Abstract
In the article, the author examines the opera compositions of Salavat Nizametdinov from the viewpoint of generic features of the genre. In a broader sense, it is considered as a new sociocultural phenomenon in Bashkir national art, which brought new features to the established structure of the opera genre at the turn of the century. Examples of particular compositions are used to highlight individual and general features of his work, consciously focused on modern trends in the development of the opera theatre: chamber music, embodiment of the features of mono-opera, duo-opera, opera-ballad, opera-parable, opera-chronicle. The themes of his operas, unlike the previous stage of the genre's development, as well as the departure from the norms of the national language in a concentrated form reflect the main idea of the composer's entire oeuvre — the actualisation of moral problems of modern society, which is a new word in Bashkir musical art. In relation to the operas of Zagir Ismagilov’s and Husain Akhmetov’s predecessors, the classics of national music, who were oriented towards the traditions of the “Mighty Five”, the new trends form a phenomenon defined by the author as a way to update opera not only by means developed in the musical theater itself, but also through contact with other non-academic genres. The author concludes that the trend towards genre and stylistic mix is the general idea of all Bashkir professional music at the present stage.
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