947; his, Dramaturgy of Russian opera classics, M., 1953; his, Essays on the dramaturgy of the opera of the XX century, book. 1-2, M., 1971-75; Druskin M., Questions musical dramaturgy Opera..., M., 1952, ch. one; Kleszunski J., O estetyce libretta operowega, Warsz., 1892; Istel, E., Das Libretto, V.-3Lpz., 1914, revised. ed. The art of writing opera-libretto, N. Y., 1922; Sonneck O. G. Th., Catalog of librettos printed before 1800, v. 1-2, Wash., 1914, 1945; Kraussold M., Geist und Stoff der Operndichtung, Lpz., 1931; Delia Corte A., La "poesia per musica" e il libretto dopera, Turin, 1950; his, Drama per musica dal Rinuccini alio Zeno, v. 1-2, Turin, 1958; Rollandi U., Il libretto per musica attraverso i tempi, Roma, 1951; Fortner W., Lion F., Gramer H. v., Libretto der neuen Oper, "Akzente", 1957, H. 2; Schumann K., Die Emanzipation des Librettos. Literarische Tendenzen in der modernen Oper, in Lebt die Oper?, Bonn, 1960; Weisstein U., The libretto as literatur, Norman (Okla.), 1961; Müller R., Das Opernlibretto im 19. Jahrhundert, Winterthur, 1966; Bragaglia L., Storia del libretto. Nel teatro in musica come testo e pretesto drammatico, v. 1, Roma, 1970; Smith P.J., The tenth muse. A historical study of the opera libretto, N. Y., 1970; Thiel E., Rohr G., Libretti: Verzeichnis der bis 1800 erschienenen Textbücher, Fr./M., 1970 (Kataloge der Herzog August-Bibliothek Wolfenbüttel. Neue Reihe, Bd 14). E. S. Chernaya.

Music Encyclopedia. - M.: Soviet encyclopedia, Soviet composer. Ed. Yu. V. Keldysha. 1973-1982 .

See what "Libretto" is in other dictionaries:

- (Italian, little book, notebook). Words that make up the content or explanation of an opera or ballet. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. LIBRETTO, it. A book explaining the content of a ballet or opera. Explanation… … Dictionary of foreign words of the Russian language

Libretto- LIBRETTO text of a vocal work: most often this term is applied to the verbal and script element of an opera or operetta. The assignment of libretto not to il libro (book), but to il libretto or libello, that is, "book", reveals ... ... Dictionary of literary terms

Libretto- a work with the text of an opera or with a presentation of the content of a ballet. For edition from full text L. is compiled bibliogr. entry under the name of the librettist, even if on tit. l. The composer is listed as the author of the edition. For example: Sterbing Ch.… … Publishing Dictionary

LIBRETTO, uncl., cf. (Italian libretto) (theatre). 1. The verbal text of a large musical vocal work, prem. operas. || A brief summary (usually placed in the theater program) of the plot of the performed opera, play (colloquial). 2. Story ... ... Explanatory Dictionary of Ushakov

Presentation, plan Dictionary of Russian synonyms. libretto n., number of synonyms: 3 exposition (41) plan ... Synonym dictionary

libretto- libretto. Pronounced [libretto] and [libretto] ... Dictionary of pronunciation and stress difficulties in modern Russian

- (Italian libretto lit. little book), 1) the literary text of an opera, operetta, less often an oratorio. Originally published as a separate booklet (hence the name). 2) Literary script for ballet, pantomime. 3) Presentation of the content of opera, ballet. Big Encyclopedic Dictionary

LIBRETTO, uncl., cf. 1. The verbal text of a theatrical musical-vocal work. L. Opera. 2. A summary of the content of the play, opera, ballet. 3. Scenario plan (special). Explanatory dictionary of Ozhegov. S.I. Ozhegov, N.Yu. Shvedova. 1949… … Explanatory dictionary of Ozhegov

Wed, neskl., Italian. in translation a little book, notebook: words, content or explanation of opera, ballet. Dahl's Explanatory Dictionary. IN AND. Dal. 1863 1866 ... Dahl's Explanatory Dictionary

- (it. libretto, lit. - little book) 1) the literary text of an opera, operetta, less often an oratorio. Usually written in verse; 2) literary script for ballet, pantomime; 3) presentation of the content of an opera, ballet, drama in a theater program or a separate booklet ... Encyclopedia of cultural studies

The section is very easy to use. In the proposed field, just enter the desired word, and we will give you a list of its meanings. It should be noted that our site provides data from different sources- encyclopedic, explanatory, derivational dictionaries. Here you can also get acquainted with examples of the use of the word you entered.

The meaning of the word libretto

libretto in the crossword dictionary

Explanatory Dictionary of the Living Great Russian Language, Vladimir Dal

libretto

cf. unwilling. ital. in translation a little book, notebook: words, content or explanation of opera, ballet.

Explanatory dictionary of the Russian language. D.N. Ushakov

libretto

neskl., cf. (it. libretto) (theatre).

The verbal text of a large musical and vocal work, predominantly. operas.

A brief summary (usually placed in the theater program) of the plot of the performed opera, play (colloquial).

Plot plan, script scheme for ballet or movies. The libretto is ready, it remains to develop the script.

Explanatory dictionary of the Russian language. S.I. Ozhegov, N.Yu. Shvedova.

libretto

neskl., cf.

The verbal text of a theatrical musical and vocal work. L. Opera.

A summary of the content of the play, opera, ballet.

Scenario plan (special).

New explanatory and derivational dictionary of the Russian language, T. F. Efremova.

libretto

cf. non-cl.

The text of a theatrical musical and vocal work (opera, operetta, cantata and oratorio).

Ballet script, pantomime, etc.

A summary of the content of an opera, ballet, etc. (usually placed in a theater program).

Encyclopedic Dictionary, 1998

libretto

LIBRETTO (Italian libretto, lit. - little book)

literary text of opera, operetta, less often oratorio. Originally published as a separate booklet (hence the name).

Literary script for ballet, pantomime.

The plot plan or outline of a movie script.

Libretto

(Italian libretto, literally ≈ little book), the verbal text of a musical-dramatic work ≈ opera, operetta, in the past and cantata, oratorio, a literary script for a ballet performance, as well as a summary of the content of an opera, operetta, ballet. The name is associated with the fact that the opera houses from the end of the 17th century. often issued for theater goers in the form of small books. L. is the literary and dramatic basis of the opera. Until the middle of the 18th century. L.'s composition was dominated by a certain pattern, determined by the uniformity of musical and dramatic tasks. Therefore, the same successful L. was often repeatedly used by various composers. Later L., as a rule, are created by the librettist in close contact with the composer, sometimes with his direct participation, which ensures a more complete unity of action, word and music. Starting from the 19th century. some outstanding composers who possessed a literary and dramatic talent created their operas independently (H. Berlioz, R. Wagner, A. Boito, M. P. Mussorgsky; in the 20th century, S. S. Prokofiev, C. Orff, and etc.).

The main source of plots of L. is folk poetry, legends, fairy tales and professional fiction. When reworked in Leningrad, literary works usually undergo significant changes, up to a rethinking of their very concept (“The Queen of Spades” by A. S. Pushkin and P. I. Tchaikovsky). Only in isolated cases dramatic works are used almost completely in L. (“The Stone Guest” by Dargomyzhsky according to Pushkin, “Peleas and Mélisande” by Debussy according to Maeterlinck, etc.).

The types of L., their features are very diverse both in content and in the sense of general construction, the use of poetic and prose text, the presence or absence of division of the text into numbers, etc. The history of L. is inextricably linked with the history of the opera itself in all its genres. and national varieties. Each historically specific type of opera corresponds to its own type of L.

Wikipedia

Libretto

Libretto- the literary basis of a large vocal composition, of a secular or spiritual nature, for example, an opera, ballet, operetta, oratorio, cantata, musical; summary the plot of the play.

The libretto is written, as a rule, in verse, mostly rhymed. For recitatives it is possible to use prose. The plots for the libretto are mainly literary works, altered in accordance with the musical and stage requirements. Less commonly, the libretto is completely original composition; as H. S. Lindenberger notes, if we consider the ability to exist autonomously from the music written on its basis as an indicator of the originality of the libretto, then only the libretto of Hugo von Hofmannsthal to Richard Strauss's opera "Der Rosenkavalier", which has its own staged fate. At the same time, in the history of librettistics, examples of the significant contribution of the authors of the libretto to the creation of outstanding works and the development of the genre - above all, the activities of Lorenzo da Ponte and the role of Ranieri da Calzabidgi in opera reform Christoph Willibald Gluck. In some cases, the composer himself becomes the author of the libretto - the most significant example in this respect is Richard Wagner, whose work in this area, according to the author of the first review of the history of the libretto, Patrick Smith, represents the highest achievement. In the history of Russian opera, Alexander Serov, in particular, wrote to his own libretto.

Libretto editions sometimes include sheet music to give the main themes of the composition or its best passages. Brief retelling the libretto is called the synopsis.

The study of the libretto and the verbal element in general in a synthetic or syncretic verbal-musical work began to develop since the 1970s and 80s. and was called librettology.

Examples of the use of the word libretto in literature.

Donizetti's operas are the fruits of the composer's unusually meticulous work both on music and on libretto.

He often chose the literary basis for libretto, discussed in detail with the librettists the entire process of its creation.

Jacopo Peri by libretto Rinuccini laid the foundation for opera, a mixture of oratorio and masquerade, and with it the cultivation of good voices.

But, apparently, wishing to get acquainted with a young student who turned to him for libretto for his opera, Andrie himself brought the answer to 104 rue Saint-Jacques, where Berlioz then lived.

Life Guards Jaeger Regiment, theatergoer, translator of opera libretto, theater reviewer.

Bach by libretto Henritsa, a Leipzig official and a fairly well-known poet at that time, who published his poems under the pseudonym Pikander.

reading into libretto, penetration into the psychology of characters, acting transformation into character, the search for verbal, and then musical expression of feelings - such is the path outlined by the composer.

The performance revealed the different facets of the talent of the author, who wrote and libretto, and music, and also starred.

Krasnopolsky made his own, Russian version of Gensler's libretto, he transferred the action from the Danube to the Dnieper and endowed the heroes with ancient Slavic names.

Scribe, he tried to write libretto, excellently composed humorous poems.

Menotti is a master of art opera house as a whole: he always writes libretto of his operas, often stages them as a director and supervises the performance as a brilliant conductor.

Basis for libretto, created by a famous Georgian teacher and public figure P.

Because of the dramaturgical absurdities libretto these opuses turned out to be unviable, although they contain many musical finds and separate bright scenes.

Realizing that the basis of the operatic libretto should serve as a strong life drama that can excite the public, Puccini goes in search of a plot for a new opera.

The success of the works was due not only to excellent music, but also to the content libretto, imbued with patriotic sentiments, so consonant with the national liberation movement for the reunification of Italy, which unfolded at that time.