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Journal articles on the topic 'Ukrainian Opera'
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1
Izvarina, О. M. "Opera directing in the Ukrainian Musical Theatre in 20s of 20th century." Musical art in the educological discourse, no. 3 (2018): 66–70. http://dx.doi.org/10.28925/2518-766x.2018.3.6670.
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The article highlights the prerequisites for the formation of Ukrainian opera directing on the basis of materials from rare editions, musical criticism of the 1920s, memoirs of contemporaries, modern scientific research. The close connection of the Ukrainian opera direction with the traditions of the direction of the Ukrainian music and drama theatre is considered. The assimilation of the experience and creative achievements of the directors of the «theatre of the coryphaeuses» M. Staritsky, M. Kropiwnicki and M. Sadovsky is covered. The features of the stage life of operas of the classical repertoire on the Ukrainian opera scene of the 1920s are analysed. It is shown the widespread differences between the director’s interpretations of classical operatic works of this period with the aim of the so-called «modernizing» and “approaching the viewer”. It possess characteristic of the stage productions of the Ukrainian operas of the 1920s, the estimation of the director’s decisions of M. Bogolyubov, O. Ulukhanova, V. Manzi, E. Jungvald-Khilkevich, Yu. Lishansky, S. Butovskiy with the musical-critical thought and periodical press of this period. The importance of the productions of Ukrainian operas of the 1920s for the progressive development of national opera art and Ukrainian opera directing is proved.
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Vorobiov, Serhii. "National image in ukrainian opera: scientific aspect of directing interpretations." Ukrainian musicology 46 (October 27, 2020): 18–29. http://dx.doi.org/10.31318/0130-5298.2020.46.234587.
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The aim of the study is to determine the director's approaches to the creation of national images in Ukrainian opera on the basis of social origin, age, gender, peculiarities of living conditions in a particular environment, the characteristics of the characters. The object of research was M. Lysenko's opera "May Night, or Drowned" in the conceptual design of the composer and his various directorial incarnations. The methodology of research of the chosen problems uses the system-analytical and typological method. Their application contributes to a comprehensive approach in the study of factors shaping the formation of national characteristics of the Ukrainian ethnos, in identifying its individual characteristics and necessary features, their manifestations in creating an artistic image of the character. The relevance of the study is due to the need for historically reliable embodiment of the images of the Ukrainians in today's opera performances. Today's Ukrainian musical theatre, which is developing in the direction of globalization, does not avoid the positive and negative consequen-ces of the so-called "theatrical integration", which, in turn, leads to a conditional image of the Ukrainians, avoiding a historically accurate view of social status, coverage, clothing, character and so on. Often the director's interpretation of the images of Ukrainian characters is simplified, and sometimes distorted due to self-identity. The formation of the Ukrainian ethnos took place under the influence of certain factors that influenced the formation of its characteristics, features of life and customs, traditions, customs, rituals, which requires scientific understanding to accurately reflect these aspects in operas on national themes. Findings and conclusions. The Ukrainian theatre did not escape the influence of globalization and integration processes, which had both positive and negative consequences. The positive ones include allowing Ukrainian artists to join joint international opera’s projects, to solve joint problematic opera`s regimes, to exchange creative achievements and discoveries, and so on. To the negative ones - the mechanical transfer of foreign directing experience, avoiding its rethinking, on domestic soil without taking into account the peculiarities of the mental perception of the Ukrainian ethnic group of foreign traditions, way of life, means of communication and more. The analysis of the scientific work on the selected issues allows to state the fragmentary nature of research in the stage incarnations of artistic images of Ukrainians in the national opera. Solving the national image in Ukrainian opera requires a comprehensive cross-sectoral approach in determining the characteristics of the characters through the prism of ethnic identity, age, gender, social status, which affects their directorial interpretations. The director must conduct research work to determine the factors influencing the formation of the characteristics of a particular character in order to historically and reliably address the image of the Ukrainian in the opera. Isolation of different archetypes of the Ukrainian ethnos allows to create a more complete psychological portrait of the opera character, which, acting in the "proposed circumstances", will be historically authentic, as in the stage image of life, rituals and ceremonies with appropriate selection of means of communication. social status, age, gender and other characteristics of the actors. Prospects for further research are seen in the in-depth study and creation of a historically authentic national image of the character in the musical and theatrical arts.
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Spivakovskyi, Oleksandr. "Ukrainian performances of small form operas in the era of the 2000s." Ukrainian musicology 46 (October 27, 2020): 75–85. http://dx.doi.org/10.31318/0130-5298.2020.46.234597.
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The purpose of the work. The article defines the role of the small form operas in the development of Ukrainian music and drama theatre of the 2000s. The research methodology is based on key provisions, concepts of music directing, developed during the twentieth century and their diversification in today's realities. Such general scientific methods as art history, history, analysis and synthesis, and comparative methods were chosen to compare Ukrainian productions of small form operas of the 2000s. The scientific novelty of the work lies in rethinking functioning of small opera forms according to the realities of modern Ukraine and elucidating the factors influencing their modern development and changes. Conclusions. The role of operas of small forms in the repertoire of Ukrainian musical theatres and artistic-theatrical projects is increasing under various conditions such as: socio-cultural and political conflicts of a new millennium, the role of operas of small forms in the repertoire of Ukrai-nian musical theatres and artistic-theatrical projects is increasing. The modern audience is the part of information society, which exists on its own, often developing at an accelerated pace, and it must be taken into account by the directors of musical theatre when deciding on the repertoire for subsequent staging of an opera. The relevance of the drama of the selected works, ideological and artistic qualities, aesthetic and educational aspects of the opera, as well as the assessment of creative and material possibilities for the realization of the idea of the play are essential, crucial elements that should be taken into consideration in order to ensure effective opera staging and production. In the 2000s, art and theatre projects enriched Ukrainian stage by conducting research and experimenting with the scope and subject of performance as well as with their genre and style, thus confirming and updating small opera forms.
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Kasianova, Olena. "Evolutionary modifications of dance scenes in the context of the genesis of the ukrainian opera." Ukrainian musicology 46 (October 27, 2020): 58–74. http://dx.doi.org/10.31318/0130-5298.2020.46.234595.
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The relevance of the research lies in the search for a solution to the problem of the plasticchoreographic image of the work, the peculiarities of the interpretation of dance in the process of the formation of the Ukrainian national opera school, taking into account the author's intention, its rethinking in the realities of our time. Scientific novelty lies in the definition of conceptual approaches to the genre-style interpretation of dance scenes in Ukrainian opera in accordance with the theatrical aesthetics of a particular time. The purpose of the publication is to determine the evolutionary modifications of the solution of plastic-choreographic scenes of musical and theatrical works in accordance with the aesthe-tic concepts of different stages of the formation of the Ukrainian national opera school. Research methods. In the context of an integrated intersectoral approach at the junction of philosophy, sociology, psychology, cultural studies, musicology and theatre studies, comparative and art history research methods are chosen as determinants. Their use makes it possible to determine the similarity and difference between genre-style interpretations of dance scenes in accordance with the theatrical aesthetics of a particular time. The main results and conclusions of the study. The article examines the process of formation of dance scenes in the historical context of the development of the Ukrainian opera school. The features of the use of dance at different stages of the formation of the national repertoire in various configurations of the Ukrainian musical theatre from its origins to the present day are outlined. The fundamental principles of the interpretation of dance in Ukrainian opera, laid down in the predecessors of the national musical theatre – old games, a puppet nativity scene, baroque school drama, palace theatres of Ukrainian, Polish, Russian magnates of the era of classicism, are character-rized. The evolutionary modifications of the plastic-choreographic solution of opera performances against the background of the genesis of the Ukrainian musical theatre are analyzed. The well-established key approaches to the interpretation of dance scenes in the Ukrainian opera are determined, mainly the positive role of choreography in solving the musical drama of the performance. The author highlights the differences between Ukrainian opera content and Western European and Russian traditions, where vocals as the personification of a person's soul or the image of a friend, and dance as the embodiment of temptations or the image of an enemy are quite often in opposition to each other. The specificity of the interpretation of dance in the Ukrainian opera through the prism of its historical formation is clarified: from the use of divertissement samples of the times of classicism through illustrative and pictorial eras of romanticism, efficiently expressive epochs of realism and Soviet reality to conventionally symbolic, conventionally abstract in the culture of modernity and postmodernism. Different approaches to the solution of dance in opera performances in evacuation and in the occupied territories with distinction in the East and West of Ukraine have been established. The conceptual approaches of the genre-style interpretation of dance scenes in the Ukrainian opera are revealed in accordance with the theatrical aesthetics of a particular time. Attention is focused on the prospects for the emergence of new genre-stylistic forms with the gravitation of their plastic-choreographic solution to neosyncretism.
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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 (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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Lukava, Daryna. "TRADITIONS OF NATIVITY DRAMA WITHIN THE OPERA ARTS OF UKRAINE." EUREKA: Social and Humanities, no. 1 (January 30, 2021): 3–7. http://dx.doi.org/10.21303/2504-5571.2020.001564.
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The article explores the ways of development of Ukrainian nativity drama - a genre of musical art that provides an opportunity to recreate the elusive breath of time, to learn not only about the world around but also the prospects for its preservation in Ukrainian culture. For the formation and development of the national musical culture of Ukraine, the traditions of Ukrainian nativity drama, the precondition of which was the folk music of national-historical orientation, became especially important. Besides, the folklore basis contributed to the formation of some professional genres, including opera and instrumental plays.
 The object of the research is the nativity drama within the opera art of Ukraine.
 The purpose of the article is to identify the features of the nativity scene as a musical and dramatic art form, which is an original monument of Ukrainian culture.
 It should be noted, that the nativity scene, especially the images of the second act, the type of its drama, had an impact on the development of Ukrainian musical and dramatic theater even in the XIX century. The mentioned influence was manifested, in particular, in the musical drama "Chornomorets", "Natalka Poltavka" by Lysenko, where folk song and dance are an integral part of the action and are a means of characterizing individual characters and dramatic situations. Some features of the character of Zaporozhets from the nativity scene were developed in the image of Karas from S. Gulak-Artemovsky's opera "Zaporozhets za Dynayem". Ukrainian music and drama art with its sources are associated with the ancient East Slavic agricultural and family holidays, games, dances, in which the element of dramatization played an important role since ancient times. Christmas games with costumes, Maslenitsa farewells, spring round dances, harvest festivals, autumn-winter round dances, and weddings became a rich source for the development of musical and theatrical art of the Ukrainian people in the XV–XVI centuries. To sum up, we can conclude that for the formation and development of the national musical culture of Ukraine in the XIX century, the Ukrainian opera became especially important, the precondition of the one was the folk music of national-historical orientation. Also, the folklore foundations, in particular the nativity scene, served to form professional genres including opera and instrumental plays.
 The study can be applied to prepare students and graduates in the field of Historical Sciences, Musicology, and Culturology.
 The significance and influence of nativity drama on the opera art of Ukraine have been studied, where the traditions of Ukrainian nativity scene, the precondition of which was the folk music of national-historical orientation, have been singled out.
 The study can be the basis for further study of the Ukrainian nativity drama of the XX–XXI centuries.
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Makliuk, D. "Ivan Mazepa’s personality as a cultural symbol: historicalperforming aspects." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 61–76. http://dx.doi.org/10.34064/khnum1-55.05.
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Abstract. The article explores the image of I. Mazepa in the context of numerous sources devoted to the personality of the Ukrainian hetman in historical science, literature and music. The analysis shows that the ideas of the great Ukrainian in the works of art evolve: from a traitor to a patriot. If in the 18th – 19th centuries artists created this image being inspired by myths, then from the early 20th century and up to the present time the historical approach has been dominant. In this paper the author suggests performing aspect basing on the vocal and scenic image of I. Mazepa created by him on the stage of Kharkiv National Opera and Ballet Theater named after M. Lysenko. The interpretation of the extraordinary personality of the Ukrainian hetman gives the audience an opportunity to look at Mazepa from a historical perspective. It is noted that his image in this performance is not limited to a national vision, but acquires a universal character. I. Mazepa’s personality is of great interest to modern Ukrainians living both in their historical homeland and far beyond its borders. At present, contradictory assessments of Mazepa’s role in the chronicle of Ukrainian history require the establishment of historical and artistic truth. P. Tchaikovsky’s opera Mazepa is perceived as a fruitful material to search for a new interpretation of the image. It was first performed on the stage of Kharkiv National Opera and Ballet Theater named after N. V. Lysenko on July 2, 2017 to mark the 330th anniversary of Ivan Mazepa’s election as hetman of Ukraine. This fact gives a chance to bring into focus a relevant performing interpretation of the image of this outstanding figure in Ukrainian history. Among the numerous historians and literary critics cited in the article, we find a new interpretation of Mazepa’s image in contrast to music studies (N. Lupak’s dissertation). The method of analysis is conditioned by the creative practice of the KhNAOBTh and its own performance experience. The purpose of the study is to substantiate the reinterpretation of Mazepa’s vocal and scenic image in the production of the P. I. Tchaikovsky’s opera of the same name on the stage of KhNAOBTh named after M. Lysenko (2017) basing on the critical analysis of scientific historiography. The attitude towards I. Mazepa as a historical personality and a person has always been ambiguous. He combined the incomparable: on the one hand, he was a great military and political figure who fought for the creation of the Ukrainian state, on the other hand – a treacherous traitor; at his initiative, 26 Orthodox churches were created throughout Ukraine and, at the same time, he was an apostate devotee who took part in the destruction of Ukrainian cities and villages; a person capable of loving in the broadest sense of the word. He had everything that attracted and aroused great interest of writers, composers, artists, directors not only in our country but also far beyond its borders. And each author interpreted the image of Mazepa in their own way. In the 19th century, the image of the Ukrainian hetman fell into the area of artistic interests of M. Staritsky. He, like Voltaire and Byron, used the Western European legend of Mazepa in the novel “Mazepa’s Youth”, which was appropriate for its genre (historical-adventure). Naturally, the idea of “independent Ukraine” did not fit into Russia’s interests. In Tchaikovsky’s opera Mazepa (1883), based on A. Pushkin’s story (libretto by V. P. Burenin) everything is quite complex. It is important to note that many researchers of Tchaikovsky’s creativity believe that in Tchaikovsky’s Mazepa historical facts are sidelined while lyrical love scenes dominate. There were a number of questions when the image of Mazepa was ctreated in the original Ukrainian version of the opera on the stage of Kharkiv National Academic Opera and Ballet Theater named after N. Lysenko. The main one is how to maintain faithfulness not only to historical but also to the life’s truth? The times of the Hetmanate in Ukraine were silenced for about 300 years, and, in particular, the true life of one of its most famous representatives was unknown. But in order to create an image, it is important to know the smallest shades of your character’s psychotype. As the lyrical scenes of Mary and Mazepa are the central line in the opera, it is necessary to understand what kind of relationship they really had. Kharkiv stage directors of P. Tchaikovsky’s opera (director Armen Kaloyan and conductor People’s Artist of Ukraine Garkusha) sought to convey this very episode from the life of Mazepa, who openly loves his darling and suffers from having to cruelly deal with her father and hurt her badly. In addition, there was created their own version of the text (by Victor Marinchak, Svetlana Oleshko and Mikhail Barbara) and changes were made to the musical dramaturgy of the opera. The main idea of stage directors was to transform the content of the opera into another field – to reveal the image of the hetman as a significant figure in the history of Ukraine, which was much more important for Mazepa than the alliance with Peter I. The difficulty of creating a vocal and scenic image of Mazepa lies in its multi-vector character, which should not interfere with artistic unity and integrity: Mazepa-lover (in the tradition of Western European romanticism), Mazepastatesman (Ukrainian national tradition) and, at the same time, in the interpretation of Kharkiv theatre Mazepa-traitor had to be neutralized (an enemy that is characteristic of Russian imperial thinking). The motives of torments, sorrow and, along with this, the rebellious nature of the protagonist become considerable in the opera, rising to genuine symbolism. Thus, in the vast number of works dedicated to I. Mazepa, his image is not limited to the national framework, but acquires a universal significance. Conclusions. Analysis has shown the evolution of ideas about the great Ukrainian: from traitor to patriot and legendary hetman. If in the 18th century the image of the Ukrainian hero was interpreted in many ways by its creators on the basis of myths, then in the 20th – 21st centuries the historical approach prevails in understanding performing interpretation of Mazepa. The creation of a complex, extraordinary personality on the opera stage requires from the performer, in addition to knowledge of Mazepa’s vocal part, a thorough study of various axiological judgments. The above given interpretations of I. Mazepa’s image reflect the irreconcilable confrontation and “blood” belonging of one or another author to different systems of values of the worldview. Such interpretations indicate that the image of I. Mazepa is interpreted as a symbol, an archetype of the national opera tradition. Undertaking further study of the theme can involve performing analysis of Mazepa’s image on the stages of Kyiv and Odessa opera theaters with a view of understanding the performing principles when teaching young vocalists in the class of solo singing.
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Mekh, Nataliia. "«Natalka Poltavka» by Ivan Kotlyarevsky in the Ukrainian linguistic and cultural space." Culture of the Word, no. 91 (2019): 57–65. http://dx.doi.org/10.37919/0201-419x-2019.91.5.
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The article attempts to look at Natalka Poltavka's play in a broad linguistic and cultural dimension. The work is considered as the first attempt in a new Ukrainian language to speak about Ukrainian truthfully, brightly and wisely. Particular attention is paid to songs of drama that live separate artistic lives. The importance of the work of I. Kotlyarevsky for the musical realm, in particular, the opera of Mykola Lysenko based on the play "Natalka Poltavka" as a landmark event in the Ukrainian cultural space, is considered. Natalka Poltavka Opera is a real pearl of Ukrainian music. It clearly reveals national life, typical characters and traditions thanks to the folklore-based music. Key opera songs have long gone beyond it and are perceived in various parts of the world as symbols of Ukrainian culture. Natalka Poltavka is the first work of the new Ukrainian dramaturgy, combining signs of sentimentalism and educational realism. At the time when the play was written, sentimentalism began to develop rapidly in European literature, which was characterized by the desire to recreate the world of the feelings of the common man and to evoke sympathy for the heroes of the work. We notice these tendencies in drama, watching I. Kotlyarevsky appeal to human feelings, focusing on their strength, sincerity and depth. Respect for moral purity, spiritual strength, popular wisdom and language, love and respect for ordinary people are all we see in Ivan Kotlyarevsky's talented play.
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Puszak, Lubomir. "Твори Лесі Українки у світлі рампи сучасного театру". Kultury Wschodniosłowiańskie - Oblicza i Dialog, № 7 (31 липня 2018): 135–52. http://dx.doi.org/10.14746/kw.2017.7.11.
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The paper continues an earlier work on the stage production of dramatic works by Lesya Ukrainka in Ukrainian theatres. It presents the overview of stage productions put on in the years of 2012 to 2016, as well as productions, which had been staged earlier but are still performed on the stage. The study is based on the overview and the analysis of publications in Ukrainian theatre periodicals available online, as well as on the data presented on the websites of Ukrainian theatres. The analysis of the material leadsto the conclusion that Lesya Ukrainka’s dramatic works included in the current listof productions of Ukrainian theatres (drama, opera and ballet, experimental, puppet, and amateur ones) hold the attention of theatre directors, who take both modern and traditional approaches to staging her plays. Productions of the fairy drama Forest Songare the most frequent to be put on stage.
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Kolesnik, Evdokia. "Psychologization Of Oksana’s Vocal and Stage image from S. GulakArtemovsky’s Opera ―Zaporozhian Za Dunaiem‖ in Creative Version of Lev Venedyktov." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(50) (March 18, 2021): 106–16. http://dx.doi.org/10.31318/2414-052x.1(50).2021.233131.
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The author carried out the research aimed both to determine the factors of creation of S. Gulak-Artemovsky's opera "Zaporozhets beyond the Danube" and to reveal its characteristic features. Changes in the libretto of the work were proved, their influence on the development of the conflict, the peculiarities of its resolution in the implementation of the play were indicated. Due to the review of literary sources, their thematic systematization was carried out according to the following parameters: features of the life of the Transdanubian Cossacks after the destruction of the Zaporozhian Sich; preservation of national traditions, customs, rites of the Ukrainian ethnos abroad; the specifics of the manifestation of the mentality of Ukrainians against the background of their coexistence with another nation, which differs in cultural and religious identification. The methodological study of educational issues through the prism of a comprehensive cross-sectoral understanding of the historical, socio-psychological, cultural, musicological and theatrical aspects of the opera is outlined. Peculiarities of the musical dramaturgy of the work, its construction on the synthesis of creatively reconsidered genre-style features of the French and Italian lyric-commission opera with the Ukrainian song and dance folklore are published. Three dramatic lines in the opera are characterized: lyrical-romantic (images of Andrew and Oksana), comic (images of Karas and Odarka), patriotic (generalized image of the people). The process of creating a holistic vocal-stage image of the heroine was analyzed through the prism of the author’s article E. Kolesnyk who was the performer of Oksana's part under the guidance the Chief Choirmaster of the National Opera of Ukraine L. Venediktov. The individual specific approaches of the artist to the deepening of the psychology of the heroine’s artistic image through the use of a synthesis of various means involved in stage expression were determined. The fruitfulness of the outstanding choirmaster's cooperation with the experience of an opera conductor and singer in revealing the musical drama of opera composition in accordance with the composer's idea is proved. The author predicted the prospects for further explorations of the concept concerning the creating of holistic vocal and stage characters which goal is to find and display new synthesis of artistic means of expression with their inclination to neo-syncretism.
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Melnychenko, Irynа, and Dina Vynohradcha. "Opera «Iyov» in Ukrainian music art of the XXI century." IMAGE OF THE MODERN PEDAGOGUE 1, no. 3 (2020): 73–76. http://dx.doi.org/10.33272/2522-9729-2020-3(192)-73-76.
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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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Fedenko, A. "The specifics of female characters embodiment in contemporary Ukrainian musicals and rock operas (on the example of Nataliya Sumska’s creativity)." Aspects of Historical Musicology 17, no. 17 (2019): 90–102. http://dx.doi.org/10.34064/khnum2-17.06.
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Background. The creative mastery process of the musical and rock opera genres has become one of the urgent vocational training problems today considering the growing popularity of these genres both in the world and in Ukrainian musical culture. There is a need to investigate the methodological aspect of professional activity in this direction like a set of requirements for the modern actor working in the music-dramatic genre. The lack of specialized literature and scientific works which investigates the embodiment phenomenon of vocal and stage images by actors in contemporary Ukrainian musicals and rock operas raises an urgent need for its consideration. Phenomenological analysis of the vocal and stage creativity of the actress Nataliya Sumska, namely, her stage works in rock operas “Eneida by Serhii Bedusenko based on the poem-burlesque by I. Kotliarevsky, “Bila Vorona” “(The White Crow”) by Genadii Tatarchenko and Yurii Rybchynskyi and “Nezrivnianna” (“The Incomparable”) Musical, based on the famous play by Peter Quilter (the composer Ivan Nebesnyi) are the material of this study. Objectives. The purpose of the article is to investigate the performing principles and vocal techniques that contribute to the embodiment of contentemotional female images characteristics in contemporary musicals and rock operas on the example of Nataliya Sumska’s acting creativity. The results of the study. The success of the Nataliya Sumska stage activity is closely related to the actress’ high level of vocal skills. Didona’s role in the rock opera “Eneida” has required from the performer a whole range of professional skills, first of all, vocal – that is, acting universalism. The vocal and stage image created by Nataliya Sumska is realized through singing, which organically combines the traditions of folk-song performance with the best achievements of the national academic and variety performing arts. The dominance of “folk” color in the sound of the voice is one of the creative tasks that the author of the rock opera sets before the actress. The bright individual “synthesizing” vocal and performing style is the original combination of ethnic origin with jazz and pop rhythms and harmonies offered by the composer, made the unique image of Didona by N. Sumska’s performance. Thus, a perfect actress’s mastery of different singing styles and the ability to use her own voice to achieve high artistic output is of great value, as composers in rock operas and musicals are constantly performing acts of styling. In the role of Jeanne d’Arc from the Ukrainian rock opera by Genadii Tatarchenko and Yurii Rybchynskyi’s “Bila Vorona” (“The White Crow”) the main features of N. Sumska’s art were clearly revealed, such as: great tragedy, heroic pathos and pathetics combined with lyric scourge and poetic sorrow. The stage techniques, by which N. Sumska created the image of Jeanne, were: enhanced sound supply and high dynamic tone of performance, expedient use of registers, expanded palette of sound dynamics and its filing (“filer un son”); going beyond the range of sound characteristic of academic vocal performance, the use of different singing styles and techniques; skillful presentation of intonation recitation gradations (from whisper to cry); possession of sound amplification equipment; maintaining a vocal line, subject to any nature of sound production; finally, acting is the ability to convey the character of the heroine through the voice, facial expressions, gestures, to make the viewer feel the pain and joy of her soul. Thus, Nataliya Sumska is fully capable of using the necessary means of artistic expression, various methods of performance, revealing the semantic and emotional content of the stage image and the work as a whole. In the “Nezrivnianna” (“The Incomparable”) Musical Nataliya Sumska embodied the comedic image of an American pianist who believed in her talent as an opera singer and one of the earliest representatives of “outsider music”. The actress brilliantly demonstrated that she was able to sing both “strictly past the notes” and only in “disgusting” voice, as her role required. She did not only change her voice for the horrific performance of operatic classics, but she was able to convey faith and belief in her own success to her Florence heroine. The actress was able to achieve great artistic power in the embodiment of the image, first of all, thanks to the mastery of vocal technique, as different modes of the larynx, specific techniques: conscious oscillation of sound, different attack power, accentuation of individual sounds, etc. Conclusions. Considered the creating specifics of vocal and stage image in contemporary rock operas and musicals by actress Nataliya Sumska, we came to the conclusion that vocal performance in modern rock operas and musicals poses special requirements for actresses. Modern musicals and rock opera demonstrate all possible polystylistic and polygenre syntheses, including the incorporation of folk and academic elements, and some genres of light music. The vocal part is complicated by changes in priorities in harmony, which is represented mainly by dissonant sounds. Accordingly, the melody of rock operas and musicals today is filled with unconventional unexpected intonations and lines, characteristic of metrorhythmic constructions. Conversational intonations, variety of singing manners and vocal techniques that form the basis of modern musical performances help to emphasize the emotional lines of the work. The presence of conversational dialogues, dance episodes with specific plasticity, the use of elements of the musical language of other cultures, a wide style range (from folklore to avant-garde, from Baroque stylings to jazz and smash hit), features of singing with a microphone – all this requires knowledge of specific acting and choreographic techniques, a good mastery of vocal technique, that is, all that constitutes professional acting universalism.
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Shumilina, Olha, and Maryna Varakuta. "Baroque Opera on the Contemporary Ukrainian Theatre Stage: Ideas and Solutions." Kyiv-Mohyla Humanities Journal, no. 7 (December 18, 2020): 225–32. http://dx.doi.org/10.18523/kmhj219675.2020-7.225-232.
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Shylenko, Lada Anatoliyivna. "OPERA HERITAGE OF UKRAINIAN COMPOSER VITALIY KYREYKO IN THEATRE AND STAGE EMBODIMENTS OF HIS OPERA ‘THE FOREST SONG’." Young Scholars Journal, no. 6-7 (2021): 7–10. http://dx.doi.org/10.29013/ysj-21-6.7-7-10.
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Makliuk, D. M. "Specificity of embodiment of Shevchenko’s image in Lev Colodub’s opera “Poet”." Aspects of Historical Musicology 18, no. 18 (2019): 40–57. http://dx.doi.org/10.34064/khnum2-18.03.
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Formulation of the problem, analysis of the publications on the topic. The opera by Lev Kolodub “Poet” is one of the recognized examples of modern “Shevchenkian music” and the outstanding achievement of the composer. From the very premiere at the Kharkiv Opera and Ballet Theater named after M. Lysenko (2001) to this day, this work has been preserved in the theater’s repertoire, and the 2011 Kharkiv performance has become a world event: in the recording of Ukrainian Radio, it was broadcast to 78 countries of the world by the European Broadcasting Union. L. Kolodub’s creativity attracts considerable attention of researchers and was covered in various sources, including monographic essays (Zahaikevych, M., 1973), scientific, encyclopedic, journalistic articles (Bielik Zolotariova, N., 2009; Sulim, R., 2010; Paukov, S., 2007), where the opera “Poet” is mentioned in different contexts. The reviews of premiere performances of this opera were given: in scenic version at Kharkiv (Velychko, Yu., 2002) and in philharmonic variant in Kyiv (Sikorska, I., 2004); in his interviews, the composer also recalled this work. Nevertheless, the holistic analysis of the concept of the opera and the image of its leading hero, as well as its vocal-stage interpretation by the Kharkiv Opera’s artistic collective, has not been carried out yet. The objective of this article is to formulate the concept of the stage embodiment of the Poet’s image in the opera of the same name by L. Kolodub, on the basis of its interpretation at the Kharkiv National Opera and Ballet Theatre and self-own scenic experience of the author of these words, which is currently the only performer of the protagonist’s part. Summary of the main material. The composer has many times emphasized the outstanding importance of Taras Shevchenko’s work for every Ukrainian. “I consider Shevchenko to be a personality who has arisen on the basis of Ukrainian folklore. She is understandable to everyone, everyone cares - this is a very social poet. Many perceive him naturally, since the problems of his works excite and affect people. Shevchenko is incredibly interesting! I constantly re-read him and every time I find a new one. The main thing is that he himself suffered, all this is transmitted in his poetry. At the same time, he is a very big optimist, a warm-hearted person” (from the interview, as cited by Koskin, V., 2008b). The composer noted that the scenic life of his opera was not easy: at first the work arose interest both in Dnipropetrovsk and Kyiv (Children’s Music Theater on Podol, National Opera Theater). In 1988, when the opera was created, S. Turchak, who was supposed to be the conductor, suddenly passed away, and the new management of National Opera deleted it from their plans. Nevertheless, the opera was staged at Kyiv in the philharmonic performance in the arrangement for soloists, choir and brass band (2004). In I. Sikorska’s (2004) opinion, the composer “broke the stereotypes”, having redrafted the score in such a way that the brass orchestra’s timbre palette rivals the symphonic one. The opera is written on the basis of drama “Path” by O. Biletskyi and Z. Sagalov. The librettists’ idea was that the events of poet’s life intervene with the plot collisions of his works. For example, execution of Jun Hus symbolically coincides with the moment of death of Shevchenko himself. Moreover, the poet’s image is identified with heroes of his works. So, Colodub’s opera is the authors’ interpretation of Shevchenko-Kobzar’s fate from the XX century human’s point of view. Therefore, both, phantasmagoria and cinematographic methods are justified. The composer thought that “modern opera requires novel forms of delivering the material. The art of cinema and drama theater are developing fast, and opera esthetics is sort of frozen in the 19th century, she is not seeing even the heels of the far-ahead walking dramaturgy of the modern theater” (from the interview, Koskin, V., 2008a). The principle of introspection became the main dramaturgical principle of opera libretto’s construction. Avoiding the symphonic introduction, the first scene instantly transfers the viewer to the last March night of the Poet’s life. Being on the edge of eternity, the heavily ill Shevchenko is diving in memories. The Poet in the opera acts simultaneously as the event’s participant and its commenter, revealing gradually through different scenic roles: as a naïve creative person (scene 10), as a poet-citizen, who points out social injustices (scenes 3, 4, 15, 16), as a loving and beloved person (scenes 6, 7, 14, 20), or a thinker (scenes 11, 13, 1, 22). Over time, these roles are summing up, turning Shevchenko’s image into polyphonic and lifting the latter to the epic generalization. The image of the Poet become the symbol of the nation’s self-consciousness lost in the conditions of imperial Russia’s brutal reality (scene 29, “The burning of Jan Hus” – the Czech thinker is the hero of the Shevchenko’s poem of the same name). The opera’s authors do not separate the title hero from the storm of events and kaleidoscope of others scenic personages, which stipulates the specificity of vocal dramaturgy of Shevchenko’s opera character. The Poet’s vocal party does not include the developed solo or duet episodes, but it consists of concise replicas-phrases written by the recitative (Dargomyzhsky-Mussorgsky’s tradition) and several solo statements of arioso type. Conclusions. So, “Poet” by L. Kolodub, continuing the line of psychological opera-drama, vividly presented in the twentieth century by the works of D. Shostakovich, A. Berg, B. Britten and their followers, at the same time appeals to symbolism as to one of the main means of artistic expression. The image of Taras Shevchenko is interpreted as polysemantic: the fate of the Poet coincides in the perception of the audience with the fate of the Ukrainian people in their desire for liberty in a situation of opposition to the autocratic regime. And the freedom of expression of poetic and civic thought appears as a conscious necessity in the struggle for personal freedom, honor and human dignity. The logical culmination of the development of the image is the final scene of the auto-da-fé, where the burning of Jan Hus, the hero of Shevchenko’s poem, acts as a symbol of cruelty to the Poet himself, and to the people, of whose part he is. The musical language of the Poet’s vocal party, on the one hand, is quite naturally approaches to the style of Ukrainian kobzars folk lyrics; on the other hand, it inherits the recitative type of melodicism, which is a characteristic feature of psychological musical theater. Such a synthesis helps to reveal the image of the Poet as the outstanding representative and spiritual leader of the Ukrainian people, and, at the same time, to emphasize the rich content of his work, and the beauty of the inspirited poetic Word. Theopera provides rich artistic material for the study of innovative type of dramatic thinking in the context of the development of the national tradition of the genre and is promising for further study.
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Lobanova, I. V. "“Faust” by Ch.-F. Gounod as a debut of a director E. O. Jungwald‑Khilkevych on the Ukrainian National Opera and Ballet Theater stage (1925)." Aspects of Historical Musicology 14, no. 14 (2018): 50–62. http://dx.doi.org/10.34064/khnum2-14.04.
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Background. When Kharkiv was the capital of Ukraine (1917–1934), many outstanding artistic events were happening there, which have not been studied properly up to this day. Among them – an experiment is, that started in 1925. In this time in Kharkiv the Ukrainian National Opera and Ballet Theater was founded. Strictly speaking, the new theater was not created completely anew: the art of opera and ballet had the established traditions in Kharkiv to that time. Yet, it had not been free from certain provincial features, trying to imitate the style of well-known theaters. The new theater was meant to overcome those drawbacks. The visual side of performances presented practically no problem, scenery being created mostly by avant-garde artists, but there was almost a total lack of stage directors, capable of creating performances adequate to the time and new contingent of spectators. One of the most important events of the theater’s first season happened to be the appearance of Yosyp Lapytsky, famous for his stubbornness in overcoming stereotyped patterns of staging opera performances. Though his attempts were widely criticized, today we can fully appreciate the master’s creative ideas. Now the name of Y. Lapytsky is rather well-known as an example of a director’s creativity within the framework of Ukrainian opera theaters of his time. However, only some peoples, even among professionals, remember his adherent and long-time assistant, Emil Olgerd Jungwald-Khilkevych. Yet, the latter was an extraordinary figure among his colleagues. Less than the decade afterward the Kharkiv performances, E. O. Jungwald-Khilkevych was appointed a chief stage director and an art director of two theaters simultaneously, the Russian and the Uzbek Operas in Tashkent. Thus, he became one of the founding fathers of the Uzbek professional musical theater and a figure worth remembering in the history of operatic art in Kharkiv. The author was unable to find any studies into E.O. Jungwald-Khilkevych’s activities as stage director. At least, no such publications have been found in Ukrainian, Russian or any widely known European languages, while materials in Uzbek were not searched as requiring a profound knowledge of that language. As far as the Ukrainian segment of Jungwald-Khilkevych’s activities is concerned, it has not been studied at all. The objectives of this study lie in an attempt to systematize isolated facts of the director’s biography; to collect and analyze the information concerning his debut performance on Kharkiv stage; to reveal the significance of his activities within the context of the Ukrainian National Opera and Ballet Theater’s first season. Results. E. O. Jungwald-Khilkevych graduated from the Kyiv Academy of Music in 1920 and started his career at the Kyiv Opera Theater. In a short while, he was invited by the administration of the Poltava Opera Theater as a chief director. In 1923, the young director became an assistant to Y. Lapytsky, when the latter was on tours, staging performances in various cities. We may presume that his work in Poltava enriched him with the experience of independent actions, so important for anyone’s professional progress. That why he was invited to Kharkiv not only as Y. Lapytsky’s assistant, but as independent artistic figure as well. He got a special assignment of directing “Faust” performance. The new theater’s administration seems to have had little hope for the success of “Faust”. There were too little material resources and time allocated for the performance and rehearsals. Too much work had to be done in a very short period. November 4, 1925, was the first night of the performance. It provoked a lively discussion among musical critics: the director’s interpretation of Gounod’s opera seemed to be too peculiar. It is worth noting that all the transformations in action on stage were made strictly within the framework of the original musical material with minimal changes in the libretto. The director only implemented some new ideas as to the interpretation of certain episodes as well as characters’ nature. They concerned, first and foremost, Dr. Faust, the hero of the opera. E. Jungwald-Khilkevych saw him as a medieval scholar who had lost his lifelong faith in science. So, Faust is in a desperate search of the way out, ready either to change his life drastically or to put an end to it. Thus, the conflict, as seen by the director, is the inconsistency of the intellectual and the sensual, and this point of view is much closer to Goethe’s tragedy, whose philosophical intricacy was somewhat simplified in Gounod’s opera. Building up the logical and psychological motives of the characters’ actions (where one can trace the influence of Y. Lapytsky and his ideas), E. Jungwald-Khilkevych introduced a supplementary personage, the young Faust. The director also interpreted in his own way the character of Mephistopheles – not as a devil from the other world, but as the “Alter Ego” of Faust himself, as the dark side of the doctor’s personality. E. Jungwald-Khilkevych did not hesitate to break some respected operatic traditions. For example, he insisted on substituting traditional travesty actress (alto or soprano) in the part of Siebel with a male tenor. I. Turkeltaub, a famous musical critic of Kharkiv, maintained in his review that the director enriched the performance with new brilliant elements, which significantly broke off the opera routine. Conclusions. Certain conclusions justly can be made not only from the praise by an authoritative erudite musical critic I. Turkeltaub, but also from the details of the director’s conception, disclosed in his own articles. This materials prove that the debut of E. Jungwald-Khilkevych, then 28, on the main stage of the Ukraine’s capital was far from being imitative or immature. He proposed an interpretation both independent artistically and adequate to his time. This performance testifies to maturity of rather a young director, his ability to work under extreme conditions, to captivate the actors and inspire them with his ideas. It is obvious that the theater’s administration did next to nothing to support the director of “Faust”: the leading singers were not included in the cast, the scenery was made by secondrate painters instead of A. Petrytsky and O. Khvostenko-Khvostov, which were the leading designers of the theater, and so on. In spite of all that, “Faust” became one of the real zests of the Ukrainian National Opera and Ballet Theater’s first season. This result proves the real necessity of closer scholarly studies into the Ukrainian period of E. Jungwald-Khilkevych’s creative activities, precisely, the performances executed under his guidance on Kharkiv stage.
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Довжинець І. Г. "ГАСТРОЛІ ІТАЛІЙЦІВ В СУМАХ: ПОГЛЯД ЧЕРЕЗ СТО РОКІВ". World Science 2, № 10(50) (2019): 33–37. http://dx.doi.org/10.31435/rsglobal_ws/31102019/6728.
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 The article focuses upon analysis of tour performances of the Gonzalez brothers Italian opera company in provincial Ukrainian town Sumy in the beginning of the XX century. It is noted that musicians` coming was an event which was actively discussed in local press. Each performance had reviews of educative and at the same time critical character. The musical observer described vocal qualities of the artists, their technique, stage effect, orchestra sounding, emotional energy of the shows in details. Basing upon the analysis of these materials the level of touring Italian opera company, performing arts of its soloists and also an impression it produced on Sumy audience are found out. The conclusion enlightens the role of Italian opera company tour in cultural life of the chief town of a district and formation of its musical environment.
 
 
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Maslennikova, Anzhela. "Opera and Choral Performance in Mykhailo Krechko’s Work." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 131–42. http://dx.doi.org/10.31318/2522-4190.2021.130.231220.
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The article considers some aspects of opera and choral performance on the example of analysis of the theatrical period of creativity of one of the prominent figures of Ukrainian choral culture, founder of the choir of the State Children’s Musical Theater — People’s Artist of Ukraine, Professor Mykhailo Krechko (1925–1996). M. Krechko as the first chief choirmaster of the theater built his individual principles of work and theatrical traditions inherent in such a unique opera choir. SCMT is the second in the world and the only professional opera and ballet theater in Ukraine for children and youth).The established traditions and peculiarities of the choir’s work in SCMT are analyzed, based on the repertoire of the newly created Theater and the genre range of performances of choir artists (opera, ballet, musical, cantata and oratorio works, a cappella music performance).Formulation of the problem in general. The relevance of the chosen subject is due to the lack of basic scientific research into the life and work of the famous Ukrainian choral conductor M. Krechko. This is the first comprehensive appeal to the activities of an outstanding master of choral work, active propagandist and collector of folk songs, composer, publicist, teacher and music and public figure, who devoted his entire creative life to the development of national choral culture. A separate task is to study and analyze the basis of the traditions of opera and choral performance initiated by M. Krechko during his work at the State Children’s Musical Theater. Also, it is important to systematically study the methodology and means of educating opera choristers on the example of the work of M. Krechko.
 Analysis of research and publications to solve the problem. General characteristics of the life and work of Mikhail Krechko are examined in the works of O. Bench-Shokalo, M. Kravchuk, A. Lashchenko, L. Mokanu. The issues of choir and opera choir are analyzed in the works of L. Butenko, O. Letychevska, B. Pokrovsky, K. Pigrov, P. Chesnokov, which explores the functioning of the choir and the nuances of managing this process, as well as the work of specialists in the opera house.The problem of the specifics of M. Krechko’s work with the opera choir was not raised in the scientific literature, which determined the relevance of this article. The research materials of the archive of the “Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth” — programs of performances and concerts, reviews; family archival materials of the Krechko family; publications by M. Krechko and devoted to the work of M. Krechko (booklets, articles in newspapers and magazines, author’s books and reference books). Also, below are a number of personal conclusions of the author of the article while working as a choir artist under the direction of M. Krechko.The purpose of the article is to study the life and work of M. Krechko as an opera choirmaster, his methodology and practical implementation of the multitasking of choir artists in a wide range of synthesis of arts in the opera house.Conclusions and prospects for further exploration in this direction. The article explores for the first time the theme of opera and choral performance in the works of the outstanding Ukrainian choirmaster — People's Artist of Ukraine, Professor Mykhailo Krechko. The above facts from archival materials and analysis of the maestro's artistic activity allow to learn more about the master's contribution to the choral art of Ukraine and its important role in the formation of the vector of development of the State Children's Musical Theater. Emphasis is placed on the specifics and universalism of the theatrical choir. Summarizing all the above, we can say that the modern creative life of the choir Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth is fundamentally based on the high artistic principles laid down by the founder of the choir — Mykhailo Krechko. The Maestro’s great love for the Theater Choir, which he called his “swan song”, high performing skills and a wide range of genres of repertoire, education of followers and like-minded people, and deep traditions established by the choirmaster are a strong foundation and guide to new artistic victories.
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Kucher, L. I. "Activity of the Opera Studio under Lviv State Conservatory named after M. V. Lysenko as a training subdivision in 1970–90s." Aspects of Historical Musicology 14, no. 14 (2018): 108–21. http://dx.doi.org/10.34064/khnum2-14.08.
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Background. This article continues a series of works by the author on the study of the history of educational activities in the field of opera art in Ukraine. On the basis of archival materials, the chronology and features of the educational process in the Opera Studio of the Lviv State Conservatory named after M. V. Lysenko (now the Lviv National Music Academy) are recreated in the important period of formation of the principles of studio working on the education of an opera singer. Relying on his own many years of experience as a teacher and a researcher, the author gives estimates of the role of the departments of solo singing and opera training of the Conservatory involved in the educational process. The material on the history of the Opera Studio performances from its foundation to the end of the last century has been systematized. The results of the study. From the time of the Opera Studio foundation under the Lviv State Conservatory named after M. V. Lysenko, the artistic oversight of this training subdivision was belonging the teachers of the Solo Singing Department. The lack of creative contact between two departments of the vocals faculty, the Solo Singing and the Opera Training Departments, was leading to the shortcomings in education of opera singers. Due to the impossibility to cover all senior students with practical training in performances, they were engaged in fragments of opera in opera classes. To the end of 1973 the separate best pieces of the opera classes was shown several times, using different stages and concert venues. However, O. Hrytsak, who was appointed the Head of the department of Opera Training in the end of academic year 1973–74, resolved that the opera classes will only be focused on junior students of the Conservatory, as per curriculum. With his appointed the new round of Opera Studio’s activity started. Ukraine’s Honored Arts Worker Oleksandr Hrytsak (1924–2001) joined to Opera Training Department in the position of senior lecturer. Prior to joining the Conservatory, O. Hrytsak worked as a conductor in Lviv Opera Theater, where he released tens of opera and ballet performances. He managed to establish a creative atmosphere in the teachers’ team. When educating an actor singer, O. Hrytsak believed his main task is to teach him/her a self-guided work, since no further growth can be possible for a young musician without such a habit. While working at the studio, O. Hrytsak staged the numerous pieces of West European and national classics, having contributed a lot to popularization of modern music (“Anna Snegina” by V. Agafonnikov, “Mususi” by O. Taktakishvili, “The Dawns Here Are Quiet” by K. Molchanov…). In his article entitled “Both Vocalist and Actor” published in “Muzyka”(“Music”) journal (1985, no. 4 ), the author displays his deep knowledge of modern education’s focus on training of actor singers at opera training departments of higher musical schools. His belief that vocals students should not only master a spectrum of vocal and stage skills, but general culture as well, seems relevant to us. O. Grytsak recommended thorough elaboration of “Speech Culture”, “Dance” and “Stage movement” curricula. In 1977, a 5th-year student I. Kushpler (later People’s Artist of Ukraine) was chosen to play the part of Don Giovanni in the opera by W. Mozart. The performance was shown two times during the year with no further shows in the next year. This was a vivid example of how the absence of full-time soloist results in rare demonstration of opera performances of the Studio. It educational practice of Lviv Opera Studio used to happen that working on some performance made it entirely impossible to work on other ones, though it was emphasized that the attainment of high results of operation requires increase in the number of performances. For example, in 1977, during rehearsals of “Ten Days That Shook the World” opera by M. Karminsky, wherein the students’ choir and Opera Studio orchestra participated, no performances were shown of the Studio. Sure, such a practice cannot be deemed a good training. But as early as in academic year 1979–80, at the joint meetings of solo singing and opera training departments, their teachers expresses the opinion that the level of professional training in the Opera Studio grew considerably versus prior years. Fifteen performances were shown during that year, with “Nocturne” by M. Lysenko and “Sotnyk” by M. Verykivsky (conductor O. Hrytsak, director O. Huy) having been renewed. The repertoire continued extending with new pieces – “Zagrava” by A. Kos-Anatolsky, “Mususi” by O. Taktakishvili. Among that period’s prominent interpretations, one can mention the “Iphigenia in Tauris” by K. Stetsenko commemorating its author’s 100th jubilee, with further TV version release (1982). Since 1985, “Zaporozhets za Dunayem”, the opera by S. Hulak-Artemovsky returned to the studio’s repertoire. In 1989, the Opera Studio staged “Kupalo”, opera by A. Vakhnyanin, which is Western Ukraine’s first musical piece based on opera drama principle, as revised by M. Skoryk (conductor O. Hrytsak, stage director F. Strygun). The opera was chosen by the Studio to celebrate the 50th anniversary of Ukrainian lands’ reunion and Lviv State Conservatory foundation. The performance was broadcast on Ukrainian radio. Being the leader of talented and experienced experts such as directors V. Dubrovsky, O. Huy, A. Lymerev, choirmaster M. Telishevsky, O. Hrytsak fruitfully conducted the education of young actors. Despite pecuniary burdens, each year the studio staged new performances, in which vocals students acquired their professional experience. He revived the studio’s activity, having tuned up the regular practical training of the vocal department students. Summing it up, it is fair to say that O. Hrytsak’s management of the department allowed boosting discipline and regularity of training of opera singers and revived the Opera Studio under Lviv State Conservatory. However, the lack of material resources (the need for the rental of premises for rehearsals, lack of singer staff for performances etc.) and creative misunderstandings between the departments of the Conservatory engaged in operatic training were becoming the cause of some flaws in the organization of the educating process of the opera singers. In the same time, one cannot but highlight such a positive factor in Lviv Opera Studio activity, as its constant addressing to the heritage of Ukrainian composers.
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Vernyhor, Dmytro. "The Ukrainian Star of World Ballet." Diplomatic Ukraine, no. XX (2019): 794–98. http://dx.doi.org/10.37837/2707-7683-2019-54.
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The article deals with the life and career path of Serge Lifar, a Ukrainian world-class dancer, choreographer, theorist of choreography, historian and reformer of the 20thcentury ballet, Honorary President of the UNESCO International Dance Council. Serge Lifar was a prolific artist, choreographer and director of the Paris Opéra Ballet, one of the most preeminent ballet companies in Western Europe. Attention is drawn to the fact that pedagogical activity constituted a significant part of Lifar’s work. In 1947, he founded the French Academy of Dance, from 1955 he taught his-tory and theory of dance at Sorbonne University, having developed his own system of ballet dancers’ training and authored more than 20 works on ballet. In the same year, he was recognized as the best dancer and choreographer in France and was awarded the ‘Golden Shoe’. In 1957, he became the founder and rector of the Paris University of Dance. The author emphasizes that Lifar’s creative heritage is huge. He choreographed more than 200 ballets and wrote 25 books on dance theory. Serge Lifar trained 11 ballet stars. Serge Lifar’s style, which he called choreographic neoromanticism, determined the ways of development of the European ballet art of the second half of the 20th century. At the age of 65, Lifar showed his talent as a visual artist. His heritage includes more than a hundred original paintings and drawings, the main plot of which is ballet, dance, and movement. In 1972–1975, exhibitions of his works were held in Cannes, Paris, Monte Carlo and Venice. His yet another passion was books. It all began with Serhii Diahiliev’s personal archive, which included a collection of theatrical paintings, scenery and a library. Lifar bought it from the French government for a one year’s salary at the Grand Opera. In the USSR, Lifar’s name was concealed. Only in 1961, did he and his wife visit it for the first time as the Soviet authorities did not allow him to stage any ballet in the USSR. He always felt he was Ukrainian and ardently promoted the history and culture of his people. In honour of the outstanding countryman, the Serge Lifar International Ballet Competition and the festival ‘Serge Lifar de La dance’ have been held since 1994 and 1995, accordingly. Keywords: cultural diplomacy, art of artistic vision of choreography, Serge Lifar International Ballet Competition.
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Kaznacheieva, T. O. "The genre features of the polonaiseinPolish and Ukrainian opera of the XIX century." Музичне мистецтво і культура 1, no. 30 (2020): 24–29. http://dx.doi.org/10.31723/2524-0447-2020-30-1-4.
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Svyrydenko, N. "Music in museum (second half of 20th century, Ukraine)." Musical art in the educological discourse, no. 3 (2018): 61–65. http://dx.doi.org/10.28925/2518-766x.2018.3.6165.
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Due to the process of early music revival, started in the USSR from the 60s of the 20th century, there are searches of the appropriate premises, in which early music could be perceived naturally, where one can feel a single style in combination of rooms, music, instrumentation and performance style that would increase the perception of each of the components of the creative process. Such most suitable premises are found out to be the halls of museums — former mansions, or palaces, which serve as museums in our time. The practice of conducting concerts in museums was introduced in Western Europe in the first half of the 20th century as a part of the overall process of early music revival and became an example for other countries including Ukraine.The Museum of Ukrainian Fine Arts was one of the first museums where concerts of early music were held in 1988. The concert programs featured the music of prominent Ukrainian composers of the 16th–18th centuries. Since 1989, the «Concerts in Museum» began to be held at the Museum of Russian Art, where one could hear music from the 18th to the beginning of the 19th century from «The Music Collection of the Razumovsky Family». Since 2003, the door has opened for concerts at the National Museum of History of Ukraine, where, in addition to chamber music, the visitors watched the whole performance — the chamber opera by D. Bortniansky «Sokil». The performance of this opera was also held at other museums of Ukrainian cities, as well as in Poland.Ancient instruments in some museums, that have lost its sound and artistic qualities, attracted attention of the musical experts. In association with scholars and the administration of museums, restoration work was carried out and brought back the old tools to life, which made it possible to hear the true «voice of the past «. This happened from the pianoforte at the Museum of Ukrainian History, the Lesia Ukrainka Museum in the village Kolodyazhny of Kovelsky District in Volyn and the Memorial Museum of Maxim Rylsky in Kyiv. Nowadays many museums in Ukraine have become centres of culture, both visual and musical. Due to this process, contemporaries’ views about the past art have expanded, the recordings of ancient music phonograms initiated film-making.
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Byelik-Zolotaryova, Nataliy. "Choral dramaturgy of M. Arkasʼs opera «Katerina»". Музикознавча думка Дніпропетровщини, № 18 (12 листопада 2020): 26–39. http://dx.doi.org/10.33287/222015.
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The purpose of this work is to determine the features of choral drama in the opera «Katerina» by M. Arkas. It is based on research into the legacy of M. Arkas, it was determined that the opera «Katerina» is the first example of the embodiment of Shevchenko's poetry in the opera genre. The methods of this research are based on the application of historical-contextual, intonation-dramaturgical and structural-functional approaches of the investigation. A comparative analysis of Shevchenko's poem and opera libretto revealed differences that contributed to the strengthening of the psychological side of the drama. The scientific novelty lies in the fact that in this study for the first time in domestic musicology the peculiarities of choral drama of the opera whole are revealed, the dramatic functions of the choral factor in the process of operatic action are determined, the specificity of Taras Shevchenko's poem is revealed. Conclusions. As a result, of the analysis of the choral drama of the opera «Katerina» it is established that the choral scenes of the opera reflect the changes in the fate of Kateryna. In the first act, M. Arkas showed the environment where the heroine grew up, and in the third – another – the Muscovites, from which she chose a lover who betrayed her, abandoned not only her but also her own son. The contrast between the images of Ukrainian rural youth and Muscovites was reflected at the level of the choral drama of the opera. The generalized image of rural youth, patriotic, admiring the beauty of their native land – paradise, is opposed to the image of offenders-Muscovites, humiliating an exhausted woman with a baby in her arms. The dramatic functions of the choral factor are determined, a namely – genre-domestic contrasting background, effective-dynamic, patriotic and symbolic occupations.
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Berehova, Olena, and Sergii Volkov. "Modern Opera of the Late 20th-Early 21st Centuries: World Trends and Ukrainian Realities." Journal of History Culture and Art Research 9, no. 4 (2020): 217. http://dx.doi.org/10.7596/taksad.v9i4.2817.
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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 (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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Tereshchenko, A. K. "THE BEGINNINGS OF ESTABLISHMENT AND DEVELOPMENT FOR UKRAINIAN ACADEMIC VOCAL PERFORMING." Музикознавча думка Дніпропетровщини, no. 14 (January 19, 2019): 25–36. http://dx.doi.org/10.15421/221819.
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The purpose of this article is disclosing genic underground for germination and evolution of Ukrainian academic vocal performing. The target of this investigation is also revealing the most characteristic features of domestic vocal tradition into the stage concerning to formation of Ukrainian professional vocal art. The methodology of this exploration is formed by researcher on the basis employment of historical method, which connects with studying definite biographical information of Ukrainian academic singers. The systematic manner has the specific significance for special formation the investigative sequence of Ukrainian performers’ the most characteristic vocal criterions. The structurally analytical method26allows to hold out the logic of scientific disquisition, its structure and to texture the general conclusions. The scientific newness of the presented article is determined by appeal to phenomenon of Ukrainian vocal academic art into its stage beginning and further evolutional development. The discovering of not renowned facts from creative life of celebrated Ukrainian singers namely Mykola Ivanov, Semen Hulak-Artemovsky, Alexander Mishug, Kamil Everardy, Alexander Korobeychenko, Anatoly Solovyanenko and Lyudmila Yurchenko is novelty into the scientific work. Conclusions. The world famous creation of Ukrainian opera singers specifically Mykola Ivanov and Semen Hulak-Artemovsky is genic foundation of Ukrainian academic vocal performing. Namely these artists, from the middle of the 19th century, began its approving and passing to descendants on the highest professional level. The permanent connect with Italian vocal tradition as well as Ukrainian-Italian concert-creative relationships are the most peculiar traits, the characterological features of domestic vocal performing, into the stage organization of Ukrainian vocal art’s phenomenon. The successors of such a type art events in the 20th century were celebrated performers, exactly the singers and teachers Alexander Mishug, Kamil Everard, Alexander Korobeychenko, Anatoly Solovyanenko, Lyudmila Yurchenko and others.
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Shylo, A. "Performing activities of Larisa Rudenko (based on archival materials)." Musical art in the educological discourse, no. 3 (2018): 93–96. http://dx.doi.org/10.28925/2518-766x.2018.3.9396.
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The article covers the performance of the famous Ukrainian opera singer Larysa Arkhipivna Rudenko based on archival materials of her Personal Fund [F. 120], which are stored in the Central State Archive-Museum of Literature and Art of Ukraine. The archival material is represented by periodicals of the late 30s and early 80s of the 20th century, in particular, articles about the artist’s creative activity and reviews of musical critics at her concerts. The above archival materials are first introduced into scientific circulation. The article reveals the peculiarities of L. Rudenko’s performance and her role in the development of Ukrainian vocal art in the second half of the 20th century. Unknown pages of the biography and performances of the outstanding opera singer L. A. Rudenko, student of the founder of the Ukrainian vocal school Olena Oleksandrivna Muravieva are considered. The main methods of the work of the outstanding vocal teacher O. Muravieva are described in the words of her famous pupils L. Rudenko and L. Yefremova. The first creative searches by L. Rudenko began during her studies at the Kyiv Tchaikovsky Conservatory. The figure of L. Rudenko is associated with the state archives of Ukraine, in particular: at the National Music Academy of Ukraine named after P. I. Tchaikovsky and presented by documents testifying to the high professionalism of L. Rudenko as a vocal teacher and personal fund of Larisa Rudenko of the Central State Archives-Museum of Literature and Art of Ukraine. The author analyses individual achievements of the performer on the example of her work on operatic parties. The attention is paid to the peculiarities of L. Rudenko’s work on women’s images: the full sound of the singer’s voice is harmoniously combined with a detailed elaborated scene drawing of a role. The performance of L. Rudenko is presented in the coverage of professional music criticism and periodicals. The significant influence of L. Rudenko’s performance on the development of Ukrainian operatic art of the second half of the 20th century has been proven.
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Hohaizel, Olha. "THE IMAGE OF ANNA IN THE OPERA “STOLEN HAPPINESS” BY Y. MEYTUS: INTERPRETATIVE ANALYSIS." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (2021): 112–29. http://dx.doi.org/10.34064/khnum1-58.07.
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The article analyzes the musical material of the two arias of Anna – as the key characteristics of her image in the opera Y. Meytus “Stolen Happiness” (based on the experience of analysis, since the arias are in the work and repertoire of the author of the study). Consideration of the image from the point of view of performance and interpretation of the understanding of the interactions of words and music, the composer logic of emotional experiences, taking into account a complex of components such as the nature of the musical fabric and the historical aspect, is proposed. operas. Statement of the problem. The creativity of Y. Meytus as a composer, who stood at the origins of the formation of the Ukrainian composing school of the twentieth century, is still relevant and, in particular, his rarely performed opera «Stolen Happiness», which in the true opinion of Y. Malyshev, is a «significant contribution» in the development of realistic opera art. There are still an undeserved number of records of this opera, and accordingly a small number of variants of interpretations of images, semantic texts and subtexts, and this work in this sense is of practical importance from the performer’s point of view. Since Anna’s arias are in the work and repertoire of the author of the study, the relevance of this topic is also related to the direct presentation of this music on stage. The purpose of the study –to determine the specificity of the interpretation of the image of Anna from the opera “Stolen Happiness” by Y. Maytus. Analysis of publications on the topic of the study. Regarding the works of Y. Meytus, there are researches and publications by Y. Malyshev, L. Archimovich, I. Mamchur, L. Bas, where the composer’s creativity is covered. There are few sources for the opera «Stolen Happiness», and there is no comprehensive and in-depth interpretative performance analysis.Presentation of the main research material. Widely utilizing the opera-harmonic basis of the features of Western Ukrainian folklore in the opera «Stolen Happiness», Y. Meytus emphasizes the national identity and color of the characters, including the main heroine, by means of the symphonic development of the musical material creates a dramatically and intelligently developed development of the multifaceted and multifaceted. The task of vocal performance is to consciously read the “score of feelings” of the performed character, which is contained primarily in the musical texture, which much and fully conveys the dynamics of character image development. The vocal part, the melody, being a part of harmony, is the condensate, the quintessence of the harmonious thought of the composer, which demands from the performer imagination, intuition, attention, sensory perception, emotional sensitivity. Conclusions of the study. Having performed a performative analysis of the image of Anna in the opera «Stolen Happiness» by Y. Meytus. 1. Because, first and foremost, it is an aria-melodic musical drama, close in style to verisim (the melody in Y. Meytus does not lose the properties of the length and cantilenes) therefore performance requires good long vocal breathing, cantilever, legato, flexibility of voice and timbral equality with simultaneous force of sound in climaxes, long thought of phrases, fullness of each vowel, clear diction, that is, awareness of the relationship between words and music, the smoothness of the language line. Good intonation hearing and good coordination of vocal apparatus are required not only from the point of view of breathing, but also from the point of view of difficult intonational musical language. 2. Performing arias requires from the singer a deep emotional responsiveness, great mental strength and physical endurance, as well as an actor’s understanding of the image-role. This image does not tolerate excessive passion for expressiveness, unnecessary emotions and hysterics, it will penetrate the depth of the tragedy of the heroine. The nuances from pianissimo, not transient to whispering, but voiced, to the filled fortissimo, not transitional to cry. The choice of tempo, especially given their frequent change, should be consistent with the natural sound of the vocal language. 3. The texture of the music material determines the role of the voice. The party is suitable for a solid lyric, lyric-dramatic (spinto) or dramatic soprano, that is, for voice, has the flight to “cut through” the orchestra and be sounded part of its rich texture.
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Davlatova, T. "The creative path of Maria Donets-Tesseyr (based on archival materials)." Musical art in the educological discourse, no. 3 (2018): 89–92. http://dx.doi.org/10.28925/2518-766x.2018.3.8992.
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The article examines the creative path of the famous Ukrainian opera singer and vocal teacher Maria Eduardivna Donets-Tesseyr. It provides the biographical facts about M. Donets-Tesseyr, her performing and teaching activities on the basis of archive materials of the Central State Archive-Museum of Literature and Art of Ukraine, works of her pupils and contemporaries, as well as the research of modern art. Some disagreements concerning the facts of her biography, in particular, the year of the birth of the singer, are specified in her own autobiography. This fact is first introduced into scientific circulation. The information is provided on the period of M. Donets-Tesseyr’s studies at various vocal pedagogues, as well as their influence on her becoming a soloist and vocal teacher. Features of personal and creative relations of M. Donets-Tesseyer with her vocal teacher O. Mishuga are analysed on the basis of the singer’s memories. The educational activity of O. Mishuga from the point of view of memories of M. Donetsk-Tesseyr and the statements of O. Mishuga himself is considered. These materials deal with the methodology of teaching vocals and educating an opera singer. The statements of well-known vocal teachers, in particular, O. Mishuga and V. Vanzo, concerning the issues of vocal pedagogy are given. The continuity of the pedagogical principles of O. Mishuga and V. Vanzo in the activity of M. Donets-Tesseyr, as a vocal teacher, and her personal contribution to the development of the methodology for raising high female voices, is highlighted. The peculiarities of the personal development of M. Donets-Tesseyr as a teacher of vocal art are revealed. The significant contribution of the vocal-pedagogical activity of M. Donets-Tesseyr to the development of Ukrainian opera art of the middle of the 20th century is proved.
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Frolova-Walker, Marina. "A Ukrainian Tune in Medieval France: Perceptions of Nationalism and Local Color in Russian Opera." 19th-Century Music 35, no. 2 (2011): 115–31. http://dx.doi.org/10.1525/ncm.2011.35.2.115.
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Yastrub, Olena. "Musical and educational activities of Mykola Lysenko as a phenomenon of self-identification of the national culture." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 92–104. http://dx.doi.org/10.34064/khnum1-55.07.
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Formulation of the problem. In the globalized time-space of the 21st century, the musical heritage left by M.V. Lysenko motivates to comprehend at a new level the phenomenon of the creative universalism of the artist, the multiple manifestations of his musical-social, educational, ethnographic and composing activities. Given the importance of the choral singing for nurturing the national consciousness of young musicians, the role of M. Lysenko’s opera heritage for children and adolescents should be noted. The choice of the theme was actualized by the iconic premiere of M. Lysenko’s children’s opera called “Winter and Spring” (2017) at the Great Hall of Kharkiv National University of Arts named after I.P. Kotlyarevsky,performed by young performers, which coincided with honouring the memory of the great Kobzar (the 175th anniversary since his birthday). In particular, the orchestration was performed by Yelizar Pashchenko, the stage director – Sofia Melnikova; the conductor –the author of the article. Thus, M. Lysenko’s children’s opera is still relevant for young artists in terms of their professional and national self-growth. The purpose of the article is to systematize the manifestations of artistic universalism in the activities of M.V. Lysenko in the aspect of phenomenology of the creativity of the composer on the example of the genre of children’s opera. The object of the study is the Ukrainian music tradition; the subject – music-educational activity of M. Lysenko in the aspect of its actualization in the contemporary cultural and artistic space. The analysis of recent publications on the topic. The reflection of M.V. Lysenko’s creative heritage in its aspects was performed in the studies by the classics of Ukrainian studies (K. Kvitka (1986), M. Rylsky (1927), O. Pchilka (1913a, 1913b), L. Arhimovych, M. Gordiychuk (1992)), and by the modern scholars (L. Corniy (2011), S. Grytsa (2007)). One of the fundamental editions is the book-album called “Mykola Lysenko’s World. National identity, music and politics of Ukraine of the 19th– the beginning of the 20thcenturies»(compiled by T. Bulat and T. Filenko (2009)). However, there is no phenomenological approach to the master’s creative work in these sources. The presentation of the main material. M. Lysenko was a personality gifted with many talents, at that time he was presenting the figure of a universal personality – on the one hand, an intellectual, and on the other – an educator. He read in the original language the works by Russian, Polish, German, French writers (Dumas, Eugene Sue), independently studied the works by R. Schuman and R. Wagner, Y.S. Bach, performed virtuosic compositions by F. Liszt. The manifestations of the artistic universalism of M.V. Lysenko as a criterion of the composer’s activity in the light of the problem of self-identification of Ukrainian culture at the stage of its formation have been systematized. The composer’s outlook and aspects of his creative life have been characterized. Lysenko’s music-educational activities began the process of democratization of music education in Kyiv. So, in 1904 he opened the School of Drama and Music. He focused on the programs of Moscow and St. Petersburg Conservatories. Therefore, on the stage of the educational institution the authors of the modern version of the opera “Winter and Spring” take the ideas of the founder of the national musical culture. Their purpose was to preserve the holistic concept of the development of the musical form of the opera. The ancient folk intonations, the expressive and difficult in the technical performancesub-voices, the varied and original use of the fret, reflected in the melody of children’skolyadka (carols) and vesnyanka (spring songs), helped the young performers to achieve some level of the performing skills. It should be noted that the final choir (vesnyanka) “And it’s spring already, and it’s already good”, as well as the choral scenes of carolling and spring celebrations are in low demand in the modern choral performance and need to be popularized. For example, the choral scene that begins with the kolyadka called “Herod Is Damned” can be performed as a compulsory piece at children’s choral competitions in Ukraine. The opera is quite technically difficult to perform. Children’s mass scenes “cement” the opera’s musical material. The choir of the younger age children performed the first choral song “Go, Go, Let’s Meet”, built on the invocative intonation of the big tertiary, there are jumps on octave and the fifth; by means of harmonization, the composer gives a colourful sounding to the choir’s kolyadka and shchedrivka (New Year Ukrainian song). Conclusions. In the choral scene of the children’s opera called “Winter and Spring”, the composer applied such techniques as: the combination of shchedrivka and kolyadka in the choir “New Joy Began”; the techniques of folk polyphony: unison chants (vesnyanka “Cuckoo in the Meadow”), the tertiary doubles and octave thickenings (the ancient kolyadka “Herod Is Damned”); the original means of vocal-choral writing (the final choir “And it’s spring already, and it’s already good”). Thus, M. Lysenko’s creativity is filled, on the one hand, with the love to Ukrainian folklore, and on the other, with the perception of the European spiritual values of the music world, where Ukraine should take its rightful place. This is the phenomenon of self-identification of the professional activity of the great composer and figure of musical culture, which is inherited by the modern musicians of Kharkiv
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Sheremeta, Iryna. "UKRAINIAN-BELARUSIAN CULTURAL TIES IN THE 1920S ON THE EXAMPLE OF COOPERATION OF THE MAGAZINE «MUZYKA» (“MUSIC”) WITH YULIAN DREJZIN." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (2021): 182–97. http://dx.doi.org/10.34064/khnum1-58.11.
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The study of Ukrainian-Belarusian cultural ties has significant research potential due to typologically similar processes of cultural and national formation of the two neighboring nations, which was especially pronounced in the 1920s. One of the important factors in this was the Bolshevik strategy of indigenization in the national regions of the Soviet Union. Almost simultaneously, there was a surge in literature and art in both republics. The lack of special studies that would cover these joint processes in the field of music culture, actualized the disclosure of this topic. The purpose of the article is to study the peculiarities of cooperation between the editorial board of the magazine «Muzyka» (“Music”) (publisher – a determining factor in the development of Ukrainian musical culture of the 1920s – Mykola Leontovych All-Ukrainian Music Society) and a leading Belarusian musicologist, one of the founders of Belarusian historical musicology Yu. Drejzin and explore their correspondence as an example of close UkrainianBelarusian cultural ties in the 1920s. To achieve this goal, historical, biographical and source research methods were used. In the autumn of 1924, P. Kozytsky, the editor of the Music, and Yu. Masyutin, the secretary, took the initiative to establish contact with Belarusian artists. The following year, communication began with Yu. Drejzin. His works include the study «Music and Revolution» (1921), the dictionary «Musical Terms» (1926), the libretto of M. Aladov’s opera «Taras on Parnassus» (1927), scholarly and critical articles, a huge number of Belarusian translations from ancient Greek literature, as well as texts from Western European vocal works. Ukrainian musicologists of that time were interested in similar tasks. Cooperation with Ukrainian colleagues coincided with the beginning of Drejzin’s active critical and journalistic activity. His investigations into Belarusian music and the work of contemporary composers were published in the Ukrainian magazines “Muzyka” (1925) and «Radians’ka Muzyka» («Soviet Music») (1933), and in the Kyiv newspaper “Proletars’ka Pravda” («Proletarian truth») and the Belarusian magazine “Polymya” (“Flame”) (both in 1926) – posts about the existence of Belarusian songs in the repertoire of the band “Dumka”. According to the correspondence, Yu. Drejzin was initially irritated by misunderstandings that occurred in his collaboration with magazine “Muzyka”. He complained about the delay of magazines with his articles, had complaints about the amount of royalties. However, after the secretary of the magazine told him in detail about the catastrophic financial condition of the publication, Yu. Drejzin completely changed his mind: he admired the fantastic dedication of the editorial board and even envied the ideology of Ukrainian artists. The collaboration of the Ukrainian magazine “Muzyka” with the Belarusian musicologist Yu. Drejzin is an organic part of the Ukrainian-Belarusian cultural cooperation, which was significantly intensified during the national upsurge of the 1920s. Drejzin’s interest in the cultural ties between the two republics was reflected in the magazines of the time, in which he published his musicological research. Peculiarities of Drejzin’s cooperation with the magazine “Muzyka” are documented in correspondence with the secretary of the magazine Yu. Masyutin. The value of these letters lies both in their factual content and in reflecting the evolution of the Belarusian scientist’s attitude to Ukrainian colleagues and his willingness to borrow the professional experience of Ukrainians.
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Drach, Irina. "Lviv musical impressions on the pages of A. Bennett’s diary." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (2021): 9–20. http://dx.doi.org/10.34064/khnum1-59.01.
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Background. Objectives and methodology of the research. The article contains a commentary to the separate pages of A. Bennett’s diaries, in which the impressions of the famous English writer, playwright, actor and journalist from visiting the cities of Moscow, Orel and Lviv were recorded in May 1988. This trip took place at the invitation of the Writers’ Union of the USSR. As part of the British delegation, A. Bennett carried out a mission of “cultural diplomacy”, whose goal was to open the “Iron Curtain” between the West and the countries of Eastern Europe. The program of the visit of the foreign delegation is analyzed, in particular, visits to opera performances (at the Bolshoi Theater – “Werther” by J. Massenet, at the Lviv Opera and Ballet Theater – «The Ukrainian Cossack beyond the Danube» by S. Gulak-Artemovsky). The purpose of this article is to introduce into the scientific circulation the evidence that allows illuminating the events of the recent past through the prism of the perception of their immediate participants. Another task of this article is to determine the pragmatics of “hospitality” and its operatic component in the conditions of the Soviet system on a concrete example. In addition, the article establishes, with the help of diary notes, the specifics of the guests’ reaction to the realities of Ukrainian life during the “Perestroika” period and to the fact that opera represents power, which is essential for cultural diplomacy. The research is based on diary prose, which was originally prepared for publication in a literary journal. This determined the appropriate mode of expression and set the choice of illuminated objects. The descriptive-evaluative narrative appeals to real places and persons. So, the author tries to achieve the effect of documentary. At the same time, there is a noticeable tendency to create a slightly entertaining text that should interest the average reader and meet his expectations. Research results. This material made it possible to supplement with interesting facts the practice of cultural diplomacy that was established in the USSR, which was covered by the Western researchers, for example F. Barghoorn (1960), P. Hollander (1981), M. David-Fox (2011). In addition, the analysis of this evidence made it possible to introduce into scientific use not only the events, but also the attitude of foreign guests towards them. This is important for historiography and reconstruction of the recent past. The events, mentioned in the text of the evidence, acquire an outside view. The words of the “outsider” become comparative frame through which it is possible to comprehend what happened, freely from the obsessive rhetoric of the perestroika time. According to Bennett, in 1988 the protective function of the totalitarian system came into conflict with the new trend of the time. The imprint of stagnation and decline, even decomposition, but not the sense of purpose and optimism, which P. Hollander described as the “stigma of these countries”, also affected the “window” of Soviet reality, where obvious cracks of loud selfdisclosures appeared. The mandatory program of the visit included meeting with colleagues. With the help of diary, the specific reaction of the guests is set to the fact why an opera self-representation was so important for the «Soviet side». The pages of Bennett’s diaries showed attention to everyday details. The writer was able to create not an image of faceless mass, but the vivid portraits of his contemporaries and capture his experience of meeting a different reality. Conclusions. A. Bennett – a man and a writer – recreated his short stay in Lviv, capturing the theatrical nature of the life-giving performance that unfolded here in the tense collisions between official rhetoric and living reality. The opera itself was of little interest to A. Bennett, but he was well aware of the exceptional importance attached by the organizers of the trip to the fact of visiting the opera house. As an “object of showing” to foreigners, the opera served, first of all, as a proof of the “culture” of the country, a proof that the cultural heritage of the past is better preserved here. At the same time, in the system of “cultural diplomacy” the opera topos functioned as an aesthetic representation of power, the “higher truth” about it. Opera representation existed as a self-sufficient complete phenomenon, which testified to the presence of higher meanings in the real world.
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Seinen, Nathan. "Prokofiev's Semyon Kotko and the melodrama of High Stalinism." Cambridge Opera Journal 21, no. 3 (2009): 203–36. http://dx.doi.org/10.1017/s0954586710000212.
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AbstractThis article examines the first opera of Prokofiev's Soviet period, Semyon Kotko (1939), in light of the disparity between two forms of melodrama, one affecting the opera's composition, the other its reception. The first is the classic melodrama, which offered the composer the foundation for a vivid, intense work that would also be suitable for a mass audience; the second is the melodrama reflecting the aesthetic norms and moral framework of socialist realism and High Stalinism. The simplicity and immediacy of Kotko avoided the directed emotionalism of the officially favoured model of Romantic opera, and the Ukrainian setting prompted references to the tradition of Gogolian comedy rather than an elevation of folk content to an epic dimension. Characters conform to archetypes of classic melodrama, and together with the opera's comic elements and the unique gestural idiom of its music and manner of performance, this detracted from the required effects of sublime heroism and nationalism. While the outlines of a socialist realist plot remain in Kotko, Prokofiev's commitment to what he considered timeless values of music and drama led to a failure, in socialist realist terms, to achieve an appropriate amplification of its moral essence.
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Gerdova, T. S. "Theater Art in Oleksandrivsk (Zaporizhzhya): end of the 19th – beginning of the 20th сenturies". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, № 57 (2020): 228–45. http://dx.doi.org/10.34064/khnum1-57.14.
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Introduction. Theoretical background. The territorial formation and economic development of Оlexandrivsk and the district is associated with the activation of social, including artistic, life all aspects in the Russian Empire. The creative potential of small towns, including Olexandrivsk, has become a fertile ground for the development of the principles and means of theatrical and stage creativity. Theater, as the most democratic form of art, is directly connected with changes in public life. The theater significant social role and insufficient knowledge on it in the Olexandrivsk conditions and its district determined the relevance of the research topic. The researches by S. Voitkovsky (2014), G. Dadamyan (1987), M. Yevreinov (2019) constitute the scientific and theoretical basis of the work. The study of theatrical art in the Oleksandrivsk (Zaporizhzhya) region is based on the works of O. Antonenko (2017), S. Grushkina (2011), T. Martynyuk (2003). The aim of the research is to study the theater art in Olexandrivsk and the district of the same name as an integral phenomenon of a certain time. The tasks of the work are determine the origins of the theater art in the region, coverage of the features of this phenomenon, identification of theater companies’ organizational forms, study of the theater groups’ repertoire and genre priorities, consideration of theater art professionalization issues in the region. The methodology involves the application of the basic dialectic principles (to reveal the internal contradictions of the research subject and the sources of its development); historical principle (to study the theater’ development as a process of changes in existence’ some forms); comparative method (to identify the theater art characteristics in the region); source study method (to create an archival and historical base for studying the problem); axiological approach (to identify of the theater artistic troupes’ value orientations in the region). Results of the research. Historical materials contain a few facts about the theatrical entertainment of the local population long before the foundation of Olexandrivsk. Similar to the more inhabited neighboring regions, in these territories the existence of a folk theater is likely, the roots of which M. Yevreinov sees in magical actions, rituals and buffoonery. The researcher considers the theater of Russia, the roots of which are in the theatrical art of Europe, to be a counterbalance to folk theater. At the state level, these traditions have been inculcated since the 17th century. This process in the region began from the time of Olexandrivsk foundation. There are two most stable groups of theater collectives in the theater environment of the region. Domestic and foreign drama and opera troupes, which were guided by the Western European theater traditions, are made up the first group. Ukrainian artists’ association and local amateur drama circles that further developed the traditions of folk theater consisted the second group. They united by the idea of national dramatic art. The factors of theater collective’ differentiation in this region are the form of organization of theater business, repertoire and genre priorities, issues of professionalization. The sole proprietorship form is characteristic for the Western European tradition collectives. In Olexandrivsk and the district, the private enterprise was the dominant form, as the most active organization type of theater business. This type of enterprise does not have the conventions of imperial, state, municipal and other theaters in terms of repertoire and personnel relations. This provided it with freedom, mobility and ingenuity. The organizational form of the partnership is characteristic for the troupes oriented towards the traditions of folk theater. Democracy of this form manifested itself in collective decisionmaking. The next factor in differentiating theater groups is repertoire and genre priorities. The Western European tradition troupes gave preference to the works of Western European and Russian authors. Ukrainian authors’ works, Ukrainian song and dance folklore dominated in the repertoire of Ukrainian associations, which continued the traditions of folk theater. These groups preferred works of a pronounced national orientation. The repertoire differences between the two groups reflected to the methods and skills of acting. It is necessary to master Italian vocal technique, classic instrumental technique, conducting symphonic skills in the Western European tradition troupes. In Ukrainian troupes’ music and dramatic performances, universal training actor is needed, equally skillful in stage speech, the folk dance, the style of folk singing. The theater groups’ genre preferences repertoire related to an orientation towards the original artistic traditions. The Western European tradition’ collectives repertoire abounded in dramas, operas, operettas and the romances, arias, opera scenes in the concert departments. The Ukrainian folk-theater tradition repertoire dominated by music and drama plays, simple Ukrainian opera and Ukrainian folk songs, romances by domestic composers in concert departments. In Olexandrivsk and the district, questions of theater art’ professionalization were not publicly raised widely. Some striving for the performances artistic level increase we can saw in the practice of inviting famous artists for touring performances. Thanks to this, acting skills, methods of working on the role and the performance as a whole enriched. Invitations to participation in the performance of famous performers of the folk-theatrical tradition to Ukrainian troupes were episodic. An indicative fact of development was the director’s position emergence in the Western European tradition troupes. Conclusions. The peculiarity of theater art in the Olexandrivsk region is the absence of a local professional theater, represented, on the one hand, by the work of guest domestic and foreign troupes, on the other – by Ukrainian artistic societies and local amateur associations. The dominant groups of groups embodied two types of theater: Western European tradition and folk tradition. These types of theater functioned in various organizational forms. Dramatic and operatic corpses of the European tradition were characterized by a form of individual private enterprise; Ukrainian groups that developed the traditions of folk theater – a form of acting society. Theater troupes of these two traditions distinguished by their repertoire priorities. The core of the repertoire of the Western European tradition groups was the Russian and Western European authors’ works. The groups, which developed the folk theater, staged mainly plays by Ukrainian and local authors. The vector of theatrical art development in the Olexandrivsk and region is not clear enough at the historical period under consideration. An organized and purposeful movement towards the theater art professionalization in the region of this historical period is not visible. Certain facts of attracting famous artists and interaction with other groups as well as the emergence of the directed theater can be considered as elements of а professionalization.
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Belinska, Lyudmyla, and Semen Kukurudza. "Anatole Vakhnianyn as an educator-geographer, composer, public figure, politician." Visnyk of the Lviv University. Series Geography 53 (December 18, 2019): 13–23. http://dx.doi.org/10.30970/vgg.2019.53.10652.
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Anatole Vakhnyanin is one of the most representative of the Galician intellectuals, who in the second half of the nineteenth and early twentieth centuries in the conditions of the Austro-Hungarian monarchy selflessly worked on the field of awareness of Ukrainians as a separate nation. Scientific and pedagogical, public-political, musical and cultural activities contributed significantly not only to the formation of the cultural and educational level of the population of Galicia, but also to the close unity of the entire Ukrainian people. In his student years, he started the activity of the student community structures “Hromada” (Przemysl) and “Sich” (Vienna), with whom the memory of Taras Shevchenko for the first time was honored. In Lviv, together with the like-minded people, A. Vakhnyanin initiated the cultural and educational organization “Prosvita” and lead its work in the years 1868–70. He also edited the daily “Pravda” newspaper in Lviv, initiated with the assistance of P. Kulish and O. Konysky and collaborated with other publications, including the “Dilo” Lviv newspaper, in which he published historical and pedagogical explorations, organized the work of music societies “Torban” and “Boyan”, for which he prepared a lot of his own compositions and arrangements of folk songs, and later made a lot of effort in the case of opening of the Higher Institute of Music named after M. Lysenko in Lviv. After graduation from Lviv and later the Przemysl Theological Seminary, A. Vakhnyanin received his first pedagogical experience, teaching rus'ka (Ukrainian), Old-Slavic, Old-Polish and Latin languages in the Przemysl High School for two years. However, he became a real teacher after graduating from the Faculty of Philosophy of the University of Vienna in Lviv Academic High School with the Ukrainian language of teaching, where he became a professor. During this period (1873) A. Vakhnyanin prepared a “A Short Sketch of the Geography for the Junior Classes of Secondary Schools”, and later, in 1884, he wrote an original Ukrainian-language textbook on geography “Geography textbook for secondary schools”, which for many years was an important source of geographical knowledge for high school students. A. Vakhnyanin throughout his adult life wrote music, although he did not consider himself a professional. The opera “Kupala”, which was set in Kharkiv in 21 years after the death of the composer, became the peak of his composer's art. Extremely diverse range of public-political activities of Anatol Vakhnyanin, who, with the circle of like-minded people, managed to organize the work of several public-cultural structures, in particular Prosvita, and subsequently the political organization “People's Council”, which made his name in Galicia widely popular among Rusyn-Ukrainians, so they repeatedly elected him as a deputy to the Galician Sejm and the Vienna Parliament (1894–1900). Key words: teacher, Professor, author of the textbook on geography, composer, public figure, “Prosvita”, politician, deputy.
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Viktor, Proskuryakov, Cholavyn Yu, and Lyzun Roman. "ARCHITECTURE OF NATIONAL THEATER PAVILIONS AT THE EXHIBITIONS OF THE PRAGUE QUADRIENAL, AND IN PARTICULAR, THE FIRST UKRAINIAN." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 3, no. 1 (2021): 117–22. http://dx.doi.org/10.23939/sa2021.01.117.
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The article highlights the ideas of forming the architecture of scenographic pavilions at world exhibitions that demonstrate works of theatrical art on the example of those that presented theatrical art at one of the most famous forums in the world – the Prague Quadrennial in 1967-2019 (PQ), and in particular, the first Ukrainian ones. Quadrennial events are held every 4 years and present the development of various theatrical arts: architecture, scenography, performing arts, theatre skills, etc. But few of the interesting architectural solutions of national pavilions and installations are represented in professional, educational, popular and scientific publications. Therefore, the authors of the article decided to highlight various architectural ideas of national theatre pavilions (Belgium, the former USSR and Russia, Germany, Slovakia, Spain, Estonia), and in particular, the creation of the architecture of the first Ukrainian ones. The authors – teachers, postgraduates, students of the Department of Architectural Environment Design – relied upon and developed the architectural and scenographic ideas of the world-famous scenographer Y. Lysyk in 2015, 2019. The space of which in the first case was a stage, the horizon and wings of which were similar to the curtain from the performance of Lysyk's ballet "Romeo and Juliet", and in the second case, in 2019, space resembled the "amphitheatre" of the Ukrainian prehistoric theatre for Kupala drama. The horizon was enlarged based on the artist's sketch for the folk opera "When the Fern Blooms".
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Hatipova, I. A. "Mikhail Vasilyevich Sechkin – Pianist, Conductor, Teacher." Aspects of Historical Musicology 18, no. 18 (2019): 155–70. http://dx.doi.org/10.34064/khnum2-18.09.
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Target setting. In the modern musical culture of the Republic of Moldova M. V. Sechkin stands out as one of the key figures. He proved to be a multi skilled musician: piano player, conductor, and pedagogue. The scientific challenge disclosed in the article touches on creation of a coherent reflection of the work conducted by M. Sechkin in musical and artistic institutions of the Republic of Moldova during 1988–2015. Thus, notably contributing to the theoretical perception of the process of musical art development in the Republic of Moldova at the turn of the 21st century while filling up the gap in studying the history of Moldovan musical culture. Review of literature. The activity conducted by M. Sechkin was not reflected in the scientific literature. The present paper is the first attempt to present the creative portrait of the musician by summarizing press articles and a range of interviews. The purpose of this paper is confined to disclosing the contribution made by the famous piano player, conductor, and pedagogue M. Sechkin in the process of musical art development in Moldova at the turn of the 21st century. Research methodology. In the research of creative activity of M. Sechkin, use has been made of a complex of methods applicable in modern study of art: the empirical level of scientific research was established through informal personal conversations with M. Sechkin and other musicians, directly linked with his activity. Applied at the theoretical level were general scientific methods, such as analysis and synthesis, induction and deduction, comparison, etc. Statement of basic material. Over the years, M. V. Sechkin, born on March 31, 1943 in the Ukrainian City of Kharkov, has contributed decisively to the development of musical culture in the Republic of Moldova as a pianist, opera and symphony orchestra conductor, professor and public figure. He took his first lessons in music from his mother Maria Sechkin Zakharchenko, the follower of K. N. Igumnov. He attended the profile secondary musical school, class of Regina Gorovitz – the sister to the famous pianist Vladimir Gorovitz. In 1966, M. Sechkin graduated from Kharkov Conservatoire as a pianist on the class of Professor Mikhail Khazanovsky and then selected to remain with the Chair as an assistant. However, his dream of making a carrier of symphony and opera conductor has taken the young musician to a different path. The interest for conducting appeared under the influence of the art of conducting revealed by Leonid Khudoley, disciple of Nikolay Golovanov. Therefore, two years later, after graduation, M. Sechkin has entered the faculty of conductors at Kharkov Institute of Arts. One year later, he moves to Kyiv Conservatoire named after P. I. Tchaikovsky, where he attended the class of Professor Mikhail Kanershtein, disciple of one of the founders of the Soviet school of conducting Nicolay Malko. Next followed probation assistantship, where M. Sechkin attended a training course headed by the outstanding Ukrainian conductor Stephan Turchak. Having accomplished his probation assistantship, M. Sechkin has joined the Symphonic orchestra of Zaporozhye Philharmonics and later on invited to Donetsk Opera Theatre, where he mastered a rather comprehensive theatrical repertoire. The Chisinau (Moldova) period of maestro’s creative biography started beck in 1988, when he accepted the invitation to join the Moldovan State Conservatoire as Professor of the Chair of Special Piano and the Chair of Operatic Training. By then he headed the Students Symphony Orchestra, being one of the first conductors of Opera Studio. The Studio repertoire included the best images of West European and Russian opera classics. Prepared from the scratch were such operas as Carmen by G. Bizet and the Noblewoman Vera Sheloga by N. А. Rimsky Korsakov. The students – alumni of this conservatoire then worked successfully at the National Opera Theatre, performed in prestigious opera scenes around the world; among these one could mention Petru Racovita, Natalia Margarit, Lilya Sholomey, Yuri Gasca, Robert Khvalov, Stephan Curudimov, Mefodie Bujor, and Liliana Lavric. The Opera Studio Orchestra was touring in Italy and Spain. For a number of decades, M. Sechkin acted as one of the key conductors at the National Opera and Ballet Theatre, while from 1990 to 1992 acted as the Principal Conductor and the Art Director. Here he worked on staging the ballets Romeo & Juliette by S. Prokofiev, Spartacus by А. Khachaturian, and operas the Marriage of Figaro by W. Mozart, Don Carlos by G. Verdi, and Iolanta by P. I. Tchaikovsky. In parallel to the theatre plays, M. Sechkin has brightly proven his qualities as a conductor of the Symphony Orchestra of the National Philharmonics named after S. Lunchevici. Under his leadership (2008–2013), the orchestra performed more than twenty show programs, including premiere hits by P. Tchaikovsky (Symphony No. 5, symphony Manfred), A. Scriabin (Symphony No. 2 and No. 3), and S. Rachmaninoff (Symphony No. 3). Many of the musicians are marking high conducting mastery of M. Sechkin in performing orchestral accompaniment and special work with the soloists prior to orchestra performance. Likewise appreciated was the work of maestro with young musicians. The conductor devotes a lot of his time to promoting the oeuvre of Moldovan composers. Since 2000 and until nowadays, within the frameworks of the Days of New Music Festival, jointly with the National Philharmonics Orchestra, the maestro prepared a number of programs compiled from the works of V. Polyakov, V. Zagorsky, V. Rotaru, A. Luxemburg, O. Negruza, B. Dubossarsky, and Z. Tcaci. In 30 years of his activity in Chisinau, M. Sechkin cooperated with all of the known orchestra ensembles. Back in 90th, maestro was successfully touring with the National Opera and Ballet Theatre in Italy, Spain, Portugal, Switzerland, Rumania and Chile. In Rumania, M. Sechkin was working full time as a conductor and then as the principal conductor of the Symphony Orchestra of the city of Botosani (1998–2013), where he managed to stage about 70 show programs. The multifaceted and fruitful activity of the musician was repeatedly marked with Certificates of Honor and Diplomas. In 1996, he was decorated with the award Maestru în Artă (Master of Arts) and in 2018 with the noble award of the People’s Artist of the Republic of Moldova. Conclusions and prospects. While appreciating the contribution made by this outstanding musician into the development of the musical culture in the Republic of Moldova, one could clearly see the determinant trajectory of his life and artistic journey – the stalwart devotion to music, musical education, nurturing young performers and listeners of different age group generations.
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Jerelianskyi, P. (Velychko Yu P. ). "Equal among equals. Ukrainian women in historical and cultural context." Aspects of Historical Musicology 17, no. 17 (2019): 33–43. http://dx.doi.org/10.34064/khnum2-17.02.
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The article is an attempt to define a very special role of women in society, inherent in only Ukrainian historical realities. In particular, a somewhat non-trivial approach to the formation of a source base for the study allowed referring to works of fiction. Most attention is paid to the issue of women entering society medium in the times of the Cossacks. Among the conclusions – contrary to national, gender and social oppression for several centuries – Ukrainian women have maintained their commitment to universal human and Christian ideals and virtues. The role and place that women take in the social structure is an extremely significant criterion for assessing the level of civilizing development of one or other society. It was the words “Equal among equals” that one could quite accurately define the positions of Ukrainian women in the glorious and tragic times of the national history – during the emergence and heyday of the Cossacks. It was a time when Ukrainian women, not only a gentry, but also a simple Cossack women, invariably felt not imaginary but sincere self-respect both in the family and in the society. However, not only in Cossack times, but throughout the turbulent history of our country, Ukrainian women did not just “walk alongside of” their men, they often stepped forward, and their actions were decisive for the further course of events for many years to come. Unfortunately, there are reasons to consider the current (as of 2019) stage of research in the format of scientific inquiry, which directly relates to Ukrainian women in the historical and cultural context, only as an initial one. With this in mind, the aim of the proposed work is to begin filling in quite substantial gaps in the civilizing history of Ukraine. It was they, Ukrainian women – even from renowned Princess Olha – who became the worthy examples to follow for their compatriots. There are countless names of women, by whom Ukraine is proud of and who are respected all over the world – from the poetess Lesia Ukrainka, folk paintress Yekateryna Bilokour, opera vocalist Solomiia Krushelnytska up to bright personalities already from the contemporary generation of Ukrainian women. They did never and under no circumstances bow to a slavish worldview. In this regard the observation of a well-known European writer, made by him as far back as in the last century, is very accurate: “The Ukrainian woman is the Spanish woman of the East ... At every opportunity, her irrepressible Cossack nature flares up in her soul that does not know any repressor ...”. And further: “They are always ready to change ploughshares for spears, they live in small republican communities, as equals among equals ...”. We discover all this for ourselves in the “Female Images from Galicia” by Leopold von Sacher-Masoch. Paul of Aleppo, known also as Paul Zaim, an Arab traveller, who visited Ukraine twice in the middle of the XVII century, testified: “... Throughout the Cossack land we saw a strange thing – they all are, with few exceptions, literate; even most of their women and daughters can read and know the procedure of church service ... Ukrainian women are well dressed, busy with their own affairs, and no one casts sassy glances at them.” Numerous documents have survived, indicating that the wives of the Cossack Starshyna not only knew writing and reading well but were also able, when the need arose, to help their husbands in solving the most important political problems. The material, which is no less important in its cognitive weight from documentary evidence, also provides imaginative literature, where the realities of bygone times are reflected through the author’s creative imagination. These are the dramatic poem “Boyaryna” by Lesia Ukrainka, and “Hanna Montovt”, the story written by a famous Ukrainian historian and writer Orest Levytskyi, as well as “Aeneid”, a burlesque and tranny poem written by Ivan Kotliarevskyi; the latter literary work can be considered as a kind of encyclopaedia of Olde Ukrainian life. In “Boyarina”, the comparison of the “civil society” (using the modern definition) of the Ukrainian Cossack State with the conditions prevailing in neighbouring Muscovy is especially striking. A young girl of Ukrainian noble descent, who left her motherland for the sake to be with her beloved man, met in a foreign land very different ideas about human truths, class-specific and inherent female virtues, which are significantly different from those truly Christian and deeply democratic principles of life that she was used to since childhood in her native Ukraine. And, becoming a Boyarina, although she obeyed fate, however, she was no longer able to get used to her new life. The fate of poor Princess Hannа from the story by Orest Levytskyi was formed in a different manner. However, not at all because of the imperfection of the then social system, but solely because of her own frivolity and inability to execise her (tremendous) rights. But in “Aeneid” by Ivan Kotliarevskyi, where antique plots were whimsically intertwined with the signs of Cossack life, the remark: “Like a lady of certain sotnyk ...” became virtually the highest mark for one of the goddesses. As the expression goes, it speaks for itself, and the irony about the mention of the sotnyk will be completely inappropriate, given the trace that Bohdan Khmelnytskyi, the former Chygyryn sotnyk and subsequently a Hetman of Ukraine, left in the history of Ukrainian nationality! In the times of Cossacks, men have the opportunity to spend more or less long time with their families too rarely. But they went to a military campaign with peace of mind because from this moment their faithful wives took active roles in all matters – and not only household, but the domesticities too. And, say, not the eldest of their sons, but she herself took part, when necessary, in resolving property or other disputes, defended the interests of their families before the society, and even in court. Moreover, their wives could often ride horses with arms in hands to defend their native homes. Unfortunately, then-Muscovy have introduced serfdom in its most despotic form on intaken Ukrainian lands, combined with her absolutist system of government and public relations which immediately changed the state of Ukrainian women for the worst. And this applied not only to the impoverished and enslaved people, but also to the wealthy and influential sections of the then population. And subsequently Taras Shevchenko became the most sincere voice of a deeply tragic female fate ... Conclusions. Even when then Ukrainians were slowly forgetting about the previous rights and privileges of their women, undeniable documentary and literary evidence remained the mention of them, which in one way or another were connected with the times of Cossacks. So, Ukrainian women of those, already far from us times was not only faithful wives, caring mothers and teachers for their children, real Bereginias of the families, but also a self-sufficient persons, conscious in their place in the society.
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Pluzhnikov, Victor. "«Forgotten name... Yakov A. Rosenstein»." Aspects of Historical Musicology 16, no. 16 (2019): 90–105. http://dx.doi.org/10.34064/khnum2-16.05.
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Problem statement. Conductor is considered to be one of the most prestigious occupation in musical field, so there has always been a certain interest to its history. But, despite a large amount of literature, there are no musicologist’s scientific works, with the systematized and generalized materials on training conducting staff in Ukraine in the 1920s – 1940s. This is partly due to a shortage of primary documents at a difficult historical period: most of them were destroyed by the employees of state institutions before being evacuated behind the lines during the Second World War; the other part was burned down during the hostilities; the third one was lost in the territories temporarily occupied by the fascists. The most important information was restored in the postwar years on the basis of personal documents of the musicians and memoirs of the contemporaries. The names of many other talented performers, who were not high ranked in the hierarchy of Ukraine musical culture, were forgotten. Research and publications analysis. Dealing with this article, the author relied on the research of three scientists. For example, the episode devoted to the history of the Kuban State Conservatory is based on the materials of the book by V. A. Frolkin, PhD in musicology, Professor of Piano Department of Krasnodar University of Culture and Arts. (Frolkin, 2006 : 70–89). The Kharkov period of Ya. Rosenstein’s activity is based on the article by E. M. Shchelkanovtseva, PhD in musicology, Department of Orchestral String Instrument of I. P. Kotlyarevsky Kharkov National University of Arts (Shchelkanovtseva, 1992 : 178–179), as well as the memoirs of conductor S. S. Feldman (Feldman, 2006). Ya. Rosenstein activities in T. G. Shevchenko Kiev Academic Opera and Ballet Theater of the Ukrainian SSR was described in research of Yu. A. Stanishevsky – Doctor in musicology, Professor. (Stanishevsky, 1981 : 533–534). The objective of this article is to create Ya. Rosenstein’s complete and non-biased biography, to analyze various aspects of his activity, and, as a result, to revive the name of a talented musician who was at the forefront of Ukraine musical pedagogy. This is the urgency and novelty of this study. Core material. Yakov A. Rosenstein (1887–1946) – a cello player, conductor, professor. In1907–1912 he studied at St. Petersburg Conservatory specializing in cello. Until February 1917, he had served as a cello player in the Royal orchestra of the Imperial Mariinskyi Theater. During the Civil War, he moved to Yekaterinodar (Krasnodar), where in 1918–1919 he was a director of Russian Musical Society Conservatory. October 1, 1920 witnessed the opening of Kuban State Conservatory. The university was funded from the budget of the People’s Commissariat for Education, so the training of all students was free. Ya. Rosenstein taught the cello class. But at the end of 1921, the Kuban Conservatory was deprived of state funding, and in summer of 1922 the university was reorganized into the Kuban Higher Technical School. (Frolkin, 2006 : 74–89). In autumn of 1923, Ya. Rosenstein moved to Kharkov, where he was a cello player in Russian State Opera orchestra. Later Ya. Rosenstein became a theater conductor. Also, he was engaged in pedagogical activity: in 1925 he became a dean of the instrumental faculty of Kharkov State Higher Music and Drama Courses, and in 1926 he became the head of the courses. According to E. M. Shchelkanovtseva, since 1927, Ya. Rosenstein had been teaching at the Music and Drama Institute (currently – I. P. Kotlyarevsky Kharkov National University of Arts) – Professor of cello class, chamber ensemble, orchestra class, conducting; in 1929 he became an Academic Director. (Shchelkanovtseva, 1992 : 179). Opera-symphonic conducting class at Kharkov Music and Drama Institute, which was opened in autumn of 1927, is a merit of Ya. Rosenstein. During 8 years, he had been training such conductors as: P. Ya. Balenko, M. P. Budyansky, I. I. Vymer, F. M. Dolgova, K. L. Doroshenko, D. L. Klebanov, B. T. Kozhevnikov, V. N. Nakhabin, V. S. Tolba and others. In 1926–1927, the Orchestra of Unemployed Musicians in Kharkov was transformed into the First State Symphony Orchestra of All-Ukrainian Radio Committee, which in autumn of 1929 was integrated with the Ukrainian Philharmonic. In 1929–1932 Ya. Rosenstein acted as a chief conductor. Then he was replaced by German Adler, a graduate of German Academy of Music and Performing Arts in Prague, and a world-famous conductor. In 1937, this musical group was the base for creation the State Symphony Orchestra of the Ukrainian SSR in Kiev (nowadays the National Symphony Orchestra of Ukraine). (Pluzhnikov, 2016 : 358). In 1935–1941 and 1944–1946 Ya. Rosenstein was a conductor of T. G. Shevchenko Kiev Academic Opera and Ballet Theater of the Ukrainian SSR. According to S. S. Feldman, there he brilliantly showed himself in the ballet performances “Swan Lake” and “Sleeping Beauty” by P. Tchaikovsky, “The Fountain of Bakhchisarai” and “The Prisoner of the Caucasus” by B. Asafiev, “Lilaea” by K. Dankevich and “Raymonda” by A. Glazunov (Feldman, 2009 : 102). In summer of 1941 the War began, and the theater troupe was evacuated to Ufa. In 1942–1944 the United Ukrainian State Opera and Ballet Theater was created on the basis of the Kharkov and Kiev theaters in Irkutsk. More than 650,000 people visited 785 performances conducted by N. D. Pokrovsky, Ya. A. Rosenstein and V. S. Tolba in Krasnoyarsk, Irkutsk and other cities! In June 1944, the theater troupe returned to Kyiv, and in 1946 Ya. Rosenstein died. He was buried at Baykove cemetery in Kyiv. Conclusion. The creative personality of Ya. A. Rosenstein, a cello player, conductor, teacher, one of the organizers of the First State Symphony Orchestra in Ukraine and the creators of the Kharkov school of orchestra conducting, deserves more attention on behalf of the scientists, musicians and all non-indifferent people. There is hope that Ya. A. Rosenstein’s memory will not be forgotten, and the name of this talented and noble person will take its rightful place in the annals of Ukraine and Russian musical culture.
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Soloviova, Oksana. "Concerts for Clavier and Orchestra by Wolfgang Amadeus Mozart: Trends in the Development of the Genre in the Context of His Composer Method." Ukrainian musicology 46 (October 27, 2020): 127–39. http://dx.doi.org/10.31318/0130-5298.2020.46.234610.
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In recent years, research opportunities in the field of Mozart studies have expanded. As a result, new scientific paradigms are emerging that differ from the generally accepted ones. Even the well-known facts of the composer's biography and work can be viewed in a new way today. The interdependence of Mozart's instrumental and theatrical music has long been studied, but still remains an inexhaustible source for new research – this determines the relevance of the study. Main objective of the study – to determine the interaction of the two sides of Mozart's work: instrumental and theatrical and extrapolate it to the formation of composition and thematic dramaturgy in the genre of piano concerto. Methodology of research: biographical method that highlights the context and motivation of writing music works, including piano concertos, analytical and comparative method allows identifying patterns in the development of the compositional form of piano concertos. Results and conclusions. Mozart's piano concertos in the context of interaction with the composer's opera and theatre activities are considered. A synchronized chronography of his piano concertos and operas is provided. It was found that the interdependence does not lie in the intonational affinity of the thematic material of works written in one year (although there is some similarity of themes in several works). Piano concertos, which Mozart wrote during his life (unlike violin concertos, which almost all were written in one year – 1775), demonstrate an evolutionary slice of his work, in the depths of this genre formed a new approach to its composition, which is an important link formation of a piano concerto of the XIX century. Piano concerts are analyzed in terms of trends in the formation of musical themes: almost all works are polithematism in the main parts. Regarding the distribution of themes in the double exposition, there is also a certain tendency, namely in the appearance of part B (or part B2) in the soloist's exposition. Mozart preferred a new keyboard instrument with percussion mechanics – the pianoforte. It met the agogic and dynamic needs in the development of thematic material. Mozart's desire to be recognized as an opera composer in Vienna faced many obstacles - from the established rules of the genre and the dominance of Italian opera on the Viennese stage to even restrictions on thematic development (respectively, intonation and dramaturgy development of the characters). However, it was his opera characters that inspired the composer to create bright themes in instrumental music, including piano concerts. We can say that his piano concertos are a kind of theatre for instruments, in which events develop according to the rules of theatrical dramaturgy. The significance of the research. The article proposes a comprehensive approach, which clarifies how the creative method of Mozart is formed. The analysis of the main tendencies in the development of the intonation form of piano concertos revealed regularities that allow us to speak about the composer's creative motivation, and is a contribution to Ukrainian research of the Mozart’s music works.
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Vernyhor, Dmytro. "Ukrainian Dance – Global Hallmark (Dedicated to the Anniversary of the National Honoured Dance Ensemble of Pavlo Virsky)." Diplomatic Ukraine, no. XIX (2018): 757–66. http://dx.doi.org/10.37837/2707-7683-2018-47.
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The article is concerned with life and creative path of P. Virskyi and the ensemble he leads in the context of cultural diplomacy. The author analyses that the aspiration to create realistic and folk plays by nature has influenced the artist in his exploring and further developing the folk dance. Therefore, applying the experience of folk talents, Virskyi was committed to create characters of Ukrainian stage dance, expanded and enriched its expressiveness. Pavlo Virskyi directed some choreographic performances already in the first days of his activity as choreographer, but his actual work on the formation of the Ukrainian stage dance started in 1936, particularly following successful performance of the outstanding theatrical play “Zaporozhets za Dunaiem” (Eng. A Zaporizhian (Cossack) Beyond the Danube).In 1937, Virskyi and Bolotov organized the first ever in Ukraine folk dance ensemble and quit Taras Shevchenko National Opera and Ballet Theatre of Ukraine, where they headed a ballet group. The choreographers involved in the ensemble skilled young people as well as a team of experienced ballet dancers, among whom was M. Ivashchenko − their old friend and companion, brilliant performer of folk dances. Later B. Tairov and I. Kurylov engaged in choreographic process. The ensemble captured people’s attention, successfully performing at the VI World Festival of Youth and Students in Moscow in the summer of 1957. The group of youngsters of the ensemble attained the title of winners of the VI World Festival and was awarded gold medals and the first-place diploma (soloists V. Kotliar, L. Zastrozhnova, H. Chapkis, N. Birka, L. Sarafanov, B. Mokrov, V. Holyk). Artists of the dance ensemble of the Ukrainian SSR performed for the audience from many countries of the world: Poland, Czechoslovakia, China, Vietnam, Cuba, Angola, France, Austria, Portugal, Spain, Belgium, USA, Canada, Mexico, Argentina, Brazil, Peru, Chile, Colombia, Venezuela. All of the countries equally acknowledged the ensemble. The troupe performances abroad not only were a great success, but also sparked a massive political resonance. The national press continuously wrote about the unsurpassed art created by renowned Ukrainian choreographer P. Virskyi and his invaluable contribution to the development of Ukrainian folk dance choreography. V. Korniichuk, Honoured Journalist of Ukraine, author of the article “To pioneer of Ukrainian folk dance” noticed the festive concert dedicated to the 90-annivarsary of P. Virskyi’s birth. In his speech before the concert, Y. Stanishevskyi, Doctor of Arts, Honoured Art Worker of Ukraine, member of the International Academy of Dance, declared, “P. Virskyi is a distinguished master of choreography, director and pioneer of Ukrainian folk dance, who not only formed a unique dance group, but also glorified Ukraine on all continents by the high art.” Keywords: cultural diplomacy, Ukrainian folk dance, art, artistic view, Virskyi.
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Шміхер, Тарас. "Book Review." East European Journal of Psycholinguistics 5, no. 2 (2018): 118–20. http://dx.doi.org/10.29038/eejpl.2018.5.2.shm.
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UKRAINIAN TRANSLATION WORKSHOP IN PRIASHIV
 Ukrajinský jazyk a kultúra v umeleckom a odbornom preklade v stredoeurópskom priestore : Zbornik príspevkov z medzinárodného vedeckého seminára, ktorý sa konal dňa 27.9.2017 na Katedre ukrajinistiky Inštitutu ukrajinistiky a stredoeurópskych štúdií Filozofickej fakulty Prešovskej univerzity / Filozofická fakulta Prešovskej univerzity v Prešove ; ed.: Jarmila Kredátusová. Prešov: Filozofická fakulta Prešovskej univerzity v Prešove, 2018. 216 p. (Opera Translatologica; 6/2018).
 
 Ukrainian modern academic traditions in the Western Transcarpathian area of Priashiv (Presov in Slovak) go back to the 19-century intellectual institutions of the Ukrainian Catholic Church of the Byzantine Rite. After WW2, the main centre of Ukrainian education was the Pegagogical College which was later transformed into a separate university. This university helps the local Ukrainians maintain and develop their rich traditions of learning and research. It is no surprise that the very university hosted the International academic workshop “The Ukrainian Language and Culture in the Literary and Sci-Tech Translation of Middle European Space” (27 September 2017). The workshop brought together specialists in Ukrainian Studies from Ukraine, Slovakia, Czechia and Poland. One year later the conference volume was finalized and published.
 The first part of the book contains the historical and bibliographical essays which record the history of Ukrainian-Slovak and Ukrainian-Czech literary translation. Jarmila Kredátusová’s task was to present the outline of Slovak-Ukrainian and Ukrainian-Slovak translation which started progressing rather dynamically only after WW2. She presents its history divided into decades and discusses specific features and some statistical data from each period. In the end, she also describes today’s hardships of this translation in Slovakia (relations with readership, translation criticism, professional qualification) which are similar to ones in Ukraine. The history of Ukrainian-Czech translation is longer and richer. The existing extended papers cover the pre-1989 time rather well, that is why Rita Lyons Kindlerová and Iryna Zabiyaka dedicated their articles to the editions and tendencies of the recent decades. Rita Lyons Kindlerová offers the analysis of translated literature from Ukrainian into Czech and pinpoints the turning moment of the year 2001 when Ukrainian literature started reentering Czech society and have promising prospects among readers. Conversely, Iryna Zabiyaka studies the literary presentation of Czechia in Ukraine and considers the most important translations and main tendencies. She also designs a list of Czech authors whose writings are worth translating into Ukrainian. At the same time, she characterizes the pitfalls of Ukraine’s translation market from the viewpoint of these translations. Since we lack translation bibliographies and insightful translation monographs, the above articles contribute to a larger possible publication in future which will reveal more sociological dimensions of Ukrainian-Slovak and Ukrainian-Czech translation.
 Papers in the second part focus on literary translation. Liudmyla Siryk outlined similarities in the translation theories of Mykola Zerov and Maksym Rylskyi. Thus, she has proven that Rylskyi’s views were the further progress of Zerov’s ones, and we have to remember it may be a gesture of respect or substitution: Zerov was murdered in 1937, and Rylskyi fulfilled his duty to preserve and develop the fundamental ideas of his friend and colleague. Anna Choma-Suwała explored the facets of literary interpretations and connections between Oleh Olzhych (Kandyba) and Józef Łobodowski. Łobodowski’s translations did not only discover the intellectual poetry by Oleh Olzhych, but they are also a contribution to the Polish-Ukrainian cultural contacts and cooperation. Yuliya Yusyp-Yakymovych addresses to verse translation by investigating the specific features of rendering intonation, rhythm, meter, repetitions, onomatopoeia and aesthetic norms in translation. Adriana Amir’s contribution deals with the Slovak-language translation of Vasyl Shkliar’s historical novel ‘The Black Raven’ (done by Vladimír Čerevka) and tackles the issues of reflecting lexical means for showing the real historical context which border on the shaky axiological limits of political correctness. The main aesthetic form of contemporary writing is the usage of non-standard language which is abundant in modern Ukrainian literature. That is why Veronika Dadajová regarded incorrect figures of the literary sociolect as a topical point of literary translation nowadays. Meanwhile, Viera Žemberová interprets Yuriy Andrukhovych’s literary and aesthetic experience for Slovak readers by analyzing his novel ‘Recreations’ whose Slovak translation was published in Priashiv in 2003.
 Sci-tech translation is focused on in the third part containing articles on rendering terms and grammatical problems of interlingual translation. The paper by Mária Čižmárová will serve as a practical tool for Ukrainian-Slovak translators and interpreters who will have to render idioms with the floristic component. Similarly practical are the contributions covering two branches of Ukrainian-Slovak specialized translation: commercial translation (by Lesia Budnikova and Valeriya Chernak) and legal translation (by Jarmila Kredátusová and Valeriya Chernak). The study of loan words is the topic of the paper by Jana Kesselová which offers the complex view of loan processes in today’s Slovak. However, it would be desirable to discuss Ukrainian sources as well. It is rather a rare case when one volume consists of papers discussing both literary translation and sci-tech translation, but in the presented book, this amalgamation is quite natural and shows the multifacetedness of Ukrainian translation in Slovakia.
 The informational contents of all the papers are rather high, and they will be useful for practical research by scholars, translators and critics. The good balance of early ‘classical’ and recent publications creates a complete picture both of the coverage of the topic in the chronological dynamics and the presentation of the academic traditions of institutions where the papers were produced.
 This conference volume is an important contribution to Ukrainian Translation Studies in the area of Priashiv which has been shaped and developed by the publications in the literary magazine ‘Dukla’ (published since 1953), the proceedings of the Cultural Union of Ukrainian Workers (‘Naukovi zapysky KSUT’ in the 1980s to the early 1990s) and other editions of the Ukrainian Division of the Slovak Pedagogical Publishing House. The book will be useful for really wide readership in academic, literary and professional communities.
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Chyzhenko, M. "Anatoliy Vasylyovych Kalabukhin: the phenomenon of a creative personality." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 76–91. http://dx.doi.org/10.34064/khnum1-55.06.
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Background. Among the music-performing professions, the conductor is perhaps the most difficult. It requires not only special musical abilities, temperament, fantasy and artistic thinking, erudition and technique, but also the ability to lead a large creative team. All these features are characteristic of Anatoliy Vasylyovych Kalabukhin. In the context of the contemporary music art of Ukraine, his name is famous, first, as a symphonic and opera conductor, and later – as the founder of one of the first opera studios at Kharkiv National University of Arts named after I. P. Kotlyarevsky. Therefore, the resonance of the 80-year history of the leading music institution of Slobozhanshchyna region, which is inseparably linked with the biography of this amazing man, an outstanding conductor and a leader who has brought up several generations of opera singers, is getting its actual sounding. The subject of the study is the life-and-work of Anatoliy Vasylyovych Kalabukhin as a prominent representative of Ukrainian musical art of the second half of the 20th–21st centuries. The purpose of the article is to give an estimation of A. V. Kalabukhin’s multi-vector activity in the aspect of the phenomenon of his personality. Analysis of recent publications on the topic. Based on the interview with A. V. Kalabukhin, other sources and information about the famous musician [research made by O. Volovnyk, T. Volovnyk, A. Mizitova, L. Kucher] the author develops a phenomenological approach to studying the master’s life-and-work in the light of his multi-vector activity, and this approach has not been used by the previous researchers. Methods. In order to understand the phenomenon of this creative personality we have involved historical-biographical (revealing the stages of the becoming and of the creative maturity of the master) and cultural (explaining the contexts of artistic life in Kharkiv and the cultural settings with which he was associated). Results. Anatoliy Vasylyovych Kalabukhin was born on June 21, 1930 in the city of Lugansk, in the family of a worker. The grandfather and father worked in the boiler department of the steam-generating plant, the mother Clavdiya Leontiyivna – in the bakery. The grandfather’s name, Kalabukha (it is the name of the boat that was turned upside down, a Cossack-scout went under it and sailed, looking for the enemy on the shore) was changed when his father served in the Red Army. Emphasizing the role of the biographical method in the study of the phenomenon of the personality of the master, it is necessary to point out the circumstances of the professional education. Anatoliy Vasylyovych had good teachers, so he not only inherited the high criteria of classical art, but also developed its foundations in the new socio-cultural realities (from the 70’s to the present days). And already on the basis of the continuity of the conducting profession, as a kind of a tradition, innovative searches were carried out in the conditions of certain challenges of the time (music theatre, educational audience or opera studio at Kharkiv Institute of Arts). The stages of A. V. Kalabukhin’s creative biography as the conductor and organizer of the artistic life of Kharkiv, in particular, the opera studio, have been revealed. The conductor’s memoirs highlight the most iconic figures and performances that reveal his professional principle and qualities. His conductor style is distinguished by the perfect sense of style and form, rhythmic harmony, sound balance of the orchestra groups, and the skilful distribution of orchestral colours. A. V. Kalabukhin is a conductor of a wide profile; he is rightly called a universalist: the activity of the maestro was large-scale and distinguished, both in the symphonic genre and the opera-symphonic one. This synthesis, in his opinion, helps to expand the artistic range of the creator, and enriches his thinking. The conclusions formulate those qualities that have ensured Kalabukhin’s leadership status and success in all areas of activity. First, the enormous inner life force – charisma. All those who spoke with A. V. Kalabukhin during the rehearsal on stage or in the classroom, note that he seems to radiate enormous energy to the creative process in the team. Secondly, his credo – the individual approach to each performer – always remains the same. During his lifetime this credo allowed him to give birth to various creative ideas, to embody his projects, to uphold his own vision of the concept of a piece of music or a play. The third factor in the creative mind is the understanding of the organics of the vocal and stage image. A. V. Kalabukhin knows the laws of human psychology, feels exactly the psycho-type of the musician. With his experience, he helps the singer to increase consciousness, to improve vocal and stage skills. Thus, the “three whales” of the master’s professional activity – conductor, teacher, and organizer – make up the phenomenon of the personality. The figure of the master is a valuable guideline for the young generation of Ukrainian musical culture. The phenomenon of Kalabukhin lies in the vital force and ability to creatively and steadily extend the traditions of classical art on the basis of the education of its carriers here, in Ukraine. The relationship with performers and the professional vision of how to open up their talent on stage are the key to the success of the educator of the young generation of the Ukrainian vocal art.
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Shchitova, Svitlana, and Kateryna Kapitonova. "THE DOUBLE WORLD OF M. GOGOL’S „VIY” AND IT’S OPENING IN V. HUBARENKO’S OPERA-BALLET." Музикознавча думка Дніпропетровщини, no. 17 (November 20, 2019): 28–41. http://dx.doi.org/10.33287/222003.
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The purpose of this scientific article is revealing the phenomenon of phantasmagoria and its embodiment in the chosen theatrical genre. The round of investigative methods in relation to this research consists next sequence. There are historical method for detailed examining the phenomenon of phantasmagoria in art and the structural-analytical method when referring to the musical text of particular individual scenes into the opera-ballet „Viy”. We are also emphasizing the comparative scientific method for the proportional characterization of the artistic novel by celedrated and well-known writer N. Gogol as well as the opera-ballet by outstanding contemporary Ukrainian musician, composer and pedagogue V. Gubarenko. The scientific novelty in reference to above-mentioned investigative thematic vector lies in the identification of the concepts relatively „phantasmagoria” and „double world” in famous artistic literature, renowned academy music and scenography, which lead to the discovery of brilliant phenomena such as simultaneity, editing drama as well as polystylistics. Conclusions. The double peace that Gogol is implies to be present in popular Gubarenko’s musical work from the beginning. Simultaneity, as a psychological category, pervades both literary and musical-dramatic work. Nevertheless, with Gubarenko it seems to be enlarge, artistic increase at times and grows into a dramatic means, bright creates not only an atmosphere of phantasmagoric horror, but also unforgettable artistic impressions of an extraordinary work of musical art. The stage production allows us the more clearly revealing the Gogol mansion and to emphasize the main points that we can only guess in the story. There is no center in the created world of V. Gubarenko, and therefore there are no ordinary borders.
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Lukava, D. V. "UKRAINIAN COMPOSERS IN THE FORMATION OF THE NATIONAL TRADITIONS OF OPERA ART (THE END OF THE XIX – THE BEGINNING OF THE XX CENTURY)." Scientific notes of Taurida National V.I. Vernadsky University, series Historical Sciences 3 (2019): 17–21. http://dx.doi.org/10.32838/2663-5984/2019/3.3.
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Rizaieva, Ganna. "100th Anniversary of the Salzburg Festival: Historical and Cultural Phenomenon of the 20th and Early 21st Centuries." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 160–82. http://dx.doi.org/10.31318/2522-4190.2021.130.231228.
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Relevance of the study. The evolution and the very phenomenon of the Salzburg Festival go hand in hand with the history of music and theatre, the philosophy of art, and the global musical infrastructure of the 20th and early 21st centuries. On the one hand, it is their fair reflection; while on the other hand, it is an integral part of their development. That is why studying and understanding the role and place of the Salzburg Festival is essential for understanding contemporary musical culture in a current historical perspective.Relevance of the study is attributable to the fact that, for the first time in Ukrainian historical musicology, the development and implementation of the idea of holding the Salzburg Festival are considered, indirect relations between the festival ideologists and the Ukrainian cultural space at the turn of the 19th and 20th centuries are discovered, and the century-old history of the main European music and theatre forum is systematized.Main objective of the study is to introduce the phenomenon of the Salzburg Festival as a historical and cultural integrity in the space of the Ukrainian musicological discourse, as well as to outline and systematize a one hundred-year path of the main music and theatre forum in Europe.Methodology of the study includes the use of historical, culturological, and systemic approaches.Results and conclusions. The study revealed that at the stage of shaping the idea of the festival in Salzburg at the beginning of the twentieth century, there were two fundamental visions of its implementation, namely, “Mozart-oriented” and “general theatrical”. They both entered the gene code of the Salzburg Music and Theatre Forum with varying interpretations of its concept and repertoire policy at each phase of its existence. The change of priorities in its fundamental triad, that is, drama — opera — concert, during forum varying periods is also traced.The hundred-year journey of the Salzburg Festival may be divided into three main stages: 1) the development and search of self-identity (1920–1954); 2) “stabilization” and formation of international prestige (1955–1990); and 3) “modernization” and expansion of cultural horizons (from 1991 until today). Each of them is well integrated into history of Western European music and culture of the 20th and early 21st centuries.
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Sukhomlinova, T. P. "Choral creativity by Hanna Havrylets as a symbol of the togetherness of Ukraine (on the example of the musical and stage action “We will sow the Golden Stone”)." Aspects of Historical Musicology 17, no. 17 (2019): 44–59. http://dx.doi.org/10.34064/khnum2-17.03.
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In recent years, there has been an increasing interest in Ukrainian choral music of the modern generation of composers. Hanna Havrylets’ choral works are topical for performers and scholars. The musical and stage performance “We will sow the Golden Stone” is an example of embodiment the idea of united Ukraine, which was preserving its actuality during the all history of the country. Hanna Havrylets is an artistic figure, whose creative work unites Western and Eastern Ukraine. She was born in Galicia, studied and worked in the capital city. Her music reached Eastern Ukraine, where the artist’s choral works are performed by almost every choir group and where they have become the favorite among performers and listeners. Concerning choirs of Kharkiv region, we should mention the Chamber Choir named after Viacheslav Palkin of Kharkiv Regional Philharmonic Society, the Opera Studio Choir and the Student Choir of Kharkiv National University of Arts named after Ivan Petrovych Kotliarevsky, the Student Choir of Kharkiv State Academy of Culture. Research aims and methods. We tried to identify Hanna Havrylets’ choral works’ characteristic features, which are a symbol of the nation’s unity in the contemporary Ukrainian musical space, as well as some religious, philosophical and traditional folk features of the national identity, which perform the unifying function in the Ukrainian musical art. Research results. The features of H. Havrylets’ works that connect the cultural poles became a religious orientation (appeal to the Orthodox tradition), reliance on folklore and national historical and cultural traditions, which, combined with professional skills and composer talent, allowed her to create unique creative projects. One of such projects is the musical stage performance “We will sow the Golden Stone” (1997). The work was created for the People’s Artist of Ukraine Nina Matviyenko (soloist), a choir of boys and a symphony orchestra, the author of the poems is Sofiya Maidanska. Its uniqueness is in the fact that it combines almost all the genres of Ukrainian folk music in one piece united by the only idea of covering all the milestones of Ukrainian history starting from the World Creation and up to the present days. The artistic method of synthesizing musical and stage performance has a multi-level manifestation. Synthesis of art types (music, fine arts, choreography and theater) is supplemented with synthesis of styles, genres, and contents. H. Havrylets skillfully combines peculiarities of artistic thinking, characteristic of Ukrainian folklore, with contemporary composer vision; also the folkloric manner of singing – with the academic. Having considered the musical and stage performance “We will sow the Golden Stone” by H. Havrylets, we found common for Ukrainian culture and art features, which support the idea of unity and collegiality of Ukraine. These common religious, folkloric, philosophical features constitute a single spiritual system of the national culture. Due to her composer talent, H. Havrylets created a complete picture of author’s vision of united Ukraine, embodied in her work all major milestones of the country’s history (from the ancient times and up to the present days), traditions and beliefs of the Ukrainian people (religious and everyday ones), their identity by including regional features into a single system of the Ukrainian nation’s values in the past and the present. An analysis of the work by H. Havrylets gives reason to believe that the composition of the work is carried out on the principle of “unity and diversity”, the use of which contributes to a more vivid expression of its main idea. The unique, original features of the different eras of the history of Ukraine, its geographical regions, the art of its outstanding creators (composers, poets and performers) are combined into a single “portrait” of the Ukrainian nation, in a common image of its mentality and culture. Summary. Thus, in the process of analyzing the musical stage performance “We will sow the Golden Stone” the religious, folklore, and worldview signs of national identity were revealed, bearing the idea of the collegiality of the Ukrainian people. Religious signs include reproduction by the composer of Pagan tradition, coverage of the Pagan era, for which ritual folklore of the ancient Slavs was used; subsequently – and Orthodox symbolism, in praising the original Christianity and the Cossacks as the defender of their native land, thanks to the appeal to the genres “koliadka”, “szhedrivka” (traditional songs usually sung on Christmas holidays), historical songs, works of authors known throughout Ukraine. The folklore signs of the national identity of the work embodying the idea of the collegiality of Ukraine include the use of folklore primary sources collected in different parts of Ukraine by Nina Matviyenko, as well as the coverage of all genres of Ukrainian folklore reflected the foundations of the worldview and everyday life of the people of all regions of the country. An expression of the ideological foundations of national identity and unity became the composer’ coverage of milestones in the history of Ukraine, historical events that happened with Ukraine as a whole – the Golden Horde’ invasion, the exploits of the Zaporozhian Sich, events of the twentieth century, which were tragic for both, Western and Eastern Ukraine. It was in these events that the eternal desire of the Ukrainian people for freedom was clearly manifested, they became symbols of his struggle for territorial integrity and his own religion and self-expression (national consciousness, culture, art), for an ideal future. Since the historical process of unity of the Ukrainian nation has not yet been completed, the problems of this study within the framework of Ukrainian musical art have prospects for further development.
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Kucher, L. I. "Educating the Actor Singer in the Opera Studio of Lviv M. V. Lysenko State Conservatory." Aspects of Historical Musicology 13, no. 13 (2018): 166–78. http://dx.doi.org/10.34064/khnum2-13.13.
Full textAbstract:
Background. Western Ukraine’s cultural musical life had its own paths of development. The fi rst musical school began working in this region in September 1903. The issue of creating a specialized musical educational institution with native-language teaching was repeatedly highlighted in Lviv newspapers in XIX and early XX centuries. Nevertheless, most musicians were forced to obtain knowledge either on their own or in Polish, German and Czech educational establishments. Composer S. Liudkevich was the most ardent fi ghter for foundation of a Ukrainian conservatory in Lviv. He became one of the fathers of professional musical education not only in Lviv, but in Western Ukraine as a whole. Yet, Lviv’s fi rst educational institution – the Higher Musical Institute – was created other than a standard conservatory of Russian Imperial Musical Society with quite a perfect educational system – it was closer to West European establishments on a parallel basis attended by secondary and higher school students, who studied only musical disciplines in the conservatory. A. Vakhnyanin (who taught theory and history of music) has become the fi rst Director of Lviv Higher Musical Institute with O. Bandrovs’ka and L. Ulukhanova teaching solo singing. In the year of 1912, after the death of M. Lysenko, the Higher Musical Institute was given his name. Lviv’s M. Lysenko Higher Musical Institute gained authority and prominence by constantly improving its educational system. Together with the conservatory of Polish Musical Society and K. Shimanovski conservatory, it became one of those educational establishments, on which basis M. Lysenko Lviv State Conservatory was created upon the reunion of West European lands. As of today, it is among our country’s leading musical universities. Vocals faculty exists since the day of Lviv conservatory’s foundation. In this period, they prepared numerous singers for opera and operetta theaters, philharmonic halls, teachers of secondary and higher schools. Having been founded in 1959, the opera studio functions as a training subdivision of the conservatory, being the source of professional growth for outstanding representatives of national vocal arts and opera conductors. The studio’s fi nancial position has been troubled for many years – there is no own premises and full-time soloists. And yet, teachers’ dedication has always allowed the studio to work so as to serve the basis for practical training of the vocals faculty students. The studio was offi cially opened on November 16, 1959 in M. Zan’kovetska Theater. A year later, on November 16, 1960, the premiere performance of “Zaporozhets za Dunayem” opera by S. Gulak-Artemovsky took place (conductor M. Lobaniv, director V. Shevchenko, assistant conductor – 4th year student S. Turchak). The entire faculty worked on the performance – vocals students enthusiastically participated in ballet scenes, their teachers sang leading parts together with students, teaching the mastery lesson to their mentees onstage. But it was emphasized in 1960 annual report by the Director of Lviv State Conservatory professor M. Kolesa that, with opera studio’s certain achievements, there also was a weak point, and namely the absence of creative and organizational contact between solo singing and opera training departments. In autumn 1963, Lviv opera studio performed in Kyiv at the Republican conference dedicated to education of actor singers, representing fragments from “Taras Bulba” (M. Lysenko) and “La traviata” (G. Verdi) performances. The conference stressed the necessity to alter the course of training – to educate actor singers, performer singers, rather than just “sound professional”. By the Order of the Ministry of Culture of Ukraine of January 25, 1966, opera training department was founded in Lviv State Conservatory. The functions of the Head of department were vested in the associate professor of solo singing department V. Kobrzhitsky. In this period, absence of creative contacts between the two departments of the vocals faculty continues to be felt, with their teachers exchanging accusations. They do not show aspiration to do the common cause – to educate actor singers. In the beginning of academic year 1971-72, the department was joined by Ukraine’s Honored Artist conductor O. Gritsak, who already in his fi rst year of work showed himself as a talented manager. It was stated in the department’s annual report that working stability, which is defi nitely a positive factor, is not always typical for the students. The number of performances for students’ practical training is insuffi cient. The repertoire must have at least three performances, so that students could be involved in several parts for a multifaceted disclosure of their creative abilities. The department made the resolution to improve its operation by fundamentally altering its organizational principles and the methodology, for which purpose to replace the department’s management.