«Огненное кольцо» Авета Тертеряна в определении индивидуально-композиторской концепции оперного жанра

Abstract

The purpose of the article is to determine the genre and style parameters of A. Terteryan’s opera, which form the specifics of the individual composer’s concept of the opera genre. The research methodology is based on source study, analytical and genre-style approaches. The scientific novelty of the article lies in the musicological development of the theoretical aspects of A. Terteryan’s individual composer style and its representation in the genre-style concept of the opera “Ring of Fire”. Conclusions. The article examines the genrestyle specifics of the outstanding work of the classic of the Armenian musical art of the 20th century A. Terteryan in the aspect of the representativeness of the individual-composer concept of the opera genre. Taking into account the little-knownness of “Ring of Fire” in Ukraine, the study of opera from the standpoint of a composer’s interpretation of the leading genre principles of European opera of the twentieth century in connection with the national traditions of its culture, it is relevant both for modern national musicology and for vocal performance practice. In terms of genre and style, A. Terteryan’s opera demonstrates the dialogical principle of composer’s thinking. On the one hand, the manifestation of the mysterious artistic-figurative complex and types of vocal intonation that have developed in the European opera tradition is evident in it. On the other hand, it is the inheritance and creative rethinking of the national traditions of Armenian music. The stylistics of the vocal parts of the leading characters are specially highlighted, which reflects the indicated principle of dialogicity. “Ring of Fire”, in its genre and style characteristics, is in many respects correlated with the aesthetics of chamber opera (the type of drama and opera characters, the principles of compositional logic and musical characteristics of the characters, vocal stylistics). The semantics of the central characters of the opera, in accordance with its dramatic concept, indicates the correspondence to the stylistic indicators of “statuary” opera as a genre variety of chamber opera. The artistic principles of the “epic theater”, which are relevant for the opera aesthetics of the twentieth century, are also essential for the operatic poetics of the Armenian composer: they determined the transpersonal concept of the main characters of the opera and the principles of their musical embodiment associated with the original creative interpretation of Armenian musical folklore and style traditions of European opera.