Технічні рекомендації щодо виконання ролі матері в опері «Катерина» М. Аркаса за однойменною поемою т. Г. Шевченка

Abstract

The purpose of the article is to consider examples of the musical embodiment of the image of the Mother, to identify its stable typological features of performance and analysis of the most significant in this aspect of the Mother’s part in Nikolai Arkas’ opera “Katerina” based on the poem of the same name by Taras Shevchenko in the performing context. The methodology of the article is a combination of the principles of historical, cultural and typological methods, as well as stylistic analysis of performance. The scientific novelty. In modern studies of operatic art, the problems of the performing specificity of the musical and artistic embodiment of the image of the mother and its disclosure on the basis of the most significant object of research – Ukrainian (in the European context) opera music of the 19th–20th centuries are not sufficiently illuminated. Therefore, the performing interpretation of specific issues, the embodiment of the Mother’s image in Nikolai Arkas’s opera “Katerina” based on the poem of the same name by Taras Grigorievich Shevchenko significantly complements the musicological theory of operatic art and its performance aspect. Conclusions. Summarizing the mother image in the context of the development of opera music of the nineteenth and twentieth centuries, we can draw the following conclusions: the theme of motherhood and the image of the mother is one of the most stable storylines in the history of European culture in various fields of artistic art. The archetypal nature of the mother’s image determines his constant, enduring features – sacrifice, beauty, ideality, which persist throughout historical development and in the variety of creative expression. These persistent features form the specific features of the mother’s artistic image. It is from the nineteenth century in opera music that one can claim the image of the Mother as an independent phenomenon, a steady type of heroine who carries the idea of unconditional and sacrificial Love. The Ukrainian tradition is characterized by the dominance of Motherhood in the image of the heroine, who is presented primarily as a Mother, and this forms the logic of the disclosure of her image. This work is a recognized masterpiece of world opera. The performance of the Mother’s part in the opera “Katerina” requires from the singer great tension of the vocal apparatus, great saturation, brilliance of sound, additional concentration of energy, expressive declamation in recitative, bright temperament. The main task of the performer-vocalist is the full-fledged artistic embodiment of the stage image. The peculiarities of creating the stage image of the Mother and its interpretation are revealed on the example of the author’s own performance.