Abstract
The article deals with the creative activity of singers of the Lviv vocal school of the second half of the twentieth century. It was analyzed that the formation of the national school was under the direct influence of the leading European vocal schools. The conditions of Lviv vocal school formation are considered. The concept of artistic interpretation of vocalists is highlighted. Performing profile, vocal-technical capabilities of the vocal apparatus of the artist determine the selection of folk-material material, the specific methods and means of interpretation that will preserve and reveal the semantics of folklore. The singer interprets the work (folk-verse samples, in particular) depending on their own musical-performing style and the archetype of performing the person’s thinking. The analysis of interpretations of Ukrainian folk songs by representatives of the Lviv vocal school, in particular P. Karmalyuk, E. Darchuk, O. Werbel, M. Bayko, V. Ihnatenko, I. Kushkler, has been analyzed. It is noted that the singularity of the interpretation of folk samples in the performing practice of singers of the Lviv vocal school is the installation on the academic style of singing. It is proved that in vocal art the person acts not only as an executor, but also as an interpreter. The folk repertoire of the representatives of the vocal art of the Western Ukrainian region appears as a national identity, the means of representing the national folk and professional (as a processing) vocal art on the European scale. The folk-eared samples of the performing practice of representatives of Lviv vocal school became the means of uniting with the spiritual essence of national consciousness, through the democratization of the repertoire, as a means of popularizing the most worthy models of professional vocal art in Ukraine.
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