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1
Babenko, Oksana Vasil'evna. "The origins of Russian Opera as the key to understanding modern opera art." Культура и искусство, no. 8 (August 2020): 76–86. http://dx.doi.org/10.7256/2454-0625.2020.8.33608.
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The subject of this research is the origins of Russian Opera and its evolution. The grounds of Russian Opera can be observed in folk and Church rites of the Ancient Rus’. The origins of Russian Opera stem from the Middle Ages, when the cantatory tradition formed under the impact of Byzantine and Russian folk traditions. The folk-Church events of the XVI – XVII centuries contained the theatrical elements, which later on were incorporated by the professional musical theater. Until the XVIII century, theatrical performances were open only to royalty and upper class society. The first theatre in Russia was built in 1672 for the Tsar and received a name “The Comedy Mansion”. It staged operas on the Biblical themes. The first secular operas appeared in the second half of the XVIII century. In 1756, the Empress Elizabeth of Russia turned the theater into a state and public institution. Russian operas of that time mirrored the Western models to a large extent. The emergence of truly national operas is related to the name of M. I. Glinka (1804-1857). The conclusion is made that modern Opera borrowed the principles of nationalism and humanism from its precursors. The author draws parallels between the first operas, classical Russian Opera on the one hand, and modern Russian Opera on the other. Analysis is carried out on the origin of the plots and libretto of the operas. P. I. Tchaikovsky, M. P. Mussorgsky, A. P. Borodin, N. A. Rimsky-Korsakov, S. V. S. V. Rachmaninoff, S. S. Prokofiev, D. D. Shostakovich and others, same as the inventors of the opera, wrote their operas based on literary and historical storylines.
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Rice, John A. "The Staging of Salieri’s Les Danaïdes as Seen by a Cellist in the Orchestra." Cambridge Opera Journal 26, no. 1 (February 19, 2014): 65–82. http://dx.doi.org/10.1017/s0954586713000335.
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AbstractDuring the 1780s a cellist in the orchestra of the Opéra, known only as Monsieur Hivart, served the Russian Count Nicholas Sheremetev as an operatic agent, sending scores, librettos, costume designs, stage designs and other materials related to opera in Paris, and advising the count on the production of French operas in Russia. Hivart was in contact with such composers as Grétry, Sacchini and Piccinni, and the stage machinist and ballet master of the Opéra, and from his place in the orchestra he could watch their work take shape on stage. This gives his letters to Sheremetev (published in Russian translation in 1944 but largely unknown in the West) significant value for historians of opera in eighteenth-century Paris. Especially extensive are Hivart’s reports on the first production of Salieri’s Les Danaïdes, which contain much information about the first production available nowhere else.
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Liu, Yawei. "XIX century in the history of European and Russian opera: points of intersection and differences." Философия и культура, no. 1 (January 2021): 54–64. http://dx.doi.org/10.7256/2454-0757.2021.1.34984.
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The development of opera genre in Europe and Russia in the XIX century is of particular interest for the Chinese and Russian art historians. The subject of this article is the history of European and Russian opera in the XIX century. The object of this research is the works of the leading opera composers and the novelties introduced by each of them into the opera genre. The goal consists in examination of the following aspects of the topic: specificity of emergence of opera in Russia in the XVIII century, establishment of the national opera schools – Italian, French, German and their prominent representatives, as well as peculiarities of the Russian opera tradition of the XIX century. The novelty lies in determination of similarities and differences between the European and Russian opera in the XIX century from the perspective of of Chinese art history. The author's special contribution consists in the attempt to discuss the subject matter in the context of Chinese art historians who take interest in the peculiarities of opera of the XIX century. The acquired results demonstrate that the development of opera within the framework of the vocal and musical performance in the XIX century is a unique sociocultural phenomenon, which manifested through the system of spiritual values and spiritual life of the Russian and European nations.
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Berman, Anna A. "Competing Visions of Love and Brotherhood: RewritingWar and Peacefor the Soviet Opera Stage." Cambridge Opera Journal 26, no. 3 (October 13, 2014): 215–38. http://dx.doi.org/10.1017/s095458671400007x.
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AbstractWhen Sergei Prokofiev chose to adaptWar and Peacefor the Soviet opera stage in the 1940s, he faced both operatic conventions and Soviet ideological demands that ran counter to the philosophy and structure of Tolstoy’s sprawling masterpiece. Prokofiev’s early decision to split his opera intoPeaceandWar, making the first a romantic love story of individuals and the second a collective story of the people’s love for Mother Russia, marked a major divergence from Tolstoy. This article explores how Prokofiev reworked Tolstoy’s philosophy of love and human connection to make his opera acceptable for the Soviet stage. Moving away from Tolstoy’s family ideal inPeace, with its basis on intimate sibling bonds, Prokofiev shifted the family toWar, turning it into a national Russian family of Father Kutuzov, Mother Russia and their children – the Russian people. The opera uses choral glorification of these heroic parents to foster on a national scale the type of intimacy Tolstoy had advocated in the home.
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Koter, Darja. "The Impact of Russian Emigration on the Ljubljana Opera House between the Two World Wars." Monitor ISH 18, no. 1 (November 3, 2016): 47–68. http://dx.doi.org/10.33700/1580-7118.18.1.47-68(2016).
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One of the consequences of the socio-political situation in Russia between 1917 and 1921 was the heavy emigration of artists. Some of them sought employment at the Ljubljana and Maribor opera houses, where most of the artists hailed from Belgrade. The article describes the dynamics and extent of Russian emigration as well as the variety of artistic profiles and individuals employed at the Ljubljana Opera, focusing primarily on the opera singers. Although the vast majority worked in Ljubljana only for a season or two, rarely longer, the Russian arrivals played the leading roles in opera performances and made a significant contribution to the Opera’s artistic development. The article suggests further possible studies on the history of performance at the Ljubljana Opera and its dependence on general cultural, and in particular Russian, emigration between the two World Wars.
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Wiley, Roland John. "Dances in Opera: St. Petersburg." Dance Research 33, no. 2 (November 2015): 227–57. http://dx.doi.org/10.3366/drs.2015.0139.
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In Russia opera dances emerged in the eighteenth century, distinguishing themselves from other theatre works that included dance; the most important works and composers of this period will be summarized. As a repertoire of continuing interest, opera dances began with those of Mikhail Glinka in 1836 and 1842. Problems of studying the opera dances since then, including local practice, faulty scholarship and press criticism, will be identified. The principal makers of opera dances in Russia are introduced next together with their accomplishments, not least in light of so-called theatre reforms of the early 1880s, which favored opera over ballet proper. Finally, selected opera dances from Glinka to Tchaikovsky are analysed, with elaborations from historical records and the contemporary press.
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Garzonio, Stefano. "Механизмы переложения "на наши (русские) нравы" итальянских оперных либретто [Mechanisms of adaptation “to our (Russian) customs” of Italian opera librettos]." Sign Systems Studies 30, no. 2 (December 31, 2002): 629–44. http://dx.doi.org/10.12697/sss.2002.30.2.16.
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Mechanisms of adaptation “to our (Russian) customs” of Italian opera librettos. The paper deals with the history of poetical translation of Italian musical poetry in the 18th century Russia. In particular, it is focused on the question of pereloženie na russkie nravy, the adaptation to national Russian customs, of Italian opera librettos, cantatas, arias, songs and so on. The author points out three different phases of this process. The first phase, in the 1730s, coincides with the reign of Anna Ioannovna and it is linked to Trediakovsky’s translations of Italian intermezzos, comedies and to the first opera seria, La forza dell’amore e dell’odio (‘The force of love and hate’, 1736) by F. Araja and F. Prata; the second phase, in the period 1740–1770s, is characterized by a very varied production of translations and imitations, which undoubtedly influenced the general developing of Russian musical and dramatic poetry. It is during this period that pereloženie na russkie nravy is introduced into dramatic genres and sometimes it is findable in musical poetry as well. The third phase, in the 1780–1790s, is linked with the activity of such poets-translators as Ivan Dmitrevskij, Michail Popov, Vasilij Levšin and is characterized by the new practice of performing operas in Russian translations. In the paper the different forms of pereloženie na russkie nravy are pointed out, starting from the formal niveau of metrics and stylistics up to the adaptation of themes, places and realia.
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MÓRICZ, KLÁRA. "Decadent truncation: liberated Eros in Arthur Vincent Lourié's The Blackamoor of Peter the Great." Cambridge Opera Journal 20, no. 2 (July 2008): 181–213. http://dx.doi.org/10.1017/s0954586709002468.
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AbstractRussian composer Arthur Vincent Lourié (1881/2–1966) dedicated his The Blackamoor of Peter the Great (1948–1961), an opera based on Pushkin's story about the poet's African great-grandfather, to ‘Russian culture, the Russian people and Russian history.’ Neoclassical in its subject matter, reliance on conventional musical forms, and adherence to tonality, Lourié's Blackamoor is nevertheless also an exemplary symbolist opera. This article explains three symbolist aspects of the work: the sources of its libretto (Lourié's librettist Irina Graham interspersed the libretto with symbolist texts), its multi-layered cultural associations, and Lourié's decision to liberate and embody the erotic drive of the main character Ibrahim by representing it as the figure of Eros. Eradicated during the years of Stalinist terror, the culture of Silver Age Russia thus continued to find a voice in the emigrant Lourié's last opera.
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Ming, Li, and Anna Boiko. "Special things of mutual reception of Russian and Chinese opera art at the end of the 20th and the beginning of 21st centuries." OOO "Zhurnal "Voprosy Istorii" 2020, no. 12-2 (December 1, 2020): 166–74. http://dx.doi.org/10.31166/voprosyistorii202012statyi44.
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The article is devoted to the study of the special things of the mutual reception of Russian and Chinese opera cultures in the late of the 20th and early 21st centuries. The essential role of historical, political and cultural events is noted. Those events took place during the period, that had a significant impact on the interaction between China and Russia in the field of operatic art. It was found that a similar interaction is manifested first of all, in holding different events (forums, festivals, concerts) in organization the opera performances with the participation of Russian and Chinese artists and establishing interuniversity cooperation.
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Nelson, John. "Opposing Official Nationality." Experiment 25, no. 1 (September 30, 2019): 115–29. http://dx.doi.org/10.1163/2211730x-12341333.
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Abstract It was political turmoil in Russia that brought Savva Mamontov and his Abramtsevo circle together with Nikolai Rimsky-Korsakov. The composer questioned whether the “Official Nationality” decree of Tsar Nicholas I, with its emphasis on autocracy, Orthodoxy, and nationality—which together asserted despotic rule—truly represented the values of a changing Russian society. In addition, his operas found little favor within the Imperial theater directorate. This changed, however, when the Imperial theater monopoly was abolished, allowing private theaters to operate freely. Mamontov opened his Private Opera in 1885 at Abramtsevo and in 1895 in Moscow. His aim was to demonstrate that a private opera house could compete with the Imperial theaters, in addition to giving Moscow the opportunity to see Russian-themed operas. It was Mamontov’s new approach to stage direction, including the incorporation of fine artists in the creative process, that attracted the composer. Harassment by the Tsar, the bureaucracy of the Imperial theaters, and the western-orientated repertoire committee, had all alienated the composer. Mamontov’s dedication to filling a gap in the Russian music world, as well as his challenge to the Imperial theaters, caught Rimsky-Korsakov’s attention. Through their collaboration they questioned the bureaucracy and publicly registered their protest against Nicholas II. Together, they challenged the foundations of the “Official Nationality” doctrine propounded by the tsars since the rule of Nicholas I, which in a changing Russian society had acquired a new meaning.
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Shishkin, Andrei Gennadievich. "Opera and religion: the experience of staging the opera “The Greek Passion” by Bohuslav Martinu in the Ural Opera Ballet Theatre." Культура и искусство, no. 5 (May 2020): 140–48. http://dx.doi.org/10.7256/2454-0625.2020.5.32932.
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Opera “The Greek Passion”, based upon Nikos Kazantzakis’ novel “Christ Recrucified”, demonstrated the Biblical story in “passions” of the XX century: in 2019 it was staged for the first time in Russia by Ural Opera Ballet Theatre. The article analyzes Martinu’s interpretation of the genre of passion, related to music and folk mistrial nature of this genre. Experience of interaction of the theatre in the course of staging the spectacle with representatives of the Russian Orthodox Church is reviewed. The research describes the transformation of conflict between true and false Christianity, the themes of inner transfiguration of a person. Analysis is conducted within the methodological framework of the modern theory and history of culture, in combination of culturological, philosophical and theatrological methods of interpretation. It is noted that the captured by stage directors idea on conversion of Christianity into a part of cultural tradition that can lead to the loss of its spiritual content. A conclusion is made that art and religion can be viewed as the equivalents ways of acquainting with the generally recognized humanistic values.
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Matveyev, Rebecca Epstein, and Julie A. Buckler. "The Literary Lorgnette: Attending Opera in Imperial Russia." Slavic and East European Journal 45, no. 1 (2001): 146. http://dx.doi.org/10.2307/3086432.
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Vakhmistrova, Svetlana I. "S. Mamontov and V. Telyakovsky as two fields of attraction in the fate of F. Chaliapin1 and the Russian opera theater." Historia provinciae – the journal of regional history 5, no. 1 (2021): 146–82. http://dx.doi.org/10.23859/2587-8344-2021-5-1-4.
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Using meaningful historical material, the article explores the parallels of the creative careers of such great developers of the Russian opera of the late 19th – early 20th centuries as F. Chaliapin, S. Mamontov, and V. Telyakovsky. It was the period of rapid development of innovative stage direction, vocal art, and stage design. The outstanding organizers of theater business S. Mamontov and V. Telyakovsky were at the heart of that creative seething. Being representatives of different social strata (the merchant class and higher nobility), they attracted vivid talents and opened them the way of the private and state opera, respectively. The flourishing of operatic art led to a completely new level of performance. F. Chaliapin and a number of other outstanding representatives of Russian opera began their careers at that time. S. Mamontov’s Private Opera which played a significant role in the development of Russian operatic art was founded in 1896. The repertoire of this theater consisted of works by Rimsky-Korsakov, Mussorgsky, and Borodin. Innovative approaches to the opera performance which was considered as a living synthetic phenomenon integrating the concepts of production and stage design were implemented on the Russian stage for the first time. In its productions, Mamontov’s Private Opera used the principles of realism, which corresponded to the spirit of the works performed. Meanwhile, the development of Russian opera during this period was taking place against the background of complex social relations which aggravated many contradictions both in the life of the society as a whole with its differentiation into metropolitan and provincial life, and in the life on the stage with its specific very mobile interpersonal communications. The article focuses on the careers of S. Mamontov, F. Chaliapin, and V. Telyakovsky. Each of them made an invaluable contribution to the development of Russian opera. From the perspective of the historical culturological approach, the article examines the complicated relationship between the prominent Russian philanthropist and theater director Savva Mamontov, the flexible administrator Vladimir Telyakovsky, and the outstanding opera singer Feodor Chaliapin, and their influence on the formation of the personality of an opera performer and on the development of operatic art in Russia as a whole. The article presents abundant documentary evidence of the peculiarities of their relationship which ultimately determined the vector in the development of the Russian opera theater.
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Alexander, Tamsin. "Decentralising via Russia: Glinka’sA Life for the Tsarin Nice, 1890." Cambridge Opera Journal 27, no. 1 (March 2015): 35–62. http://dx.doi.org/10.1017/s0954586714000147.
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AbstractOn 30 January 1890, the audience at the Théâtre Municipal in Nice witnessed something extraordinary. Midway through the first public performance of a Russian opera in France, Glinka’sA Life for the Tsar, the chorus and orchestra broke into a rendition of the Russian national anthem, followed by the ‘Marseillaise’. Both anthems were then repeated, with the audience calling out ‘Vive la Russie!’, ‘Vive la France!’ With France and Russia on the verge of a historic alliance, the evening was proclaimed a political and an artistic triumph. This unusual event, I suggest, can be explained by considering the context of operatic decentralisation in France, in conjunction with the arrival of a new director at the Théâtre, Raoul Gunsbourg. As a result of local and personal imperatives, the performance came to resonate nationally, withA Lifeserving as an unlikely emblem of modernity, while also bringing one peripheral French region strongly into Paris’s purview.
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Джуст, Анна. "Замечания о рецепции итальянской оперы seria в период от царствования Анны Иоанновны до царствования Екатерины II." ВИВЛIОθИКА: E-Journal of Eighteenth-Century Russian Studies 8 (December 11, 2020): 27–53. http://dx.doi.org/10.21900/j.vivliofika.v8.790.
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This article seeks to contribute to the ongoing revision of the historiography on eighteenth-century Russian music in general, and Russian opera in particular. After an extensive survey of the state of the field, the author adopts a multi-disciplinary approach (combining musical and philological studies) to analyse recently published primary sources about the reception of Italian opera seria in early imperial Russia. The article demonstrates that far from merely providing amusement for the Court of three consecutive female monarchs, Italian composers and their works engaged in complex ways with a much more variegated Russian "public." The author suggests that the creation of this music-listening and -performing domestic public was indebted to Italian operatic traditions and, at the same time, intimately connected to local traditions of musical performance.
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Woodside, Mary S. "The Literary Lorgnette: Attending Opera in Imperial Russia (review)." Notes 61, no. 1 (2004): 137–40. http://dx.doi.org/10.1353/not.2004.0120.
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Taruskin, Richard. "Christian themes in Russian opera: A millennial essay." Cambridge Opera Journal 2, no. 1 (March 1990): 83–91. http://dx.doi.org/10.1017/s0954586700003128.
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The millennium to which my title refers is that of the Christianisation of Russia, which took place in 988, and which was recently celebrated the world over, not least in newly broad-minded Russia herself. And yet the designation is somewhat imprecise: the millennium was really that of a sovereign's baptism. After considering and rejecting Judaism and Islam (so the legend goes), the Great Prince Vladimir of Kiev embraced the Christian faith and established it as a state religion – the statiest state religion that ever was (or is: the situation has been updated under the Soviets, but not fundamentally changed). The distinction is necessary if the subject of these remarks is to have any meaning at all, and it will also help explain why there is relatively little to say about it.
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Прыткова, Е. Е., А. В. Сахарова, and Н. В. Хорошилова. "“Moscow” Letters by Giacomo Puccini to the Director Vladimir Alekseyev: First Publication." OPERA MUSICOLOGICA, no. 2 (May 1, 2021): 90–114. http://dx.doi.org/10.26156/om.2020.13.2.005.
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В статье впервые публикуется переписка Джакомо Пуччини и оперного режиссера Владимира Алексеева, ставшего одним из первых популяризаторов творчества композитора в России. Указанные письма впервые вводятся в научный оборот и таким образом дополняют корпус переведенного ранее эпистолярного наследия. В письмах, относящихся к 1913–1917 годам, затрагиваются разные аспекты творчества Пуччини, в том числе связанные с российской музыкальной культурой: постановка оперы «Девушка с Запада» в Москве, отклики на творчество Скрябина, Рахманинова и Стравинского, ситуация с постановкой опер Пуччини в Большом театре. Сканированные копии писем предоставлены для работы Российским национальным музеем музыки. С разрешения Музея в статье приводится фотокопия одного из писем Пуччини. This article is the first publication of the correspondence between composer Giacomo Puccini and opera director Vladimir Alekseyev, who became one of the first popularizers of Puccini’s work in Russia. It is the first time that these letters are introduced into scientific circulation and thus supplement the corpus of the previously translated letters of the composer. Letters from 1913 to 1917 touch upon various aspects of Puccini’s work, including those related to Russian musical culture, such as production of the opera La fanciulla del West in Moscow, responses to the works of Scriabin, Rachmaninov and Stravinsky, the situation with staging of Puccini’s operas at the Bolshoi Theater. Scanned copies of the letters are made available for work by the Russian National Museum of Music. With the permission of the museum, the article presents a photocopy of one of Puccini’s letters.
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KONSON, GRIGORIY R., and IRINA A. KONSON. "HANDEL’S OPERAS IN THE CONTEXT OF CONTEMPORARY DIRECTING: ON THE IMPLEMENTATION OF FILM COMPOSITION PRINCIPLES IN OPERA PERFORMANCES." ART AND SCIENCE OF TELEVISION 16, no. 2 (2020): 101–25. http://dx.doi.org/10.30628/1994-9529-2020-16.2-101-125.
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The article was inspired by the authors’ reviews of modern productions of Handel’s Baroque operas in 2019, presented in the three German cities: Halle, Bad Lauchstädt and Bernburg. Halle, where Georg Friedrich Handel (1685–1759) was born, is also a venue of the annual International Handel Festival, dedicated to the works of the great Saxon and his contemporaries. The concept of the festival in 2019, Sensitive, heroic, sublime: Handel’s women, was devoted to studying the female images embodied in his operas. In considering the scientific and artistic concept, the authors concluded that the directors’ understanding of these operas has expanded through the integration into musical drama of the compositional principles of film editing and the expressive means of modern, primarily screen arts. To study this phenomenon, we turned to the scientific tools developed in Russia by the two Soviet researchers who have become seminal in their field. One of them was the psychologist Lev Vygotsky, who, exploring the spiritual world of the protagonists in fine literature, revealed their psychological contradictions, expressed in the conflict of the narrative and the plot. Another The other, Sergei Eisenstein, was well-versed in Vygotsky’s manuscript of his study, Psychology of Art, and, influenced by some of these ideas, created his own “psychology of art”, which is set out in his works of various years. The core of this concept was “the transition from the Expressive Movement to the image of the art work… as a process of interaction of layers of consciousness” [1, p. 188], which allowed for multiple entries into the artistic image (one of the authors has applied this method of analysis in a work devoted to the integration of the principles of painting and cinema: [2, pp. 63–86]). Some features of the cinematograph also support such entries, and the first among equals here is the principle of intellectual editing developed by Eisenstein. In his montage theory, other types of editing—linear, parallel, associative—have been generalized and developed into a large-scale system for exploring the psychology of heroes in art. The essence of these processes, identified in the article, made it possible for the authors to discern the phenomenon of building the meaning in the Halle directors’ interpretations of Handel’s operas, which arises from the merger of the two seemingly irreconcilable and conflicting layers of consciousness: Baroque and eclectic modern, which emerged at the turn of the last century.
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Kholodova, M. V., and M. M. Chikhacheva. "OUTSTANDING FIGURES OF OPERA ART OF KRASNOYARSK: LARISA VLADIMIROVNA MARZOEVA." Northern Archives and Expeditions 5, no. 2 (June 30, 2021): 159–67. http://dx.doi.org/10.31806/2542-1158-2021-5-2-159-167.
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The study of the culture of various regions of Russia, including the musical culture of Siberia, is one of the intensively developing areas of modern russian art history and cultural studies. The history of the formation and development of the musical culture of Krasnoyarsk - one of the largest siberian centers — is a multi-faceted picture, already meaningful in a number of fundamental works, a series of scientific publications. At the same time, not all aspects of the musical life of Krasnoyarsk received comprehensive coverage, many of its pages are waiting for their researcher. The article presents the milestones of the creative biography of an outstanding singer, Honored Artist of Russia, professor of the Siberian State Institute of Arts named after Dmitry Hvorostovsky — Larisa Vladimirovna Marzoeva, whose name is known today far beyond Siberia. The focus of the author of the work is the way of becoming a talented artist, teacher in the musical and theatrical field, coverage of the activities of an outstanding person in the field of opera art. A talented graduate of the Leningrad State Conservatory named after N.A. Rimsky-Korsakov in 1978, at the invitation of the leadership, chooses a career in the only opening Krasnoyarsk State Opera and Ballet Theater (now bearing the name of the famous fellow countryman, baritone Dmitry Alexandrovich Hvorostovsky), the Siberian Theater has become a true "alma mater" for the singer, and her multifaceted creative activity has largely determined the development of opera art and marked an important milestone in the musical and theatrical life of Krasnoyarsk in the last third of the 20th — first quarter of the 21st century. The work presents materials of Krasnoyarsk periodicals and interviews with L.V. Marzoeva, on the basis of which the singer's contribution to the cultural life of Krasnoyarsk is analyzed, the results of her creative activities covering performing, pedagogical, musical and educational work are summed up.
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Laakkonen, Johanna. "Early Modern Dance and Theatre in Finland." Nordic Journal of Dance 4, no. 2 (December 1, 2013): 18–31. http://dx.doi.org/10.2478/njd-2013-0009.
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Abstract Early modern dancers established a foothold in theatres and opera houses from the 1910s onwards when the focus of many avant-garde theatre directors shifted from literary text to the actor’s body and its expressive potentialities. This article explores the interplay between early modern dance and theatre in Finland by focusing on three dance scenes that Maggie Gripenberg (1881–1976) composed for theatre and opera performances in Helsinki in the 1920s and 1930s. The developments in Finland will be connected with the international trends that Gripenberg and her Finnish collaborators absorbed from the West as well as from Russia. The article also suggests that by exploring early modern dance in the context of theatre and opera, it is possible to obtain a more balanced picture of the development of modern dance in Finland.
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Frey, Emily. "Boris Godunov and the Terrorist." Journal of the American Musicological Society 70, no. 1 (2017): 129–69. http://dx.doi.org/10.1525/jams.2017.70.1.129.
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This article considers Musorgsky's opera Boris Godunov in light of the outbreak of political violence in Russia during the 1860s and 1870s. Attempting to make sense of Dmitry Karakozov's ideologically motivated attack on Alexander II in 1866, Russians sought parallels in literature—where authors such as Dostoevsky and Turgenev had begun to explore the psychology of ideological commitment—and in history, the Time of Troubles (1598–1613) serving as a particularly salient point of reference. Boris Godunov, on which Musorgsky began work in 1868, brought these two strands together: set during the Time of Troubles, the opera features the upstart Pretender Dmitry, a historical figure in whom some writers found an ancestor of the modern political terrorist. But Musorgsky's treatment of the Pretender character diverges sharply in his two versions of Boris Godunov, suggesting shifting ideas about the role of this figure both in the opera and in history. Musorgsky's first attempt at the character produced a Pretender every inch the undeterrable “new man” of Russian literature; evincing little subjectivity beyond his obsession with his cause, the Pretender of 1869 escapes out a tavern window in act 2 and exists thereafter only as a musico-dramatic idea. In Musorgsky's 1872 revision of the opera, however, the Pretender pops up again in Poland, where both his self-determination and his dogged recitative style are easily bowled over by Marina Mnishek's triple-metered tunefulness. Like Ratmir in Ruslan and Liudmila's enchanted garden, this Pretender forgets his cause—but participates in the opera's most ravishing music. Drawing on a wide swath of literary and historical writings, this article explores Musorgsky's participation in an urgent contemporary discussion about the personal ramifications of absolute commitment to an idea and the limits of individual agency.
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UY, MICHAEL SY. "Performing Catfish Row in the Soviet Union: The Everyman Opera Company andPorgy and Bess, 1955–56." Journal of the Society for American Music 11, no. 4 (October 20, 2017): 470–501. http://dx.doi.org/10.1017/s1752196317000384.
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AbstractFor three weeks in 1955 and 1956 the Everyman Opera Company stagedPorgy and Bessin Leningrad and Moscow. In the previous two years, the Robert Breen and Blevins Davis production of Gershwin's opera had toured Europe and Latin America, funded by the U.S. State Department. Yet when Breen negotiated a performance tour to Russia, the American government denied funding, stating, among other reasons, that a production would be “politically premature.” Surprisingly, however, the opera was performed with the Soviet Ministry of Culture paying the tour costs in full. I argue that this tour, negotiated amid the growing civil rights movement, was a non-paradigmatic example of cultural exchange at the beginning of the Cold War: an artistic product funded at different times byboththe United Statesandthe Soviet Union. Through an examination of the tour's archival holdings, interviews with surviving cast members, and the critical reception in the historically black press, this essay contributes to ongoing questions of Cold War scholarship, including discussions on race, identity, and the unpredictable nature of cultural exchange.
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Kaidi, Wang. "CULTURAL CONTACTS BETWEEN RUSSIA AND CHINA IN THE FIELD OF MUSIC AND DRAMA THEATER (50s of the XXth century)." Arts education and science 1, no. 2 (2021): 99–106. http://dx.doi.org/10.36871/hon.202102012.
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The article is devoted to the cultural cooperation between the USSR and the People's Republic of China in the field of musical theater. The Treaty of Friendship, Alliance and Mutual Assistance between these two countries, signed in Moscow on February 14, 1950, became a starting point in the development of cultural contacts. The most productive period was from 1949 to early 1960s. An important marker of the development of Soviet-Chinese cultural relations was the tour of theater troupes from both countries to the Soviet Union and the Celestial Empire. The Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater team visited China in 1954, and later the artists of the Shaoxing Opera and the Shanghai Theater of Beijing Musical Drama demonstrated their art in Russian cities. The two countries' directors showed mutual interest in the classical opera art of their counterparts: in Beijing and Tianjin P. I. Tchaikovsky's "Eugene Onegin" and "The Queen of Spades" were performed by Chinese singers, while in Russian cities the traditional Chinese theatre plays "The Spilled Cup" and "The Grey-Haired Girl" were staged by Russian artists.
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Bielik-Zolotariova, N. A. "Choral dramaturgy of the opera «The Way of Taras» by O. Rudianskyi: symbolism of chronotope." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 25–39. http://dx.doi.org/10.34064/khnum2-18.02.
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Background. The last quarter of the 20th century – the beginning of the 21st century, marked in Ukraine by significant social changes, actualized the necessity to turn to eternal spiritual values of national culture, among which Taras Shevchenko’s creativity takes leading positions. During this time, a number of works appeared in Ukrainian musical and stage art that supplemented the domestic “Shevchenkiana” (a total of the works devoted to Shevchenko): the operas by O. Zlotnik, V. Gubarenko, H. Maiboroda, L. Kolodub). The tradition of embodying the image of T. Shevchenko was creatively developed by O. Rudianskyi. The significant role of choral scenes in his opera “The Way of Taras” led to their involvement in revealing the leading idea of the work: to show the main periods of the life of the great poet. Choral scenes are peculiarly organized in the time-space of the opera, gaining symbolic meaning. The disclosure of this symbolism becomes the key to understanding in the modern context of the historical role of T. Shevchenko’s life and work. The purpose of this study is to identify the symbolism of chronotope in the choral dramaturgy of the opera by O. Rudianskyi. The following events from the life of Shevchenko are presented in the opera «The Way of Taras» by O. Rudianskyi (1992, 2nd ed. 2002: the libretto by V. Yurechko & V. Reva): his arrival to Kiev from St. Petersburg after the graduation of the Academy of Arts, the activity in The Brotherhood of Saints Cyril and Methodius, finally, the arrest and the exile. The composer uses the choral factor in full – almost every stage of the opera has choral episodes, which receive various functions depending on the development of the dramaturgy of the opera. O. Rudianskyi created the images of the Ukrainians peasants, young men and women, children, members of the Cyril and Methodius Brotherhood, prisoners, soldiers -- by the use of male, female, children and mixed choir compositions. The opera includes: the "Ukrainian world", which obtains its characteristic precisely due to the presence of choral singing; the "Kazakh world", which is represented mostly by solo and dancing episodes; the "Russian world", which is presented through the spoken dialogues, orchestral fragments, choral recitation. The radical contrast in the depiction of Ukraine, the Kazakh steppes, and the St. Petersburg world creates to the chronotope changes in connection with the plot: Taras Shevchenko is free in Ukraine, he is not free in Russia and Kazakhstan. The opera-biography “The Way of Taras” almost for the first time at the Ukrainian musical stage emphasizes in the image of Shevchenko, who was a poet and a painter, the versatile of his creative personality. O. Rudianskyi introduces the method of artistic documentalism in revealing the events of T. Shevchenko’s life path, but along with the real people (Kostomarov, Petrov, Veresai), there are also fictional characters (the caretaker of the steppe – «Berehynia stepu»). Each of the pictures of the opera highlights a certain episode of the biography of the hero. The fragmentary character inherent in the opera by O. Rudianskyi makes it similar the opera “in four novels” «Taras Shevchenko» by H. Maiboroda and the opera-phantasmagoria «Poet» by L. Kolodub. Two female characters in the opera, Oksana and Zabarzhada, presents as a symbol of Taras’s unrealizable love. The image of Oksana – the first love of the poet – is created due to choreography, that makes it possible to define a ballet as another genre component of the composition. The development of the female theme involves both the women’s and the mixed choirs. O. Rudianskyi found a new approach to embodiment of the personality of the artist and poet in the first picture of the opera. This is the moment when T. Shevchenko is painting one of his picture on the bank of the Dnieper, reciting, at the same time, the lines of his immortal verse «Reve ta stohne Dnipr shyrokyi» («The broad Dnieper is roaring and moaning»), which became a folk song. In the fifth picture of the opera it is being sung powerfully by the choir – all Ukrainian people. So, the poet is presented as a prophet and spiritual leader of the people. Inspired by the Poet, people spoke out against the tyranny of the authorities. T. Shevchenko’s prayer with a mixed choir «To me, O God, give love on Earth» («Meni zh, mii Bozhe, na zemli podai liubov») is the reminiscence of the first picture, where the Poet created his immortal verse (its reciting with the vocalization of the choir basses). Conclusions. Thanks to choral scenes in the opera “The Way of Taras” by O. Rudiiyansky, a single space-time is created, in which the composer gives to the choir a symbolic meaning. In the choral presentation, the song about Dnieper River sounds as a symbol of freedom of the Ukrainian people; the effect by choir “church bells” symbolizes the conciliarity of Ukraine; the Marche funebre is the personification of the soldier serve, and the words-symbols “path”, “movement” embody Poet’s fate, inextricably linked with the fate of the Ukrainian people. The symbol of the opera whole is the word-image “path”. The semantics of the path, the moving is revealed both on the stage and on the mental levels: the Dnieper waves are constantly moving, the peasants are going to work, the path of prisoners is endless, and human life itself is the Path...
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Fishzon, Anna. "The Operatics of Everyday Life, or, How Authenticity Was Defined in Late Imperial Russia." Slavic Review 70, no. 4 (2011): 795–818. http://dx.doi.org/10.5612/slavicreview.70.4.0795.
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In this article, Anna Fishzon explores how the phenomena of celebrity culture and early sound recording contributed to notions of audientic selfhood in late imperial Russia. Public discussions about celebrities like the Bol'shoi Theater bass Fedor Shaliapin helped forge understandings of sincerity and spoke to contemporary concerns regarding the relationship between fame and artifice, the public persona and the inner self. Fishzon suggests that the emergent recording industry penetrated and altered everyday emotional experience, the arena of work, and the organization of leisure, linking gramophonic discourses to celebrity culture and its rhetoric of authenticity and sincerity. In part because Russian audio magazines and gramophone manufacturers heavily promoted celebrity opera recordings, sonic fidelity was equated with the capacity of the recorded voice to convey “sincerity,” understood, in turn, as the announcement of ardent feelings. Fan letters to Shaliapin and Ivan Ershov document these new sensibilities regarding self, authenticity, desire, and emotions.
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Kupets, Lyubov A. "Opera Criticism in Russia in the Early 21st Century: Constructing the (Non-) Soviet Style." Music Scholarship / Problemy Muzykal'noj Nauki, no. 3 (September 2020): 114–27. http://dx.doi.org/10.33779/2587-6341.2020.3.114-127.
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du Quenoy, Paul. "Fandom, Authenticity, and Opera: Mad Acts and Letter Scenes in Fin-de-Siècle Russia." Revolutionary Russia 28, no. 1 (January 2, 2015): 77–79. http://dx.doi.org/10.1080/09546545.2015.1037108.
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Mezinski-Milovanovic, Jelena. "A contribution to researching Russian-Serbian connections in sacral and court painting and architecture through the opera of Russian emigrants in Serbia between the world wars: Examples of adopting Russian models." Muzikologija, no. 28 (2020): 99–124. http://dx.doi.org/10.2298/muz2028099m.
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Russian-Serbian cultural connections in a broader sense, represented through direct parallels in Russian and Serbian sacral painting, architectural decoration, sacral interior design and phenomen? in court art canons of the last Romanov?s and Karadjordjevic?s dynasties are insufficiently researched. By using the concrete monuments, mostly in Russian style, Russian symbolism and Art Nouveau, but also the court canon at the turn of the century in Russia through the works of Russian emigrants after the October revolution in Serbia during the 1920s and 1930s, the use of Russian pictorial features and cultural models adapted to Serbian demands is going to be demonstrated.
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Burdina, S. V., and L. N. Sultanova. "Peculiarity of Embodiment of Literary Text by N. Leskov in Libretto of Opera by R. Shchedrin “The Enchanted Wanderer”." Nauchnyi dialog, no. 5 (May 30, 2020): 272–85. http://dx.doi.org/10.24224/2227-1295-2020-5-272-285.
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On the example of reading two texts the story of N. Leskov “The Enchanted Wanderer” and the libretto of “opera for a concert stage” by R. Shchedrin the mechanism of transformation of a literary text into an opera libretto text is described in the article. The principles of elimination, intensification and re-emphasis are described as basic principles of such a transformation. It is shown how their implementation affects the concept of the main character, genre features and the architectonics of the libretto. Particular attention is paid to the concept of the main character. It is concluded that, working with Leskov’s text, reducing and supplementing it, shifting individual accents, R. Shchedrin as a whole does not deviate from the narrative in the interpretation of the concept of the main character, does not violate the genre specificity of the work, the general drawing of its plot and plot canvas. The relevance of the article is due to the fact that Shchedrin’s opera “The Enchanted Wanderer” (last production - New York, 2015) still causes a considerable research reaction both in Russia and abroad. The novelty of the article is due to the fact that there is no literary study on the comparative analysis of two texts: the story of Leskov and the opera libretto by Shchedrin. Meanwhile, the consideration of the ways and methods that artists went to implement the main idea of the work seems important and interesting.
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Woodside, Mary S. "Reflections in an Eastern Mirror, or Performance of a French Vaudeville in Russia." Canadian University Music Review 23, no. 1-2 (March 6, 2013): 84–108. http://dx.doi.org/10.7202/1014519ar.
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Exceedingly popular in their day, Russian vaudevilles and opera-vaudevilles of the first third of the nineteenth century are not available in modern orchestral scores. Although many of these musical comedies are known to be adapted from French works, for the most part the original French titles are unknown, as are the differences in French and Russian treatments of musical numbers. Focussing primarily on Pisarev's Babushkiny popugai [Grandma's Parrots] (St. Petersburg, 1819), this article compares the original French vaudeville with its Russian adaptation on several points: libretto, performance venues, and musical treatment, the latter based in part on manuscript sources of Alexei N. Verstovsky's orchestral scores.
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Maximova, Alexandra E. "“The Americans” in Russia: the Opera of Yevstigney Fomin and the Ballet of Carlo Canobbio." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (December 5, 2016): 135–41. http://dx.doi.org/10.17674/1997-0854.2016.4.135-141.
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FISHZON, ANNA. "Confessions of a Psikhopatka: Opera Fandom and the Melodramatic Sensibility in Fin-de-Siècle Russia." Russian Review 71, no. 1 (January 2012): 100–121. http://dx.doi.org/10.1111/j.1467-9434.2012.00644.x.
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Nikolaidis, Matthias. "„Ricomincio a respirare l’aria di quei paesi“. Zu einem ‚russischen‘ Naturalismus und seiner ästhetischen Entgrenzung in Opern von Umberto Giordano und Franco Alfano (1898–1904)." Studia Musicologica 52, no. 1-4 (March 1, 2011): 271–309. http://dx.doi.org/10.1556/smus.52.2011.1-4.21.
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The unexpected success of Pietro Mascagni’s Cavalleria rusticana (1890) gave the starting signal for a turn of Italian opera to naturalism. The problematic integration of naturalistic plots into the melodramma was approached in part by means of musical exoticism. The recently started reception of Lev Tolstoy’s and Fyodor Dostoyevsky’s novels could serve as basis for a re-evaluation of Russian subjects in fin de siècle Italian opera.Since the beginning of the 19th century, the Western image of Russia had been stamped by the contrast of tsarist glamour and the penal camps of Siberia. Umberto Giordano’s Fedora displays this dichotomy from a Parisian point of view. For Siberia, Luigi Illica contributed a libretto based on Dostoyevsky’s House of the Dead, in the composition of which Giordano sought to amalgamate the notions of naturalism, Russian exoticism and tragic love. With Risurrezione, Franco Alfano expanded in this direction by creating a powerful Russian atmosphere. His formal solution for the opera’s finale uses a juxtaposition of disparate material which evolves as a hallmark of musical realism.
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Astuto, G. "Dostoevskij: La Russia e l’Europa. Alcune riflessioni sulle opere letterarie." Язык и текст 7, no. 1 (2020): 6–30. http://dx.doi.org/10.17759/langt.2020070101.
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Сerco di capire le modalità di espressione delle concezioni di Dostoevskij che, per il tramite della «vivente fantasia», traducono i rapporti reali in sistemi di segni artistici, con le inevitabili strutture problematiche interne e le significative contraddizioni. Per gli slavofili, la polarità Russia-Europa si concretizza in due modelli di vita diversi. Dostoevskij, al contrario, riprende le tensioni presenti nel rapporto tra Russia ed Europa, per esempio quello tra popolo e intelligencija, «verità di Cristo» e arbitrio individualistico, e le analizza con un impianto concettuale nuovo e originale. L’elemento «positivo» della concezione dostoevskojana è rappresentato dall’esperienza sociale e dalla capacità di avvertire, proprio per questo suo radicamento, «la frattura con il passato» e la crisi dell’epoca in cui vive. Nell’ambito di tale crisi vanno collocate le drammatiche vicende dell’«uomo del sottosuolo», dei Roskol’nikov e della famiglia Karamzov. Per tali ragioni, si può sostenere che Dostoevskij, tramite il confronto tra Europa e Russia e con la sua visione genialmente penetrante, riesce a individuare i conflitti fondamentali e le tensioni esistenziali dell’uomo contemporaneo, che hanno le radici nel passato e si proiettano nell’essenza problematica del futuro. Da qui deriva anche la diffusione della popolarità della sua opera, e tutto ciò a prescindere dagli aspetti riconducibili all’utopia sociale.
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Zhang, Hui. "The interpretation of the role of Boris Godunov by the Bulgarian opera stars: B. Christoff and N. Ghiaurov." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 11–18. http://dx.doi.org/10.7256/2453-613x.2020.4.33705.
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The research subject is the interpretation of the role of Boris Godunov in the same-name opera by M.P. Mussorgsky by the two Bulgarian opera stars B. Christoff and N. Ghiaurov, and their approach to the work on this role. The author’s goal is to reveal the main semantic emphases of the interpretation of the leading role of “Boris Godunov”, and to reach this goal, the author analyzes the reviews and essays of opera critics, the biographies of the singers, as well as the memoirs of their contemporaries and the interviews with the singers. The topicality of the research consists in the necessity to study the global performance heritage of the opera stage that would serve as a basis of the new worthwhile interpretations. The author concludes that Christoff puts emphasis on lofty and exalted aspirations of the tsar who, being a dreamer and a knight, was trying to praise and strengthen his state, but fell victim to boyar opposition and the inexorable course of Russia’s history. In his turn, Ghiaurov doesn’t condone Godunov, however, forming an image of an inspiring awe and admiration tsar - monumental, powerful and proud. While Christoff, subsequent to Mussorgsky, saw Tsar Boris as a person dashed by power, Ghiaurov, like Pushkin, was closer to the image of a tsar who had subdued all human traits in himself for the sake of his primary goal - power.
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Kucher, Liudmyla. "“To awaken of an artist in every musician”… : to the 120th anniversary of the birth of I. S. Shteiman." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 108–24. http://dx.doi.org/10.34064/khnum2-23.07.
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Problem statement. The article is dedicated to the 120th anniversary of famous Ukrainian conductor, Honored Artist of Ukraine, Professor Israel Solomonovich Shteiman (1901–1983), who devoted more than 55 years of his life to opera conducting. The musician is also famous by his skills in training of opera singersactors to their professional activity, as a head of Opera Studio under the Kharkiv I. P. Kotlyarevsky National University of Arts (former Kharkiv Conservatoire and the Kharkiv National University of Arts now). However, in addition to short lines of newspaper chronicles covering the theatrical life of Kharkiv city at that time, the brief background information collected in the archives of art institutions of the city and single memoir pages of his contemporaries (Shasha, 1991; Chepalov, 2012), there are still no special studies on the artist’s work. At the same time, these few sources provide an opportunity to recreate a holistic picture of I. S. Shteiman’s activities as a conductor of the Opera Studio under the Kharkiv National University of Arts and highlight one of the pages of its historical development, which is the goal of this article. The research methodology is based on the ways of analysis and systematization that were used in working with factual material; generalization and historical reconstruction when referring to opera productions by I. S. Shteiman in striving to characterize him as a musician-teacher. The results for discussion. In the period after II World War, many famous conductors worked in the Opera Studio under the Kharkiv Conservatory, but the activity of Israel Shteiman was the most fruitful, long and outstanding one. From 1944 until the end of his life, he was one of the leading conductors of M. Lysenko Kharkiv Opera and Ballet Theater. A characteristic feature of Shteiman-conductor was the ability to penetrate deeply into the composer’s creative concept, an impeccable sense of taste, an attentive and sensitive attitude towards the singer. Having started working at the Vocals Department of Kharkiv Conservatory in 1947, since 1953 I. S. Shteiman became the Opera Studio’s conductor, and from 1973 to 1979 – the Head of Opera Training Department at I. P. Kotlyarevsky Kharkov Institute of Arts. When working with students, I. S. Shteiman infected them with love for creative process, showed and knew how to emphasize the individuality in each of them. Among I. S. Shteiman’s students – Peopl’s Artists of the USSR N. Tkachenko, M. Manoilo, T. Alyoshina, People’s Artists of Ukraine and Russia V. Arkanova, L. Solyanik, L. Sergienko, Honored Artists of Ukraine V. Tryshyn, A. Rezilova, Y. Danilchishin... Since late 1960s, a new trend has emerged in the Opera Studio’s repertoire policy associated with growing interest in the creative work of contemporary composers. Thus, Studio productions of the operas by A. Nikolaev “At the Price of Life” (1967), A. Spadavecchia “The Road to Calvary” (1970), A. Kholminov’s “Optimistic Tragedy” (1972) were called to life by I. S. Shteiman. He believed that a deep disclosure of modern themes requires new thinking not only by composers, but also by singers, and it is crucial to develop this in young actors based on modern repertoire only. Continuing the course for revival of Soviet classics, to commemorate the 30th Anniversary of the Great Victory, I. S. Shteiman together with director L. Kukolev, staged V. Gubarenko’s opera “The Revived May”. The directors managed to reveal vividly all the strengths of the talented opera by this contemporary Ukrainian composer. Farther, the performers of the main parts were successfully working on various opera stages at Ukraine and abroad. Conductor I. S. Shteiman’s individual approach to working with each performer led to positive results – a high performance culture that ensured his performances’ long and successful life and high-quality professional training of singers-actors. From 1982, even after the stopping of his active conducting work, to the end of his life, Israel Shteiman was a professor-consultant at the Opera Training Department of the Kharkiv State Institute of Arts, continuing his life and creative mission – “to awaken of an artist in every musician”… (S. Kussevitsky). Conclusions. So, I. S. Shteiman dedicated practically all of his life to opera conducting. The memorable date is an occasion to analyze and appreciate his contribution to the very difficult and extremely important task of professional education of the opera singers, to pay tribute of respect and gratitude to this extraordinary man and musician. As one of the leading conductors of the Kharkiv M. Lysenko Opera and Ballet Theater, I. S. Shteiman had extensive experience of collaboration with prominent opera performers of his time. His conducting work was distinguished by a subtle understanding of the composer’s idea, a huge artistic taste. All these qualities were reflected in his fruitful work with student creative teams, which was always characterized by an individual approach to performers, by the ability to convey to them the will of the composer, as well as his own creative thought aimed at educating of high musical culture, by the ability to discover the artistry and creativity energy of the young musicians. Thus, the long-term conducting work by I. S. Shteiman played a huge positive role in the professional education of the brilliant constellation of the singersactors of the Kharkiv opera scene, in the formation of the tradition that opens wide creative prospects for graduates of the Kharkiv opera’s school also and in modern world music culture. The extraordinary personality of the talented conductor, who has educated more than one generation of singers-actors for work on the professional stage, will remain in the hearts of those who respected and loved him for a long time.
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Miozzi, Feton. "Russia-Italy “cooperation” at the ballet scene: historical, socio-cultural, and critical context." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 67–80. http://dx.doi.org/10.7256/2453-613x.2021.1.34770.
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The author studies the problem of intercultural cooperation between Russia and Italy in the field of ballet art. Since this type of interaction has been ongoing for several centuries, the research is divided into two vectors: the historical-cultural and the critical ones. Besides, the author considers an important issue of the origins of the cultural cooperation stemming from the opera art, traditional for Italy. The article considers not only the chronological component of Russia-Italy cooperation during the 18th - the 21st centuries, but also explains (in the socio-cultural and critical ways) the processes of surge and slump of interest in this form of cultural communication. The author detects and explains a unique pattern - the initial priority of Italians at the Russian scene of the 19th century, and the following radical change of this influence - a triumphal conquering of Europe by the Russian masters, whose talent is still appreciated. The scientific novelty of the research consists in the fact that for the first time attention is not only given to the very historical chronology of the visits of Italian dancers to the Russian Imperial Ballet Scene, but also the dynamics of this process is explained. Moreover, the article is the first work focusing on the change of a locomotive component in the system of the Italy-Russia cultural exchange which took place in the late 20th century. Thus, the scientific novelty and importance of the research consist in the attempt to study the process of intercultural cooperation in its development from the 18th century to the present moment. Such an approach allows detection the historical, socio-cultural and critical components, and helps to reveal the topicality of this problem for the modernity, when art is still a soft mechanism of, among other things, political and geographical interaction between countries, forming a “cultural portrayal” of the country on the world map.
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Edmondson, Linda. "Anna Fishzon, Fandom, Authenticity, and Opera - Mad Acts and Letter Scenes in Fin‑de‑Siècle Russia." Cahiers du monde russe 57, no. 4 (October 1, 2016): 928–31. http://dx.doi.org/10.4000/monderusse.10018.
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Wojtkowski, Sergey B. "Opera in Russia in the last third of the XIX Century: New Time — New Challenges — New Leaders." Observatory of Culture, no. 1 (February 28, 2014): 107–11. http://dx.doi.org/10.25281/2072-3156-2014-0-1-107-111.
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Frey, Emily. "Nowhere Man." 19th-Century Music 36, no. 3 (2013): 209–30. http://dx.doi.org/10.1525/ncm.2013.36.3.209.
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Abstract In the opera that bears his name, Evgeny Onegin often seems remarkably inconsequential, a “superfluous man” among Russian society and nearly such in his own tale. Critics from Hermann Laroche to Catherine Clément have lamented not only the triviality of Evgeny's character but the flavorlessness of his music—a deficiency cast into relief by the compelling and pervasive musical presence of Tatiana, the too-eventual object of Evgeny's affections. This imbalance, a departure from Pushkin (whose Tatiana is ever sketchily drawn, and indeed almost mute), has often been attributed to Chaikovsky's well-publicized emotional identification with his heroine. Onegin's blankness thus becomes the product of a composerly flaw: Chaikovsky's inability to portray convincingly in music a character dissimilar to his own. But the Evgeny Onegin Chaikovsky inherited was not only Pushkin's. It was a cultural palimpsest, a text written on and written over by virtually every major intellectual figure in nineteenth-century Russia. By the time Chaikovsky got his hands on them, Pushkin's heroes were entangled in some of the century's most urgent debates: about the ethics of action versus reflection, the slippage between public and private identities. This article traces the constructions of Evgeny and Tatiana in a series of nineteenth- century readings of Evgeny Onegin, examining the ways in which the opera responds to and transforms key questions from the reception history of the novel. Among the texts considered are works by Herzen, Belinsky, and Dostoevsky, whose (in)famous “Pushkin Speech” was the opera's nearexact contemporary. From these readings, and the myriad images of Evgeny and Tatiana they present, emerge insights into a broader discourse about the nature of subjectivity in Europe's only autocracy.
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Mosusova, Nadezda. "Symbolism and theatre of masques: The deathly carnival of la belle époque." Muzikologija, no. 5 (2005): 85–99. http://dx.doi.org/10.2298/muz0505085m.
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The junction of the nineteenth and twentieth centuries in Europe sharpened the clash of artistic novelties in the Western and Slavonic worlds, caused by developed Symbolism and Expressionism. As an output of the former reappeared in the "Jahrhundertwende" the transformed characters of the Commedia dell'arte, flourished in art, literature and music in Italy France, Austria and Russia. Exponents of Italian Renaissance theatre Stravinsky's Petrushka (1911) and Sch?nberg's Pierrot lunaire (1912) turned soon to be main works of the Russian and Austrian expressionistic music style, inaugurated by Strauss's Salome, which won opera stages from the 1905 on. Influences of the latter were widespread and unexpected, reaching later the "remote" areas of the Austro-Hungarian Empire, as well as the Balkans (in 1907 the Canadian dancer Maud Allan performed The Vision of Salome in Belgrade - music Marcel Remy - making her debut in Vienna 1903). Compositions of Strauss and Sch?nberg (Erwartung included) reflected also the strong cult of death present in Vienna's Finde-si?cle Symbolism concerning among other works plays by Wedekind and Schnitzler (Veil of Pierrette was staged successfully in Russia, too), with prototypes in Schumann's Carnival and Masquerade by Lermontov (both works written in 1834!). It was not by chance that Schumann's piano suite became one of the first ballets of Diaghilev's Saisons Russes (1910) and Masquerade, performed with the incidental music by Alexander Glazunov, the last pre-revolutionary piece of Vsevolod Meyerhold (1917).
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Bullock, Philip Ross. "Chaikovsky and the Economics of Art Music in Late Nineteenth-Century Russia." Journal of Musicology 36, no. 2 (2019): 195–227. http://dx.doi.org/10.1525/jm.2019.36.2.195.
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As Russia’s first professional, conservatory-trained composer, Petr Il'ich Chaikovsky operated in the rapidly evolving social and economic context of post-emancipation Russia, identifying ways to interact with Russia’s musical institutions—its opera houses and theaters, its concert organizations and publishers—to fashion a career that was as successful financially as it was critically. Yet the myth of Chaikovsky’s financial incompetence persists, and the image, whether popular or scholarly, is still one of Chaikovsky as a spendthrift, unable to manage his income or regulate his outgoings. This article challenges such views by drawing on the recently published complete correspondence between Chaikovsky and his publisher, Petr Iurgenson, as well as on financial records preserved in the composer’s archives. In particular, this article analyzes the relationship among Chaikovsky, Iurgenson, and the operation of Russia’s musical “marketplace” at the level of genre, examining the interaction between financial considerations on the one hand and Chaikovsky’s decision to work in particular musical forms on the other. By examining the connections among Russia’s nascent musical institutions, Chaikovsky’s particular collaboration with his publisher, and the relative status of different musical genres, it becomes possible to establish the nature of Russia’s musical “art world” in the second half of the nineteenth century. In proposing a more nuanced and systematic account of Chaikovsky’s economic agency than has been attempted previously, this article thus contributes to a growing body of work on the institutional structures that shaped the Russian arts in the nineteenth century.
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Agisheva, Yuliya. "Composer Elizabeth Lutyens: Contribution to Serialism." Scientific and analytical journal Burganov House. The space of culture 15, no. 4 (December 10, 2019): 147–60. http://dx.doi.org/10.36340/2071-6818-2019-15-4-147-160.
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The article concerns some aspects of the career and life of British composerElisabeth Lutyens (1906-1983). Her name is almost unknown in Russia. The composer’soutput embraces the 20-80s of the 20th century and consists of lots of genres: instrumental,chamber, vocal music, opera, incidental music for cinema and broadcasting. The serialismcompositional technique is one of the key points of the composer’s idiom. Lutyens was one of the first to begin to use it in Great Britain. The composer insisted she had invented serialism before discovering the music of the Second Viennese School (A. Schoenberg, A. Webern, A. Berg). Unfortunately, music by Lutyens was not popular during her lifetime, she took much effort to open the way into music culture before and after the Second World War. Stoicism and uncompromising stand every time appealed to her pupils (among them R. Saxton, R.R. Bennett, M. Williamson, and others) and detractors who did not love and understand her music. It can be said that Elisabeth Lutyens’s output is still unappreciated. The composer’s individual style needs to be studied especially in Russian musicology which has never applied to the matter.
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DUKOV, YEVGENY V., and VIOLETTA D. EVALLYO. "ARTS AND MACHINE CIVILIZATION INTERNATIONAL SCIENTIFIC CONFERENCE." ART AND SCIENCE OF TELEVISION 17, no. 2 (2021): 11–32. http://dx.doi.org/10.30628/1994-9529-2021-17.2-11-32.
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The text reviews the Arts and Machine Civilization International Scientific Conference. The conference took place on March 30—April 2, 2021, and was organized by the State Institute for Art Studies, GITR Film and Television School, and the Saint Petersburg State University. SIAS has been hosting conferences on contemporary culture, screen art and television for 17 years. This year, for the first time in the history of such forums, the researchers were tasked with analyzing the new things that machines have brought to the arts and, in general, to human life. The conference took its special place among the forums held over the past year in Russia and abroad in the following areas: artificial intelligence (Artificial Intelligence Journey, Moscow,Russia); machine learning (International Conferenceon Machine Learning, Vienna, Austria; 3rd International Conference on Machine Learning and Machine Intelligence, Hangzhou, China); civilization of knowledge (Civilization of Knowledge: Russian Realities, Moscow, Russia), etc. The novelty of the conference lies in the unification of the seemingly incompatible phenomena: art and machine civilization. As is commonly known, art was traditionally opposed to technology as something alien, sometimes hostile, although the both were born in human mind and created by human hands. Until now, the expression “machine civilization” in art has been used mainly in the genre of fantasy and with an emphasis on its negative connotations. The purpose of the conference was to comprehend the artistic practices in the era of machine civilization, get acquainted with current hypotheses, publish new facts and discuss modern terminologies (law of spontaneity, law of semantic uncertainty, algorithmic apophenia, post-opera, artificial life and new vitality). Along with the study of new challenges, old issues were raised, which became in demand in the machine civilization: originals and copies of artworks, the boundaries of conventionality and overcoming distrust in new media, narratives and poetics in serious and entertaining screen genres. The conference reports were divided into six blocks: Theoretical Models, ScreenArts—Cinema, Fine Arts, Music, PC Games, and Digitalization.
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Kazakevych, G. "UKRAINIAN O'CONNORS: THE FAMILY OF IRISH ANCESTRY IN THE CULTURAL LIFE OF THE 19TH CENTURY UKRAINE." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 132 (2017): 15–18. http://dx.doi.org/10.17721/1728-2640.2017.132.1.03.
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The article is devoted to the O'Connor family, which played a noticeable role in the Ukrainian history of the 19 – early 20th centuries. A founder of the family Alexander O'Connor leaved Ireland in the late 18th century. The author assumes that he was a military man who had to emigrate from Ireland shortly after the Irish rebellion of 1798. After some years in France, where he had changed his surname to de Connor, he and his elder son Victor arrived in Russia where Alexander Ivanovich De-Konnor joined the army. As a cavalry regiment commander, colonel De-Konnor took part in the Napoleonic wars. He married a noble Ukrainian woman Anastasia Storozhenko and settled down in her estate in the Poltava region of Ukraine. His three sons (Victor, Alexander and Valerian) had served as army commanders and then settled in Chernihiv, Poltava and Kharkiv regions respectively. Among their descendants the most notable were two daughters of Alexander De-Konnor jr – Olga and Valeria as well as Valerian De-Konnor jr. Olga De-Konnor married a famous Ukrainian composer and public figure Mykola Lysenko. As a professional opera singer, she stood at the origins of the Ukrainian national opera. Her younger sister Valeria was a Ukrainian writer, publicist and political activist who joined the government of the Ukrainian People's Republic in 1917. Valerian De-Konnor jr. is well known for his research works and translations in the field of cynology.
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Udalov, Yu D., A. V. Gordienko, A. S. Samoilov, M. V. Zabelin, and S. A. Bakharev. "Psychoemotional stress in somatically burdened oncological surgery patients as one of the factors of postoperative complications." Research'n Practical Medicine Journal 5, no. 3 (September 9, 2018): 117–25. http://dx.doi.org/10.17709/2409-2231-2018-5-3-12.
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Planned surgical interven ons account for more than half of all opera ons in the Russian Federa on, of which more than 20–30% are performed for oncological diseases. Characteris c is an increase in the number of operated pa ents in older age groups with severe concomitant pathology and a high percentage of postopera ve complica ons, including due to psychoemo onal pathology, which can be excluded or adjusted at the preopera ve stage.Purpose.Evalua on of the infl uence of the psychoemo onal state of the oncochirical soma cally burdened patient on the lethality and revealing the possibility of correc on of the psychoemo onal state at the preopera ve stage.Paents and methods. In the period from 2006 to 2016 in the departments of therapy and oncology of the Regional Clinical Hospital of the City Clinical Hospital No. 40 of the Moscow City Health Department, AI.Burnazyan The FMBA of Russia analyzed the treatment of 958 soma cally burdened pa ents with various oncopathology who underwent opera ve interven on in a planned manner. An analysis of the psychoemo onal state of pa ents before and aft er surgery was performed using Hamilton diagnos c scales.Results.After a retrospec ve evalua on, it was determined that prac cally all patients of the oncosurgical profi le undergo various psychoemo onal strains of varying strength and dura on, both before and after surgery. This can disrupt the blood fl ow in the organs andssues, and lead to various complica ons, which manifests itself in the form of hypoxia and ischemia, which, in turn, jus fy the development of postopera ve delirium and myocardial infarc on.Conclusions.Clear distinctions between the anxiety severity in groups on outcomes of hospitaliza on of the oncosurgical patient were determined, and the tendency of the rela onship between the level of the anxiety state and the postopera ve complica ons that had been ridden in the early postopera ve period in soma cally burdened pa ents was determined. Patients of the oncosurgical profi le without fail are shown psychopharmacotherapy in the pre- and postopera ve periods, depending on the revealed pathology.
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Knyaz, Zoya N. "Productions of Camille Saint-Saens’ Opera “Henry VIII” on the Russian Stage in the Late 19th and Early 20th Centuries: A Dialogue of the Cultures of Russia and France." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (June 2020): 156–65. http://dx.doi.org/10.33779/2587-6341.2020.2.156-165.
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EKMAN, Stefan. "Bacidia rosellizans, a new lichen species from the taiga belt." Lichenologist 41, no. 5 (August 6, 2009): 481–87. http://dx.doi.org/10.1017/s0024282909990144.
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AbstractBacidia rosellizans S. Ekman is described as new to science. Morphologically, the new species is similar to the type species of the genus, B. rosella (Pers.) De Not., particularly in the pale pink and pigment-deficient apothecia and in having the proper exciple and upper part of the hymenium inspersed with minute crystals that consist at least partly of atranorin. Bacidia rosellizans, however, differs in having a thin whitish thallus, smaller apothecia and a thinner apothecial margin, a dense layer of crystals along the excipular rim, shorter and narrower ascospores with fewer septa, and septate conidia. Whereas B. rosella is a species occurring in the nemoral zone of Europe and possibly northernmost Africa and parts of Asia (but not North America), B. rosellizans is found mainly on Populus and Salix in taiga. This species is currently known from Sweden, Russia, Canada and the USA. It was erroneously treated as Bacidia rosella in a monograph of North American corticolous species of Bacidia and Bacidina by Ekman (in Opera Botanica 127, 1996).
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Paston, Eleonora. "The “Dilettantism” of Savva Mamontov in Russian Art." Experiment 25, no. 1 (September 30, 2019): 33–52. http://dx.doi.org/10.1163/2211730x-12341328.
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Abstract This article examines questions related to dilettantism, typically defined in negative terms as engagement in an activity without proper professional training. However, this concept can also prompt a positive association, connoting freedom from inertia, ossified techniques, and professional stereotypes and clichés. The present article contends that dilettantism is especially necessary in transitional periods of art history. At such moments, innovations may arise more readily in intimate and amateur circles, rather than in professional contexts. Such a circle developed in the 1870s-90s among the community of artists who gathered around the prominent industrialist and philanthropist Savva Mamontov, a man of diverse talents, who astutely intuited new trends in art. This group of artists came to be known as the Abramtsevo artistic circle, after the name of Mamontov’s country estate located just outside of Moscow, where the vast majority of their artistic activities took place. In Abramtsevo’s informal, creative atmosphere ideas for new aesthetic projects spontaneously materialized across a range of different artistic spheres—theater, architecture, decorative, and applied arts—in which members of the circle were essentially amateurs. But it is precisely in these areas that the artists would make their most significant contributions. Thus, the first seeds of a novel understanding of theatrical production as a single immersive entity were initially sown on the amateur stage of the Abramtsevo estate and subsequently fully blossomed in Mamontov’s Private Opera (1885-91; 1896-99), which played a foundational role in the development of Russian musical theater. The Church of the Spas nerukotvornyi [Savior Not Made by Human Hands], built by members of the Abramtsevo circle (1881-82), became the first exemplar of the Neo-Russian style in the history of Russian architecture, an important constituent of stil modern or Russian Art Nouveau. The activities of the kustar workshops in Abramtsevo—the carpentry workshop (1885) and the Abramtsevo ceramic studio (1890)—made a significant contribution to the development of the applied arts and industrial design in Russia, leading to their “rebirth” on a national level.