Интертекстуальный замысел «Орестеи» Сергея Танеева: в поисках авторского смысла

Abstract

The object of analysis of the present article is “the author’s word” in Sergei Taneyev’s trilogy “Oresteia.” Starting from a systematization of the authorial conceptual utterance in the genre of opera by musicologist Marina Raku presuming a precise verbal localization in correspondence with the concept of “the word,” the author of this research expands the perception of the present phenomenon as an occurrence of procedural character. It matures during the course of the development of the operatic action and in direct tangency with it acquires its own formation. The authorial “word” is examined as a dynamic semantic structure in correspondence with the concept of “meaning,” a category of dynamic order. The attention of the author of the verbal text is concentrated on the disclosure of a profound musical-conceptual storyline, reflecting the formation of the basic ideal notion of the composer who wrote the verbal text, which receives verbal expression at the moment of “semantic explosion,” bringing the formation of authorial thought to complete lucidity. In Taneyev’s “Oresteia” such a structure, spanning all three parts of the trilogy, acquires an intertextual form, referring to Wagner’s operatic words, interconnecting in a deep intertextual “plotline” the movement from images of pagan myth (“Der Ring des Nibelungen”) to Christian concepts (“Lohengrin”). Thereby, the intertextual, purely musical plan of the opera by means of a coordinated system of figurative correspondences (the sword Nothung – the annihilating sword of killers, Siegmund – Orestes, the Walkyries – the Erinyes, Lohengrin – Apollo) endows the formation of the author’s conception a special prominence of unfolding “from darkness to light” and becomes that prism through which the Ancient Greek storyline acquires an interpretation in light of Christian values. Keywords: Taneyev’s “Oresteia,” Wagner, the authorial text in opera, intertext, semantic explosion.