Opera genre. Opera comic

Opera is one of the most important musical and theatrical genres. It is a mixture of music, vocals, painting and acting skills, and is highly valued by adherents of classical art. It is not surprising that in the music lessons the child is the first thing to ask a report on this topic.

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Where it begins

It begins with an overture. This entry executed by the Symphony Orchestra. It is intended to set the mood and atmosphere of the play.

What continues

The overture follows the main part of the performance. This is a grandiose action divided into acts - the complete parts of the presentation, between which inter dams run. The inter dams can be long so that the audience and the performance participants can relax, or short when the curtain is lowered, only to change the scenery.

The main body, the driving force of all the solo arias. They are performed by actors - history characters. Arias reveal the plot, character and feelings of heroes. Sometimes speecutatives are inserted between arias - singing rhythmic replicas - or ordinary speaking speech.

The literary part is based on libretto. This is a kind of scenario, brief content . In rare cases, poems write composers themselves, like, for example, Wagner. But most often the word for the opera writes a librettist.

What is ends

Epilogue is served as an opera performance final. This part performs the tight function as a literary epilogue. This may be a story about the further fate of the heroes, or summarizing and the definition of morality.

History Opera

Wikipedia can find extensive information on this topic, but this article provides a compressed history of the mentioned musical genre.

Antique tragedy and Florentine Camera

Motherland Opera is Italy. However, the roots of this genre go to ancient Greece, where the first scenic and vocal art began to combine. Unlike the modern opera, where the main emphasis goes to music, in an ancient Greek tragedy only alternated usual speech and singing. This type of art continued to develop in the Romans. In the ancient Roman tragedies, solo parties gained weight, and more often the musical inserts began to be used.

The second life of the antique tragedy received at the end of the XVI century. The Commonwealth of Poets and Musicians decided to revive the ancient tradition - Florentine Camera. They created a new genre called "drama through music." In contrast to the Polyphony popular at that time, the works of the cells were one-haired melodic declamation. Theatrical statement and musical accompaniment were designed only to emphasize the expressiveness and sensuality of poetry.

It is believed that the first opera stage saw the light in 1598. Unfortunately, from the work of "Daphne", written by the composer Yakopo Per and the poet Ottavio Rhinucchini, in our time only the name . But by the same Peru belongs to "Evridika"which is the earliest of the preserved opera. However, this glorious work for modern society is just the echo of the past. But Opera "Orpheus", written by the famous Claudio Monteverdi in 1607 for the Mantoan yard, and to this day can be seen in theaters. The genusague, which rules in those days in Mantua, made a significant contribution to the emergence of the Opera Genre.

Theatre of Drama

Members of the Florentine Camerats can be called "rebel" of their time. After all, in the era, when the church dictates the music, they turned to the pagan myths and the legends of Greece, taking off from the aesthetic norms adopted in the society, and created something new. However, even earlier, their unusual solutions will be brought by a dramatic theater. This direction was wounded in the revival era.

Experimenting and focusing on the audience reaction, this genre produced his own style. Representatives of the Drama Theater used music and dances in their productions. A new type of art enjoyed great popularity. It is the influence of the dramatic theater that helped the "drama through music" to reach a new level of expressiveness.

Opera art continued Develop and gain popularity. However, this musical genre has fallen in Venice, when in 1637 Benedetto Ferrari and Francesco Malelli opened the first Public Opera House "San Cassiano". Thanks to this event, the musical works of this species have ceased to be envelope for the courtiers and reached the commercial level. At this time, the reign of castrats and prima donne in the world of music begins.

Distribution abroad

Already by the middle of the XVII century, opera art, with the support of aristocracy, developed in a separate independent genre and affordable entertainment for the masses. Thanks to the wandering troupes, this type of ideas spread throughout Italy, and began to conquer the public abroad.

The first Italian representative of the genre submitted by the abroad was called "Galatia". He was executed in 1628 in the city of Warsaw. For a short time after, at the court, another work was performed - "La Liberazione d'Rugiero Dall'isola d'Alcina" Ferni Cachchini. This work is also the earliest of the operas that came to us written by women.

"Jason" Francesco Cavalli was the most popular opera XVII century. In this regard, in 1660, he was invited to France to the wedding of Louis XIV. However, his "Xerxes" and "Love Hercules" did not have success in the French public.

Antonio Honor, who was asked to write a opera for the Austrian kind of Habsburgs, achieved more success. His Grand Performance "Golden Apple" lasted two days. Unprecedented success noted the elevation of the Italian opera tradition in European music.

Seria and Buffa

In the XVIII century, such opers genres like Seria and Buffa acquired a special popularity. Although both of them originated in Naples, two genres are fundamental opposites. Opera series literally means "serious opera". This is the product of the classicism era, which encouraged the purity of the genre and typing in art. Seria is distinguished by the following qualities:

• historical or mythological plots;
• the predominance of recipatatives over the arias;
• separation of the role of music and text;
• minimum individualization of characters;
• static action.

The most successful and famous librettist in this genre was Pietro Metastasio. The best of his libretto wrote on the top ten different composers.

At the same time, in parallel and independently develops the comedy Genre of Buffa. If the series tells the history of the past, then Buffa dedicates its plots with modern and everyday situations. This genre was resulted out of short comedy scenes, which were placed in inter dams of the main performance and were separate works. Gradually this type of art Acquired popularity and was realized as a full-fledged independent representation.

Glukovskaya reform

German composer Cristofo Willibald Gluck firmly captured his name in music history. When operas Seria dominated on European scenes, he stubbornly promoted his own vision of opera art. He believed that in the presentation should rule the drama, and the task of music, vocals and choreography is to promote it and emphasize. Glitch argued that composers should abandon the spectacular ideas in favor of "simple beauty". That all the elements of the opera must be a continuation of each other and form a single slim plot.

He began his reform in 1762 in Vienna. Together with the librettist Ranieri de Falcabjji, he put three plays, but they did not receive a response. Then in 1773 he went to Paris. His reform activity lasted until 1779, and caused a lot of disputes and unrest in the environment of music lovers . The ideas of glitch have a great influence on the development of the Opera genre. They also reflected in the reforms of the XIX century.

Types of Opera

For more than a four-year-old history, the opera genre has undergone a lot of changes and a lot of printed in the musical world. During this time, several types of operas were released:

The content of the article

Opera comicin the initial meaning of the term: a set of national species of the opera genre that emerged in the 1730s and existed before the beginning of 19 V. In the future, the term lost its definition; Today it is often used in relation to different types of musical and spectacular performances of comedy content (farce, buffonada, waterville, operetta, musical, etc.).

The origin and features of the genre.

The comic opera has developed in countries with developed opera culture as an alternative to the court opera series (IT. Opera Seria is a serious opera), the principles of which were developed at 17 V. Italian composers of the Neapolitan school (in particular, A.skarlatti). By 18 V. The Italian court opera entered the crisis period of its development, turning into "costume concerts" - brilliant, rich in virtuoso vocal effects, but static spectacle. In contrast to her, the comic opera had greater flexibility inherent in new, young art types, which means he had greater dynamics and developmental potential. The new theatrical genre was widely distributed throughout Europe, and in each country there was its own variety of comic opera.

However, with all national peculiarities, the general ways of development of comic opera were similar. Its formation led to the democratic principles of the Epoch of Enlightenment. Thanks to them, in the comic opera there were new trends of music and opera playwork: an approach to everyday life, folk melody (both in vocal and dance episodes), parody, peculiar, "mask", characteristics of acting persons. In the plot constructions of the comic opera, solemn ancient and historical and legendary lines were sequentially not developed, remaining the genre sign of the opera series. Democratic tendencies are visible in the formal features of the comic opera: conversational dialogues, recitatives, dynamism of action.

National varieties of comic opera.

Italy is considered to be the birthplace of the comic opera, where this genre was called Opera Buff (ITal. Opera Buffa - Comic Opera). Its sources were the comedy operas of the Roman school 17 in. And comedy del arte. At first, it was funny intermediates that were inserted for emotional discharge between opera-series acts. The first opera-buff has become Madman maid J.B. Pergolese, written by a composer as an intermediate to his own opera series Proud prisoner (1733). In the future, the Buff Opera began to be performed independently. They were distinguished by a small scale, a small number of actors, aryry of a buffon type, a patter in the vocal parties, strengthening and developing ensembles (as opposed to the opera-series, where the basis was soloing parties, and the ensembles and choirs were almost not used). In musical drama, the base served song and dance folk genres. Later, the opera-buff penetrated lyrical and sentimental features, which shifted it from a rude comedy del Arthe to a whimsical problem and the plot principles of K.Hotszi. The development of the opera-buff is associated with the names of composers N. Piccini, J. Pizello, D. Chimaroz.

Spanish variety of comic opera has become tonadilla(Span. Tonadilla - Song, will reduce. From Tonada - Song). Like Opera Buffa, Tonadilla was born from a song-dance room that opened the theatrical representation or acting between acts. Later was formed in a separate genre. First Tonadilla - Taverkriver and driveshchik(Composer L. Mimison, 1757). Other representatives of the genre - M. Ploun, A.Germano, A. Esthev-I-Grimau, B. de Lacenna, H. Walledor. In most cases, the composers themselves wrote to the libretto's vone.

In France, the genre developed entitled opéra Comique. (Fr. - Comic Opera). There was a satirical parody of "Great Opera". Unlike the Italian development line, in France, the genre was originally formed by the drama authors, which caused a combination of musical numbers with conversational dialogues. So, the author of the first French Opéra Comique is considered to be J.Z.Russo ( Rustic sorcerer, 1752). Opéra Comique Music Music Developed in the work of composers E.Duni, F. Filadore. In the pre-revolutionary era of Opéra Comique acquired a romantic orientation, saturation of serious feelings and relevant content (composers P.Mince, A.Gretri).

In England, the national type of comic opera was called the Baladock Opera and developed mainly in the genre of social satire. Classic Sample - Operanets(1728) Composer J. Pepusch and playwright J. Gey, who has become a witty parody of the aristocratic aristocracy. Among other English composers who worked in the genre of Balladnaya Opera, the most famous Ch.Cuffhi, whose creativity had a serious impact on the development of the genre in Germany .

German and Austrian varieties of comic opera wore a common name singchpil (It. Singspiel, from Singen - Sing and Spiel - Game). However, German and Austrian Singspili had their own characteristics. If in Germany, the genre was formed under the influence of the British ballad opera, then in Austria - under the influence of the Italian comedy del Arte and the French Opéra Comique. This is due to the cultural originality of the capital of Austria, Vienna, which became 18 V. An international center where the musical art of different nations was synthesized. Austrian Singchpil, unlike the German, along with the bull and ballads, includes large opera ones: arias, ensembles, well-designed finals. The Orchestral Party receives greater development in the Austrian Singchpile. The most famous composers of Zingzpil - I.Standfus, I.A.Giller, V.Myulller, K.Dytersdorf, and others.

Transformation of the genre.

By the end of the 18th century. The development of national genres of comic opera in their "pure" form went to the decline. However, they were based on new principles of several species of musical and entertainment arts. And here the leading role again belongs to the Vienna Music School.

On the one hand, a comic opera in general and Singchpil in particular, contributed to the reformation of classical art, a huge role in which V.A. Motzart belongs. Going along the path of internal updating and the synthesis of previous musical forms, Mozart has created its own concept of the opera, enriching a sufficiently simple scheme of Singspil and Opera-Buffa, bringing psychological persuasive in them, realistic motives, as well as complementing their musical forms of a serious opera. So, Wedding Figaro (1786) organically combines the form of the opera-buff with a realistic content; Don Juan(1787) combines a comedy with a real tragic sound; magical flute (1791) Includes a variety of musical genres in the classic zingstyle: a female, choral, fugu, etc.

In parallel with the Mozart and on the same principles in Austria, the Opera's innovative processing was carried out by Jaidn ( True constancy, 1776; Lunar world, 1977; Soul of philosopher, 1791). Singchpil's echoes are clearly audible in the only opera L. Van Beethoven Fidelio (1805).

The traditions of Mozart and Gaidna were comprehended and continued in the work and Italian composer J.A. Orsini (from Notch for marriage, 1810, to Seville Village, 1816, and Cinderella, 1817).

Another branch of the development of comic opera is associated with the emergence and formation of a school of Vienna classical operetta. If in the 18th century. The operetta was often called the varieties of comic opera (Ital. Operetta, Franz. Opérette, letters. - Little opera), then in 19 V. She stood out in a separate independent genre. Its principles were formed in France, Composer Z.Offenbach, and received their formation in his theater "Buff-Parisen".

The Vienna classical operetta is primarily connected with the name I. Straus (Son), who came to this genre late, on the fifth dozen of his life, when he was already a world famous author of numerous classic waltz. For the operetta of the Strauss, a melodic wealth and a variety of musical forms, an exquisite orchestration, deployed symphonic motifs of dance episodes, a steady support for folk Austro-Hungarian music. In all this, there will be no doubt, the traditions of the comic opera are read. However, the development of operetta as a genre of the main focus was put on the musical and executive (both orchestral, and vocal-choreographic) skill. The textual line of dramaturgy, successfully developed in the English Balladic Opera and the French Opéra Comique, went to no and degenerated into primitive dramaturgical crafts - Libretto. In this regard, from 16 strays written operetta in the repertoire of subsequent time theaters, only three were preserved: Bat, night in Venice and Gypsy Baron. It is with schematic libretto that the traditional attribution of operetta to a light entertainment genre is connected.

The desire to return the synthetic musical and spectacular theater depth and volume was caused by the further formation and development of the genre of the musical, in which the text, plastic and musical drama exist in the inseparable unity, without the predominant pressure of any one of them.

Comic Opera in Russia.

The development of the musical theater in Russia to the last third of the 18th century. Wastered on the basis of Western European art. In particular, this contributed to the special tendency of Catherine II to "inrogenous" artists. If in the Russian Drama Theater, by this time, the names of domestic playwrights A.Sumokov, M. Kharaskov, Ya.Knyazhnina, D.Fonsin, etc., were already well known, the performances of ballet and opera pipes were based only on works of foreign authors. Along with Russian amateur and professional teams, for touring in the court theater Cabinet, Catherine II, Ivan Elagin, who was responsible for theatrical "states", were invited by the French Opéra Comique and Italian Opera Buffa. In many respects, it was also due to the extraatinal interests of influential court Catherine II (Prince Potemkin, the Count of Bezborodko et al.): To make novels with foreign actresses at the time was considered a good tone.

Against this background, the formation of the Russian opera school and the composer school of the secular direction went from the formation of a national comic opera. This path is quite natural: it is a comic opera, due to its fundamentally democratic nature, gives the maximum possibilities for the manifestation of national self-consciousness.

The creation of a comic opera in Russia is associated with the names of composers V. Pashkevich ( Misfortune from the carriage, 1779; Stingy, 1782), E.Fomin ( Rashchiks on the podstaboo, or the playless game, 1787; Americans, 1788), M.Matinsky ( St. Petersburg Living Room, 1782). Music was based on the melon of Russian songs; The scenic interpretation is characterized by free alternation of a deer and melodic singing, lively realistic development of folk characters and life, elements of social satire. The most popular was the comic opera Melnik - sorcerer, deceiver and swat On the libretto of the playwright A.Aabesimova (composer - M.Sokolovsky, 1779; from 1792 was performed on the music of E.Fomin). Later, the Russian comic opera (as well as its European varieties) was supplemented with lyrical and romantic motifs (composers K.Kavos - Ivan Susanin, Nikitich, Firebird and etc.; A. Verstovsky - Pan Tvardovsky, Askoldova Mogila and etc.).

Russian comic opera marked the beginning of the formation of 19 V. Two directions of the National Music and Entertainment Theater. The first is a classic Russian opera, a rapid surge of the development of which was led by the talent of M.Glinka, A.Dargomyzhsky, M.Morusorgsky, A. Corodina, N. Rimsky-Korsakov, P. Tchaikovsky, etc. However, only some reduced musical art remained in this branch of music art. Features of the initial genre: support for folk melody and individual comedy episodes. In general, Russian opera organically entered the overall world tradition of opera classics.

The second direction more clearly retained the species features of the comedy. This is a Russian waterway, in which the dialogue and entertaining action, built on a funny intrigue, were combined with music, purchases and dancing. In a certain sense, Russian Waterville can be considered a variety of "light genre" of European operetta, but he has its own distinctive features. The dramatic basis of waterville is not a libretto, but a good played play. For example, one of the first Russian authors of the waterville was A.Griboyedov ( Your family, or married bride, in collaboration with A.Shovsky and N. Chmelnitsky, 1817; Who is a brother who is sister, or deceit for deception, in collaboration with P. Kindsky, 1923). In the genre of Waterville, A. Petersburg worked, later - F. Koni, D.Lenvsky (his water waters Lev Gurych Sichikkin It is located today), V. Collogub, P.Kratygin, etc. Thus, the basis of the Russian waterway is not the musical, but literary dramaturgy, music is also provided with auxiliary role in the plug-in versions. In the second half of the 19th century. A.hehkhov introduced his contribution to the development of water Bear, Sentence, Anniversary, Wedding etc.), withdrawing it from the static framework of the genre and enriching the characters of the actors.

Attempts to develop a comic opera genre based on the combination of traditions of operetta with detailed psychological development of characters was taken in Russia at the beginning of the 20th century, including Mkat. Thus, V. Meirirovich-Danchenko in 1919 created a musical studio (a comic opera) and with its actors put on the MCAT scene Daughter Ango Leckery I. Pericola Offenbach, resolved as "melodrama-buff". In the early 20s, Nemirovich-Danchenko put comic operas Lisitrata Aristophan, 1923; Carmensitis and soldiers, 1924.

In the Soviet times, the socialist realism proclaimed the basic principle of art, the frivolous genre definition of "operetta" was increasingly masked by a neutral "musical comedy". In fact, within the framework of this general term there were many varieties - from classical operetta to no less classical hydroevil; from jazz approaches to the musical to the Brehtov Sonic Opero; Even the "pathetic comedy", etc.

The interest of Russian dramatic artists to the musical theater was always very large: they were attracted to try themselves in a new genre, reveal their vocal and plastic abilities. At the same time, a synthetic musical genre was particularly attractive: the traditional Russian acting school consistently cultivates psychologism, not too mandatory for operetta or waterville. The destruction of the "iron curtain" and the admission to the global flow of culture gave Russia new opportunities for the development of the synthetic genre of the musical, which won the whole world by this time. And today, few people remember that the story of the most popular musical genre in the world began in the first half of the 18th century. with comic opera.

Tatyana Shabalina

Purpose:

• the concept of the specificity of the genre.
• essence of the Opera
• diverse embodiment of various forms of music

Tasks:

• Educational:
  secure the concept of the genre: Opera.
• Developing:
  the main thing in the opera is human characters, feelings and passions, clashes and conflicts that can be disclosed by music.
• Develop The ability to reflect on the music and works of composers of different eras.
• Educational:answer interest in the genre - opera, the desire to listen to it not only in the lesson, but also outside it.

During the classes

1. Music sounds. J.B. Pergolesi. "Stabat Mater Dolorosa"

Fig. one

Among countless miracles,
What is presented to us by nature itself,
One is incomparable with nothing
Unfading through any years -

He gives a thrift delight of love
And warms the soul in the rain and cold,
We return sweet days
When every sigh was full.

In front of him are equal and the king -
The fate of the singer - to give yourself, burn.
He is sent by God to do good -
Above the beauty is not powerful death!
Ilya Korop.

- "The XVIII century was a century of beauty, the XIX - century of feelings, and the finals of the XX became a century of pure drive. And the viewer comes to the theater not for the concept, not for the ideas, but to fit the energy, he needs shock. Therefore, such demand for pop culture is more energy than in the culture of academic. Bartoli was told me that she sings Opera as rock music, "and I understood the riddle of the fantastic energy of this great singer. Opera has always been a folk view of art, in Italy, she developed almost as a sport - the contest of singers. And she should be popular. " Valery Kichin

In the literature, music and other arts during their existence there were various types of works. In the literature, this, for example, Roman, story, story; in poetry - poem, sonnet, ballad; In the visual art - landscape, portrait, still life; In music - Opera, Symphony ... The generation of works within one art is called the French word genre (Genre).

5. Singers. During the 18th century The cult of singer-virtuoso - first in Naples, then throughout Europe. At this time, the party of the main character in the opera was performed by the male soprano - castrate, that is, the timbre, whose natural change was stopped by castration. Singers-castrates brought the range and mobility of their votes to the limits of possible. Such Opera Stars, like Castrat Pharinelly (K. Baros, 1705-1782), whose soprano in stories exceeded the power of the pipe, or mezzo-soprano F. Bordoni, about which she could say that she could pull the sound longer than everyone in the light of singers, Fully subordinate to their mastery of those composers whose music they performed. Some of them composed operas themselves and managed opera pipes (Pharinlli). It was considered to be granted that singers are decorated with a composer-composer with their own improvised ornaments, not paying attention to this, suitable such decorations to the plot situation of the opera or not. The owner of any type of voice necessarily studied the performance of fast passages and trills. In Russian operations, for example, tenor should own coloratura technique no worse than soprano. The revival of such art in the 20th century. allowed to give a new life to the diverse opera work of Rossini.

In accordance with the range of votes, opera singers are usually divided into six types. Three female types of votes, from high to low - soprano, mezzo-soprano, contralto (the last one today is rarely found); Three men's tenor, baritone, bass. Inside each type there may be several subspecies depending on the quality of the voice and the style of singing. The lyric-coloratura soprano is distinguished by a light and exclusively moving voice, such singers are able to execute virtuoso passengers, quick gammas, trills and other decorations. Lyrico-dramatic (Lirico Spinto) Soprano - Voice of large brightness and beauty.

The timbre of dramatic soprano is rich, strong. The difference between lyric and dramatic voices also applies to tenor. Basins highlighted two main types: "Sing Bass" (Basso Cantante) for "serious" parties and comic (BASSO Buffo).

Task to students. Determine - What type of voice is executed:

• Santa Claus party - bass
• Spring Party - Mezzo-Soprano
• Snow Maiden Party - Soprano
• Party Lelya - Metzo soprano or counterfeit
• Mizgiy Party - Bariton

The choir in the opera is interpreted in different ways. It can be a background that is not associated with the main storyline; Sometimes a kind of comment on what is happening; His artistic possibilities allow to show the monumental pictures of the people's life, to identify the relationship between the hero and the masses (for example, the role of the choir in the folk musical dramas M. P. Mussorgsky "Boris Godunov" and "Handanshchina").

Let's listen:

• Prologue. Picture first. M. P. Mussorgsky "Boris Godunov"
• Picture of the second. M. P. Mussorgsky "Boris Godunov"

Task to students. Determine who is a hero, and who is mass.

The hero is here - Boris Godunov. Mass - people. The idea to write a opera to the plot of the historic tragedy of Pushkin "Boris Godunov" (1825) Mussorgsky filed his friend, a prominent historian Professor V. V. Nikolsky. Mussorgsky extremely fascinated the opportunity to prevent the theme of the relationship between the king and the people for his time for his time, to bring people as the main acting officer of the Opera. "I will understand the people as a great person, an animated single idea," he wrote. "This is my task. I tried to solve it in the opera."

6. Orchestra. In the musical drama of the Opera, a large role is assigned to the orchestra, symphony of expressiveness serve as a complete disclosure of images. Opera also includes independent orchestral episodes - an overture, an intermission (entry into separate acts). Another component of the opera play - ballet, choreographic scenes, where plastic images are combined with musical. If the singers are leading in the opera presentation, the orchestral batch forms a framing, the foundation of action, drives it forward and prepares listeners to the coming events. The orchestra supports singers, emphasizes the climax, fills the lacques of libretto or the moments of decorative change, finally acts in the conclusion of the opera when the curtain is lowered. Let's listen to Rossini to the comedy "Seville Berber" . The form of "autonomous" Opera Overture has decline, and by the appearance of "longing" Bucchini (1900) of Overture could be replaced by just a few entranceing chords. In a number of operas 20 V. In general, there are no musical preparations for stage action. But since the essence of the opera is singing, the highest moments of the drama are reflected in the completed form of aria, a duet and in other conditional forms where music goes to the fore. Aria is similar to a monologue, duet - dialogue, the contradictory feelings of one of the characters are usually embodied in Trio in relation to two other participants. With further complication, different ensemble forms arise.

Let's listen:

• Aria Gilda "Rigoletto" Verdi. Action 1st. Overcoming, the girl repeats the name of the mysterious fan ("Caro Nome Che Il Mio Cor"; "The heart of joy is full").
• Duet Gilda and Rigoletto "Rigoletto" Verdi. Action 1st. ("Pari Siamo! Io La Lingua, Egli Ha Il Pugnale"; "With him we are equal: I own the Word, but he dagger").
• Quartet in Rigoletto Verdi. Action 3rd. (Quartet "Bella Figlia Dell" Amore ";" About the beauty is young ").
• Sextet in "Lucia di Lammermur" Donizetti

The introduction of such forms usually stops the action to give a place to develop one (or several) emotions. Only a group of singers, combined into an ensemble, can express several points of view at once on the events. Sometimes in the role of commentators Actions of Opera Heroes are choir. Basically, the text in the opera choir is pronounced relatively slowly, phrases are often repeated to make the content of the understandable listener.

Not in all operations you can spend a clear line between the recitative and Aryia. Wagner, for example, refused completed vocal forms, having the goal of continuous development of musical action. This innovation was picked up with various modifications, a number of composers. In Russian soil, the idea of \u200b\u200ba continuous "musical drama" was, regardless of Wagner, was first tested by A.S.Dargomyzhsky in the "Stamon Guest" and M.P.Morusorgsky in "Marriage" - they called this form "Conversational Opera", Opera Dialogue.

7. Opera theaters.

• paris's "Opera" (in Russia the name "Grand Opera" was entrenched) was intended for a bright spectacle (Fig. 2).
• The "house of solemn representations" (Festspielhaus) in the Bavarian town of Bayreuth was created by Wagner in 1876 for the production of his epic "musical drama".
• the building "Metropolitan Opera" in New York (1883) was conceived as a showcase for the best singers of the world and for respectable subscribers of lies.
• Olimpiko (1583), built by A. Palladio in Vicenza. His architecture is a reflection of the Baroque era of the Baroque Society - has a characteristic horseshoe plan, where the tiers of the lies diverge the fan from the center - the royal lodge.
• theater "La Scala" (1788, Milan)
• "San Carlo" (1737, Naples)
• "Covent Garden" (1858, London)
• Brooklyn Music Academy (1908) America
• opera House in San Francisco (1932)
• opera House in Chicago (1920)
• new building "Metropolitan Opera" in the New York Lincoln Center (1966)
• Sydney Opera House (1973, Australia).

Fig. 2.

Thus - Opera ruled around the world.

In the era of Monteverdi Opera rapidly won the major cities of Italy.

Romantic Opera in Italy

Italian influence has even reached England.

Like an early Italian opera, the French Middle 16 in. He proceeded from the desire to revive ancient Greek theatrical aesthetics.

If a spectacle was put in the head of the corner in France, then in the rest of Europe - Aria. The center of opera activity at this stage was Naples.

Another type of opera was originated from Naples - Opera - Buffa (Opera - Buffa), which arose as a regular response to the opera - Seria. The passion for this type of opera quickly covered the city of Europe - Vienna, Paris, London. Romantic Opera in France.

The ballad opera influenced the formation of the German comic opera - Zingspil. Romantic opera in Germany.

Russian opera of the era of romanticism.

The "Czech Opera" is a conditional term under which two contrasting artistic directions are meant: Proorus in Slovakia and proorman in the Czech Republic.

Home tasks to students. Each student is given a task to get acquainted with the creativity of the composer (optional), where the opera flourished. Namely: J. Pier, K.Montverdi, F.Kawalli, Percell, J.B.Lillie, J.F.Ramo, A.Skarlatti, P.Gertel, J.B. Pergolesei, J. Pizalelo , KV Gllyuk, V.A. Motsart, J. Thingsini, V. Bellini, Donzetti, J. Verdy, R. Lyonkallo, J. Pucchini, R. Vagner, Ph.D. West, L. Wang Beethoven, R. Straus, J. Meyerber, Gllyoz, J. Bizé, Sh. Guno, J.Offenbach, K. Sen-Sans, L. Odib, J. Massna, K. Herbissi, M.P.Morusorgsky, M.P. Glinka, N.A. Rimsky-Korsakov, A.P. Borodin, P.I. Tchaikovsky, S.S.Prokofiev, D. D. Shostakovich, Antonin Dvarak, Bedřichich Smetana, Leosh Yanachek, B. Britten , Karl ORF, F. Pulenk, I.F. Sadvinsky

8. Famous opera singers.

• Gobby, Tito, Domingo, Placido
• Callas, Maria (Fig. 3) .
• Caruso, Enrico, Korelli, Franco
• Pavarotti, Luciano, Patti, Adeline
• Scotto, Renata, Tebaldi, Renata
• Shalyapin, Fedor Ivanovich, Schwarzkopf, Elizabeth

Fig. 3.

9. Realization and modernity of the opera.

Opera is a fairly conservative genre in nature. This is due to the fact that there is a centuries-old tradition due to the technical capabilities of execution. With its durability, this genre must be a great effect on the listener due to the synthesis of several arts capable of producing the impression by itself. On the other hand, Opera is an extremely resource-intensive genre, no wonder the word "Opera" in Translated from Latin means "work": it has the greatest duration of all musical genres, it requires high-quality decorations for setting, maximum skill of singers for performance and high levels Composition complexities. Thus, the opera is the limit to which art seeks to make a maximum impression of the public when using all available resources. However, due to the conservatism of the genre, this set of resources is little expansion: it cannot be said that over the past decades the composition of the symphony orchestra has not changed at all, but the whole basis remained the same. The vocal technique associated with the need for high power in the execution of the opera on the scene changes. Music is limited in its movement by these resources.

The stage presentation in this sense is more dynamically: you can put a classic opera in the avant-garde style without changing any notes in the score. It is usually believed that in the Opera, the main music, and therefore the original set design can not destroy the masterpiece. However, usually it does not work. Opera is synthetic art, and the scenography is important. Staging, not corresponding to the spirit of music and the plot is perceived as an alien product enclosure. Thus, classical opera often does not meet the needs of the director who want to express modern moods on the scene of the music theater, and something new is required.

The first solution to this problem is a musical.

The second option is a modern opera.

There are three degrees of music content.

• Entertainment . This option is uninteresting, since it is enough to use ready-made rules for its implementation, especially since it does not comply with the requirements for modern opera.
• Interest. In this case, the work brings the listener to the enjoyment due to the ingenuity of the composer, which found the original and most spectacular path of solving an artistic problem.
• Depth.Music can express high feelings that give the listener internal harmony. Here we are faced with the fact that modern opera should not harm mental state. This is very important, since, despite the high artistic advantages, the music may contain features that are unnoticed by the will of the listener. So, it is widely known that Sibelius contributes to the tendency to depression and suicide, and Wagner is internal aggression.

The value of the modern opera is precisely in combination of modern technologies and fresh sound with high artistic advantages characteristic of the opera at all. This is one of the ways to reconcile the desire to express in art. Modern moods with the need to comply with the purity of classics.

The perfect vocal, based on cultural roots, refracts to the People's School of singing in his individuality, and can serve as the basis for the unique sound of modern operas written for specific performers.

You can write a masterpiece that does not fit into the framework of any theory, but sounding great. But for this, he still must satisfy the requirements of perception. Standed rules, like any other, can be broken.

Home tasks to students. Mastering the characteristic features of the composer style of works of Russian composers, Western European and modern composers. Analysis of musical works (on the example of the opera).

Used Books:

1. Malinina E.M.Vocal education of children. - M., 1967.
2. Kabalevsky D.B. Music program in secondary school. - M., 1982.
3. R. Series "Life of the Great Composers". LLP "Pomatturn". M., 1996.
4. Makhrova E.V. Opera House in the culture of Germany the second half of the twentieth century. St. Petersburg, 1998.
5. Simon G.U. One hundred great operas and their plots. M., 1998.
6. Yaroslavtseva L.K.Opera. Singers. Vocal schools of Italy, France, Germany XVII - XX centuries. - "Publishing House" Golden Fleece ", 2004
7. Dmitriev L.B. Soloists of theater "La Scala" about vocal art: dialogues about the singing technique. - M., 2002.

Russian opera. Russian opera school - along with Italian, German, French - has a global value; Mainly this applies to a number of operas created in the second half of the 19th century, as well as several writings of 20 V. One of the most popular operas on the world scene at the end of the 20th century. - Boris Godunov Mpmorgsky, often puts Peak lady P.I. Tchaikovsky (less often his operas, mainly Eugene Onegin); great fame uses Prince Igor A.P. Borodina; from 15 operas N.A. Rimsky-Korsakov regularly appears The Golden Cockerel. Among the opera 20 century. most repertoire Fire Angel S.S.Prokofieva I. Lady Macbeth Mtsensky County D.D.Shostakovich. Of course, it does not exhaust the wealth of the National Opera School. see also OPERA.

The emergence of the opera in Russia (18th century). Opera was one of the first Western European genres that secured in Russian soil. Already in the 1730s, a court Italian opera was created for whom writing foreigners who worked in Russia ( cm. RUSSIAN MUSIC); In the second half of the century, public opera performances appear; Opera is also put in fortress theaters. The first Russian opera is considered Melnik - sorcerer, deceiver and swat Mikhail Matveyevich Sokolovsky on the text of A.O.Abelsimova (1779) - a household comedy with musical numbers of a song character, which posted the beginning of a number of popular works of this genre - early comic opera. Among them are the Opera Vasily Alekseevich Pashkevich (approx. 1742-1797) ( Stingy, 1782; St. Petersburg Living Room, 1792; Misfortune from the carriage, 1779) and Evstignea Ipatovich Fomina (1761-1800) ( Skimers on the substab, 1787; Americans1788). In the genre of opera series, two works of the largest composer of this period of Dmitry Stepanovich Bortztyansky (1751-1825) for French Libretto - Falcon (1786) and Son rival, or modern Strathonik (1787); Interesting experiences are in the genres of melodrama and music to the dramatic spectral.

Opera to Glinka (19 V). In the next century, the popularity in Russia is an opera genre even more increasing. The opera was the top of the aspirations of the Russian composers of the 19th century, and even those who did not leave any essay in this genre (for example, M.A. Balakirev, A.K.Ladov), for many years, those or other opera Projects. The reasons for this are clear: first, Opera, as Tchaikovsky noted, was a genre that gave the opportunity to "speak the mass language"; Secondly, the opera allowed artistically highlighting major ideological, historical, psychological and other problems that occupied the minds of Russian people at 19th;; Finally, in a young professional culture there was a strong gravity to the genres, which included the Word, Stage Move with Music, painting. In addition, a certain tradition was already a legacy left in the musical and theater genre of 18 V.

In the first decades of the 19th century. Court and private theater died

The monopoly focused in the hands of the state. Music and theatrical life of both capitals was very busy: the first quarter of a century - the era of the heyday of the Russian ballet; In the 1800s, there were four theater troupes in St. Petersburg - Russian, French, German and Italian, of which the first three were put on and drama and opera, the latter - only Opera; A few troupe worked in Moscow. Italian entreprepacy was the most stable - even in the early 1870s, young Tchaikovsky, who spent on a critical field, was forced to fight for the decent position of the Moscow Russian Opera in comparison with Italian; Raek Mussorgsky, in one of the episodes of which the passion of the Petersburg public and criticism of the famous Italian singers is also written at the turn of the 1870s.

Russian Opera is the most valuable contribution to the Treasury of the World Music Theater. Observing in the era of the classic heyday Italian, French and German opera, Russian Opera in the XIX century. Not only caught up with other national opera schools, but also ahead of them. The multilateral nature of the development of the Russian Opera Theater in the XIX century. contributed to the enrichment of world realistic art. The works of Russian composers opened a new area of \u200b\u200bopera creativity, there were new contents, new principles for building musical drama, bringing the opera art to other types of musical creativity, primarily for Symphony.

The history of the Russian classical opera is inextricably linked with the development of the social life of Russia, with the development of advanced Russian thought. Opera was already different in these connections already in the XVIII century, arising as a national phenomenon in the 70s., Epoch of the development of Russian educational. The formation of the Russian opera school was under the influence of educational ideas, expressed in the desire to truthfully portray the folk life.

Thus, the Russian Opera from the first of its steps is made as a democratic art. The plots of the first Russian operas often put forward anti-refresh ideas characteristic of the Russian dramatic theater and Russian literature at the end of the XVIII century. However, these trends then have not yet been in a solid system, they expressed empirically in scenes from the life of the peasants, in the show of oppression by their landowners, in the satirical image of the nobility. Such are the plots of the first RUST operas: "misfortune from the carriage" V. A. Pashkevich (approx. 1742- 1797), Libretto Ya. B. Prinjinina (post, in 1779); "Yamchiki on the substab" E. I. Fomina (1761-1800). In the opera "Melnik - sorcerer, a deceiver and swat" with the text of A. O. Ablessova and the music of M. M. Sokolovsky (in the second edition - E. I. Fomin) expressed the idea of \u200b\u200bthe nobility of the land of the landpasher and the nobility of the nobility cv. In the opera M. A. Matinsky - V. A. Pashkevich "St. Petersburg Gostiny Dvor" in a satirical form withdrawn an uplist and official bribemer.

The first Russian operas were plays with musical episodes in the course of action. Spoken scenes had very important in them. The music of the first operas was closely connected with the Russian folk song: composers widely used the melodies of the existing folk songs, processed them by making the basis of the opera. In the "Melnik", for example, all the characteristics of the actors are given with the help of folk songs of various character. In the opera "St. Petersburg Living Court" with great accuracy reproduced people's wedding rite. In the "rods on the substab", Fomin created the first sample of the People's choir Opera, thereby laying one of the typical traditions of the later Russian opera.

Russian Opera developed in the struggle for its national peculiarity. The policy of the royal yard and the tops of the noble society, patronized by foreign troupe, was directed against the democracy of Russian art. The leaders of the Russian opera had to learn the opera skill of the samples of the Western European Opera and at the same time defend the independence of their national destination. This struggle for many years has become a condition for the existence of a Russian opera, taking new forms at new stages.

Along with the Opera comedy in the XVIII century. Other opera genres appeared. In 1790, at the courtyard, an idea of \u200b\u200bthe title "Primary Administration of Oleg" was held, the text to which Empress Ekaterina II wrote, and composers composers K. Kallobbio, J. Sarti and V. A. Pashkevich, composers, was composer, the presentation was not so much Ostricional character, and to some extent it can be considered the first model of a musical and historical genre, so common in the XIX century. In the work of an outstanding Russian composer D. S. Bortnyansky (1751-1825), the opera genre is represented by the lyrical Operators "Falcon" and "Son-opponent", whose music in the development of opera forms and skill can be put in one row with modern samples of the Western European Opera.

The Opera House enjoyed in the XVIII century. great popularity. Gradually, the opera from the capital penetrated the manor theaters. Fortress theater at the turn of the XVIII and XIX centuries. It gives separate highly artistic samples of the opera and individual roles. Talented Russian singers and actors, like, for example, singer E. Sandunova, speaking at the metropolitan scene, or a serf actress Sheremetyeva P. Zhemchugova.

Artistic achievements of the Russian opera XVIII century. They gave impetus to the rapid development of the musical theater in Russia in the first quarter of the XIX century.

The links of the Russian Music Theater with the defining the spiritual life of the era of the ideas are particularly intensified during the Patriotic War of 1812 and during the years of the Decembrist movement. The theme of patriotism, reflected in historical and modern plots, becomes the basis of many dramatic and musical performances. The ideas of humanism, protest against social inequality inspire and fertilize theatrical art.

At the beginning of the XIX century. We still can not speak about the opera in the full value of this word. Mixed genres play a big role in the Russian music theater: tragedy with music, waterville, comic opera, opera ballet. To Glinka, the Russian opera did not know the works, the dramaturgy of which would relieve only music without any conversational episodes.

O. A. Kozlovsky was an outstanding composer (1757-1831), creating music for the tragedies of Ozerov, Katrenina, Shakhovsky. In the genre of Waterville, composers A. A. Alyabyev (1787-1851) Well, A. N. Verst, was successfully worked (1799-1862), writing music to a number of water waters of humorous and satirical content.

Opera began the XIX century. developed the tradition of the preceding period. Characteristic phenomenon were household performances, accompanied by folk songs. Examples of this kind can serve as a submission: "holes", "gatherings", "Girlnik", etc., the music to which he wrote a composer-amateur A. N. Titov (1769-1827). But this is not exhausted by the rich theatrical life of the era. The romantic trends in the hobby of society with fabulous fantastic performances for that time. The Dniprovskaya Mermaid ("Lesta"), which had several parts used special success. Music to these operations, which would be the head of the novel, wrote composers S. I. Davydov, K. A. Kavos; Partly used the music of the Austrian Kauer composer. Dnipro Mermaid did not last long ago from the scene not only due to the exercise of the plot, in the main features of anticipating the plot of Pushkin Mermaids, not only thanks to the luxurious production, but also thanks to melodic, simple and accessible music.

Italian composer K. A. Kavosu (1775-1840), from the young age worked in Russia and who made a lot of strength to develop Russian opera performances, belongs to the first attempt to create a historical and heroic opera. In 1815, he set the Opera Ivan Susanin in St. Petersburg, in which, based on one of the episodes of the struggle of the Russian people against the Polish invasion at the beginning of the XVII century, tried to create a national patriotic performance. This opera answered the sentiments of the Company, who survived the liberation war against Napoleonoper Kavos, it is advantageous to allocate the skill of the musician musician, support for the Russian folklore, the liveliness of action among modern works. Nevertheless, it does not rise above the level of numerous "operas of salvation" of the French composers who are walking on the same scene; Kavos could not create a People's Tragic Epopea in it, which he created in twenty years of Glinka, using the same story.

The largest composer of the first third of the XIX century. A. N. Verstoresky, mentioned as the author of music for waterville. His operas "Pan Tvardovsky" (post, in 1828), Askoldova Mogila (post, in 1835), Vadim (post, in 1832) and others made up a new stage in the development of the Russian opera to Glinka. The creative features of Russian romanticism reflected in the works of the vests. Russian older, poetic traditions of Kievan Rus, fairy tales and legends are based on his opera. A significant role in them is played by the magic element. Music of the Versta, deeply soil, resting on peopled art, has absorbed folk origins in the broadest sense. His heroes are typical of folk art. Being a master of opera dramaturgia, the vests created romantic scenes of fantastic content. A sample of his style can serve as a school "Askoldova grave", preserved in the repertoire to the present day. It manifested themselves the best features of the Versta - a melodic gift, an excellent dramatic flair, the ability to create live and characteristic images of the actors.

The works of the vests belong to the report of the Russian Opera, although their historical importance is very large: all the best qualities of the previous and modern development period of Russian opera music are summarized and developed.

From the 30s. XIX century Russian opera joins the classic period. The founder of the Russian opera classics M. I. Glinka (1804-1857) created the historical tragedy opera "Ivan Susanin" (1830) and the fabulous epic - "Ruslan and Lyudmila" (1842). These supports marked the beginning of two most important areas of the Russian Music Theater: a historical opera and magical epic; Creative principles of Glinka were implemented and developed by the subsequent generation of Russian composers.

Glinka has developed as an artist in an era, authorized by the ideas of the Decembrism, which allowed him to raise the ideological and artistic content of his operas on a new, considerable height. He was the first Russian composer, in the work of which the image of the people, generalized and deep, became in the center of the whole work. The theme of patriotism in his work is inextricably linked with the theme of the struggle of the people for independence.

The previous period of the Russian opera prepared the appearance of the opera Glinka, but their qualitative difference from earlier Russian operas is very significant. In Glinka operations, the realism of artistic thought is manifested by non-private individuals, but acts as a holistic creative method, allowing you to give musical and dramatic generalization of ideas, topics and plot operas. In a new way, I understood the Glink to the problem of the nation: for him, she denoted not only the musical development of folk songs, but also a deep, multilateral reflection in the music of life, feelings and thoughts of the people, the disclosure of the characteristic features of his spiritual appearance. The composer was not limited to a reflection of the people's life, but embodied in music the typical features of the people's worldview. Glinka operas are holistic musical and dramatic works; In them, the Pet of conversational dialogues, the content is expressed by the means of music. Instead of individual, undeveloped solo and choral numbers of comic opera, Glinka creates large, unfolded opera, with a truly symphonic skill, developing them.

In Ivan Susanin, Glinka felt the heroic past of Russia. With a large artistic truth, the typical images of the Russian people are embodied in the opera. The basis for the development of musical drama is the opposition of various national musical areas.

"Ruslan and Lyudmila" - Opera, which posted the beginning of national epic Russian operations. The value of "Ruslan" for Russian music is very large. Opera had an impact not only on theatrical genres, software and symphony. The magnificent warrior and mysterious-magic, as well as the color-oriental images of Ruslana feed for a long time Russian music.

After Glinka, A. S. Dargomyzhsky was performed (1813-1869), a typical artist of the era of the 40-50s. XIX century Glinka had a great influence on Dargomyzhsky, but at the same time, new qualities born in new social conditions, new topics that came to Russian art appeared in the work. Hot sympathy for a humiliated person, the consciousness of the captivity of social inequality, the critical attitude towards the social structure was reflected in the works of Dargomyzhsky, connected with the ideas of critical realism in the literature.

The path of Dargomyzhsky as a opera composer began with the creation of the Opera "Esmeralda", according to V. Hugo (post. In 1847), and the Central Operating Production of the Composer should be considered a "mermaid" (by Drama A. S. Pushkin), delivered in 1856 . In, this opera is completely completely, the talent of Dargomyzhsky and the direction of his creativity was determined. The drama of the social inequality of those who love each other, the daughter of Melnik Natasha and Prince attracted the composer the relevance of the topic. Dargomyzhsky strengthened the dramatic side of the plot due to the diminution of the fantastic element. "Mermaid" is the first Russian household Licoropsychological opera. Music her deep People; On the song the base, the composer created live images of heroes, developed a declamatory style in the parties of the main actors, developed ensemble scenes, significantly dramatizing them.

Last Opera Dargomyzhsky, "Stone Guest", in Pushkin (post. In 1872, after the death of the composer), belongs already. Another period of development of the Russian ONER. Dargomyzhsky put in it the task of creating a realistic musical language reflecting speech intonation. The composer refused here from traditional opera forms - arias, ensemble, choir; Opera vocal batchs prevail over the orchestral parties, the "stone guest" marked the beginning of one of the directions of the subsequent period of the Russian opera, the so-called chamber clerk opera presented in the future "Mozart and Salieri" of Roman Korsakov, the "miser knight" Rakhmaninov and others. A feature of these operas is that they are all packed on the unchanging full text of the "little tragedies" Pushkin.

In the 60s. Russian Opera joined a new stage of its development. In the Russian scene, the works of composers of the Balakirevsky mug ("mighty bunch") and Tchaikovsky appear. At the same years, the creativity of A. N. Serov and A. G. Rubinstein is deployed.

Opera creativity A. N. SEROVA (1820-1871), glorified as a musical criticism, cannot be attributed to very significant phenomena of the Russian theater. However, at one time, his opera played a positive role. In the opera "Judith" (post, in 1863), Serov created a product of a heroicopatic nature on the biblical plot; In the opera Rogneda (cit. And post. In 1865), he turned to the era of Kievan Rus, wanting to continue the Ruslan line. However, the opera was not deep enough. Of great interest is the third opera Serov, the "enemy force", according to Drama A. N. Ostrovsky "Do not live like that, as you want" (post. In 1871). The composer conceived to create a song opera, whose music should be based on the original sources. However, the opera does not have a single dramatic concept, and its music does not rise to the heights of realistic generalization.

A. G. Rubinstein (1829-1894) As the opera composer began with the composition of the historical opera Kulikovsky Battle (1850), in the 60s. He created the lyrical opera "Fera Master" and the Romaigan Opera "Children of the Steve". The best Opera Rubinstein, the "demon" on Lermontov (1871) was preserved in the repertoire. This opera is an example of a Russian lyrical opera in which the most talented pages are devoted to the expression of the senses of heroes. The genre scenes of the "Demon", in which the composer used the People's Music of Transcaucasia, Local flavor makes. The opera "demon" was successful among contemporaries who saw in the main hero image of a person of the 40-50s.

The opera creativity of composers of the "mighty bunch" and Tchaikovsky was closely connected with the new aesthetics of the era of the 60s. New social conditions have advanced new challenges before Russian artists. The main problem of the era was the problem of reflection in the works of the art of folk life in all its complexity and contradictions. The impact of the ideas of revolutionary democrats (most of the Chernyshevsky) affected the area of \u200b\u200bmusical creativity by the general topics and plots, the humanistic focus of works, the glorification of the high spiritual forces of the people. Of particular importance at this time acquires a historical topic.

Interest in the history of their people in those years is typical not only for composers. Historical science itself is widely developed; Writers, poets and playwrights turn to the historical topic; The historical painting is developing. The era of coups, peasant uprisings, mass movements cause the greatest interest. An important place is the problem of the relationship of the people and the royal power. The historical opera M. P. Mussorgsky and N. A. Rimsky-Korsakov are devoted to this topic.

Operas M. P. Mussorgsky (1839-1881) "Boris Godunov" (1872) and "Hovanshchina" (ended with the RLM-Korsakov in 1882) belong to the historical tragedy branch of the Russian classical opera. The composer called them "folk musical dramas", as the panel - in the center of both works. The main idea of \u200b\u200bBoris Godunova (according to the same name of Pushkin tragedy) - conflict: king - people. This idea was one of the most important and sharp in the flag era. Mussorgsky wanted to find analogy with modernity in the events of the past Rus. The contradiction of people's interests and self-adjustable power is shown in the scenes of the national movement, passing into an open uprising. At the same time, the composer pays great attention to the "tragedy of conscience", experienced by the king Boris. The multifaceted image of Boris Godunova is one of the highest achievements of world opera creativity.

The second musical drama of the Mussorgsky, "Hovhanshchina" is dedicated to Streletsky uprishes at the end of the XVII century. The elements of the people's movement in the whole with violent strength are remarkably expressed by the music of the Opera, based on a creative rethinking of peopled art. Music "Hovhanchyna", like the music of Boris Godunova, is characterized by a high tragedy. The basis of the melodic mile of both operas is the synthesis of song and declamation began. An innovation of the Mussorgsky, born novelty design, deeply distinctive solution to the tasks of musical drama makes it consider to rank both of his operas to the highest achievements of the musical theater.

Opera A. P. Borodina (1833-1887) "Prince Igor" also adjoins the group of historical musical works (the plotone served as "the word about the regiment of Igor"). The idea of \u200b\u200blove for the Motherland, the idea of \u200b\u200bunion in the face of the enemy is revealed by a composer with great drama (scenes in Putivl). The composer combined in his opera monumentality of an epic genre with lyrical start. In the poetic embodiment of Polovtsovsky, Glinka covers were implemented; In turn, the musical paintings of the East in Borodin inspired many Russian and Soviet composers to create oriental images. The wonderful melodic gift of Borodin manifested itself in the Spore Opera style. Borodin did not have time to complete the opera; "Prince Igor" was completed by Roman-Korsakov and Glasenov and in their editors were put on stage in 1890.

The genre of the historic musical drama was developed and N. L. Rimsky-Korsakov (1844-1908). Pskov Wolnitsa, rising against Ivan the Terrible (Opera "Pskovtyanka", 1872), is outlined by a composer with epic magnitude. The image of the king of a color of genuine drama. The lyrical element of the opera associated with the heroine - Olga, enriches music, introducing the line of elevated tenderness and softness to the magnitude tragedy concept.

P. I. Tchaikovsky (1840-1893), most famous for his Yarico-psychological onan, was the author of three historical operas. Operas "Okrichnik" (1872) and "Mazepa" (1883) are devoted to dramatic events from Russian history. In Opera "Orleansk Virgo" (1879), the composer turned to the history of France and created the image of the National French heroine Zhanna D "Ark.

The peculiarity of the historical operas of Tchaikovsky is their relationship with its lyrical operations. The composer reveals in them the characteristic features of the era portrayed through the fate of individuals. The images of his heroes are distinguished by the depth and truthfulness of the transfer of the complex inner world of man.

In addition to people's historical musical drams in the Russian opera XIX century. The most important place is occupied by nationally fabulous operas, widely represented in the works of N. A. Rimsky-Korsakov, the best fabulous operas of Roman-Kororsakov - "Snow Maiden" (1881), "Sadko" (1896), "Casis Immortal" (1902) and " Golden Cockerel "(1907). A special place occupies the Opera "Tale of the Invisible Grade Cytem and the Virgin Fevronia" (1904), written in the materials of the people's traditions about the Tatar-Mongolian invasion.

Opera Rimsky-Korsakov is affixed by a variety of interpretations of the people's fabulous genre. This is the poetic interpretation of the ancient folk ideas about nature, expressed in a wonderful fairy tale about the Snow Maiden, then the mighty picture of ancient Novgorod, then the image of Russia began the XX century. In the allegorical image of the Cold Cascoev of the Kingdom, then the real satire of PA rotting autocratic system in fabulous-chest paints ("Golden Cockerel"). In various cases, the methods of musical outlines of heroes and techniques of musical drama of the Roman Corsakov are different. However, in all its operations there is a deep creative corporate composer into the world of people's ideas, folk beliefs, in the worldview of the people. The basis of the music of his opera is the language of the folk song. Support, PA folk creativity, characteristics of acting persons by using different folk genres - a typical feature of Roman-Korsakov.

The top of the Creativity of the Roman-Korsakov is a majestic epic on the patriotism of the people of Russia in the Opera "Tale of the Invisible Grade Kitege and the Virgin Fevronia", where the composer reached a huge height of musical and symphonic summarization of the theme.

Among other varieties of the Russian classical opera, one of the main places belongs to a lyrical and psychological opera, the beginning of which was made by the "mermaid" of Dargomyzhsky. The greatest representative of this genre in Russian music - Tchaikovsky, the author of the brilliant works included in the World Opera Repertoire: "Evgenia Onegin" (1877-1878), "Clavetics" (1887), "Peak Lady" (1890), "Iolants" (1891 ). The innovation of Tchaikovsky is associated with the direction of his work dedicated to the ideas of humanism, protest against humiliation of man, faith in the best future of mankind. The inner world of people, their relationships, their feelings are disclosed in Tchaikovsky operations by combining theatrical effectiveness with the consistent symphonic development of music. The opera work of Tchaikovsky is one of the greatest phenomena of world musical art of the XIX century.

A smaller work is presented in the opera work of Russian composers comedy opera. However, these few samples are distinguished by national originality. There are no entertainment lightweight, comicing. The basis of most of them was the story of Gogol from "Evenings on the farm near Dikanka." In each of the opera-comedy, the individual features of the authors were reflected. In the opera Tchaikovsky "Chernochi Wich" (1885; In the first edition, the "Kuznets Vakula", 1874) prevails a lyrical element; In the May night, Roman Corsakov (1878) -fantastic and ritual; In the Sorochin Fair, Mussorgsky (70s., Not exceeded.) - Purely comedy. These operas are samples of the skill of realistic reflection of the life of the people in the comedy genre of characters.

A number of so-called opera classics are adjacent to the Russian opera classics: parallel phenomena in the Russian music theater. We mean the work of composers who did not create the works of the incredit value, although invested their mortgage contribution to the development of the Russian opera. Here it is necessary to name the operas of C. A. Kyui (1835-1918), the participant of the Balakirevsky mug, a prominent musical criticism of the 60-70s. Kui Opera "William Ratcliffe" and "Angelo", not emerging from the relative-romantic style, are deprived of drama and, at times, bright music. Later supports of Kyu are less important ("Captain's daughter", "Mademoiselle Fifi" and others). The accompanying classical opera was the work of the issuer of the conductor and the musical leader of the opera in St. Petersburg E. F. Director (1839-1916). His Opera Opera "Dubrovsky", composed in the tradition of lyrical operas Tchaikovsky, enjoys the greatest fame.

Of the composers who spoke at the end of the XIX century. On the opera scene, it is necessary to name A. S.nański (1861-1906), the author's opeker "Sleep on. Volga "," Rafael "and" Nal and Damaanti ", as well as M. M. Ishülitova-Ivanova (1859-1935), whose Opera" Asya ", according to I. S. Turgenev, written in the lyrical manner of Tchaikovsky. A mansion is in the history of the Russian Opera "Orestea" S. I. Taneyev (1856-1915), according to Eschil, which can be described as a theatrical oratorio.

At the same time, the Opera Composer S. V. Rachmaninov (1873-1943), who composed to the end of the Conservatory (1892), which was a similar One-act Oero "Aleco", wasteered in the traditions of Tchaikovsky. Later Opera Rakhmaninov - Francesca Yes Rimini (1904) and "Surround Knight" (1904) - written in the character of opera-cantat; They are maximally compressed stage action and a very developed musical and symphony beginning. The music of these operas, talented and bright, carries the seal of the originality of the creative style of the author.

Of the less significant phenomena of the opera art of the beginning of the XX century. I will call Opera A. T. Grechaninova (1864-1956) "Dobryny Nikitich", in which the characteristic signs of a fabulous epic classical opera gave way to the romance lyrics, as well as Opera A.D. Kastalsky (1856-1926) "Clara Milich", in which elements of naturalism are combined with sincere impressive lyrism.

XIX century - Epoch of Russian opera classics. Russian composers created masterpieces in various genres of opera art: drama, epic, heroic tragedy, comedy. They created innovative musical dramaturgy, born in close connection with the innovative content of the opera. An important, determining the role of mass folk scenes, the multilateral characteristics of the acting persons, a new interpretation of traditional opera forms and the creation of new principles of musical unity of the whole work - the characteristics of the Russian opera classics.

Russian classical operating operating operating operating experience, under the influence of public life events, has become one of the wonderful parties to the Russian National Culture of the XIX century. The whole path of the development of Russian opera creativity in the last century was parallel to the great liberation movement of the Russian people; Composers inspired high ideas of humanism and democratic enlightenment, and their works are for us great samples of genuinely realistic art.

Opera - vocal theater genre of classical music. It differs from the classic dramatic theater by the fact that the actors also speakers surrounded by decorations and in costumes, in the course of action, do not speak, and sing. The action is built on the text called the libretto, created on the basis of a literary work or specifically for the opera.

The birthplace of the opera genre was Italy. The first view was organized in 1600 by the ruler of Florence Medici at his daughter's wedding with the king of France.

There are a number of varieties of this genre. Serious opera appeared in the XVII - XVIII centuries. Its feature was to appeal to the plots of history and mythology. The plots of such works were emphasized by saturated emotions and pathetic, the arias are long, and the scenery lush.

In the XVIII century, the audience began to tire from excessive porch, and an alternative genre appeared - a lighter comic opera. It is characterized by a smaller number of actors involved and "non-serious" techniques used in the aria.

At the end of the same century, it was born and having a mixed nature between serious and comic genres - a semi-dry opera. The works written in this vein always have a happy end, but their plot itself is tragic and serious.

Unlike previous varieties, which appeared in Italy, the so-called big opera was born in France in the 1930s of the XIX century. The works of this genre, mainly devoted to historical topics. In addition, a structure of 5 acts was characterized, one of which is dance and many decorations.

Opera Ballet appeared in the same country at the turn of the XVII-XVIII centuries at the French Royal Court. Representations in this genre are distinguished by the incompleteness of the plots and the color of the production.

Motherland Operetta is also France. Simple on the meaning, entertaining the content of works with light music and a small composition of the actors began to put in the XIX century.

The romantic opera arose in Germany in the same century. The main characteristic feature of the genre is romantic plots.

To the most popular in our time, the operations include "Traviata" Giuseppe Verdi, "Bohemia" Gacomo Pucchini, "Carmen" George Bize and, from the domestic - "Eugene Onegin" P.I. Tchaikovsky.

Option 2.

Opera is a type of art that includes a combination of music of singing, performing, skillful actor games. In addition, decorations are applied in the opera, decorate the scene to transfer the viewer atmosphere in which this action takes place.

Also, for a mental understanding of the audience, the scene played, the main actress is the main actress in it, it helps the overall orchestra who leads the conductor. This type of creativity is very deep and multifaceted, first appeared in Italy.

Opera experienced a lot of changes before it came to us in this image, in some works there were moments that sings, wrote poems, could not do anything without a singer, who dictated his conditions to him.

Then the moment came when no one had listened to the text, all the audience looked only on the singing actor and on beautiful outfits. And at the third stage, it turned out that type of opera that we used to see and hear in the modern world.

And only now allocated the main priorities in this action, still in the first place the music, then the Arya actor, and only then the text. After all, with the help of Aria, the history of the heroes of the play is told. Accordingly, the main aria of the actors is the same as a monologue in dramaturgia.

But during the Aria, we also hear music that corresponds to this monologue, it allows you to brighter all the action played in the scene. In addition to such actions, there are still operas that are fully built on high-profile and spiritual statements, combined with music. Such a monologue is called Rechitative.

In addition to the Aria and the Rechitative, there is a choir in the opera, with the help of it there are many acting lines. Also in the opera there is an orchestra, without it the opera would not be what it is now.

After all, thanks to the orchestra and the corresponding music sounds, which creates an additional atmosphere and helps to reveal the entire meaning of the plays. This type of art appeared at the end of the 16th century. The emergence of the opera was in Italy, in the city of Florence, the ancient Greek myth was supplied for the first time.

From the moment of formation in Opera, mythological plots were mainly used, the repertoire is now very wide and diverse. In the 19th century, this art began to train in special schools. Thanks to this learning, the world saw many famous people.

Opera is written, based on those taken from the literature, all countries of the world, various drams, novels, leads and plates. After the music scenario is written, the conductor, the orchestra, choir, is worn. And the text is taught the actors, then prepare the scenery, carry out rehearsals.

And after all these people, the opera performance is born to watch, which many people come.

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