Об оперной режиссуре современного музыкального театра

Abstract

The article is devoted to the issue of the stage director’s rendition of opera scores, as well as to the definition of the roles of the stage director, the conductor and the composer in the present-day opera theater. The author examines the historical premises for development of opera stage production and two main vectors of evolution of the process of stage production: the traditional and the innovative. The parameters which make it possible to fathom the level of transformation of the operatic source in its stage realization, namely, the temporally frameworks of the presentation of the line of the plot, correspondence to the instructions of the original libretto and the correlation of the composer’s ideas with those of the interpreting stage director. The author bases himself on the four types of manifestations of opera presentations of opera productions revealed by Evgeny Tsodokov – total authenticism, traditional realism, musical and poetical symbolism, and the innovative “stage director’s opera” – and characterizations are given defining the relation of the opera productions to each one of them. A comparative analysis is made of three production manifestations of Verdi’s pera “Rigoletto” on the topic of them pertaining to the indicated trends of the stage director’s rendition of the scores. Several fragments of productions are presented with an analysis of their production-related interpretation and, correspondingly, the relation of the productions to innovative or traditional approaches to the manifestation of the composer’s or stage director’s conceptions. The conclusion is arrived at regarding the significance of innovative production-related rendition for the contemporary opera theater. Keywords: opera stage production, interpretation of the libretto, the opera “Rigoletto,” typology of the stage director’s approaches.