Abstract
Purpose of Article. The article raises the question of the evolutionary character of the archetypes of female characters in Tchaikovsky's operas, thereby emphasizing the newest nature of the readings of opera classics. The methodology is an integrated approach and is based on the use of analytical and comparative methods. Science novelty. The solution of the series of questions occurs through a critical analysis of already known provisions regarding the concept of operatic archetypes and an explanation of our own understanding of this phenomenon, supported by an analysis of the main characters of the three versatile operas by P.Tchaikovsky («Evgeny Onegin», «Queen of Spades», «Iolanta»). The primary focus on three archetypes of the opera genre - lyric (Iolanta), tragic (Lisa) and dramatic (Tatiana). In the mentioned operas, the composer, based on a scripted literary source, offers a little different interpretation of the libretto, shifting the focus of attention to female characters. At the same time, male characters recede into the background, shading the evolution of the main female characters. Conclusions. In the conclusions, it was mentioned that the subject of the article extends to the musical theater as a whole, touching upon the problems of modern world's opera singing.
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