Особенности исполнительского искусства мастеров школы бельканто

Abstract

The article is devoted to study of the particularities of the performance style of the masters of the Italian bel canto school of the late 19th and early 20th century with the aid of computer analysis of sound recordings of the outstanding masters of singing, Fernando de Lucia, Alessandro Bonci and Giacomo Lauri-Volpi. Historical information is presented on the vocal art of the era of bel canto and its evolution, and the process of the gradual displacement from the opera and concert stage of castrato singers and the succession of their operating achievements by tenor singers. Characterization is given to the essence of Dupre’s reforms, which formed a new school of singing, which at the same time absorbed into itself the aesthetics of singing of the previous generation. Fernando de Lucia, Alessandro Bonci and Giacomo Lauri-Volpi are regarded as the continuers of the traditions of Gilbert Dupre and Giovanni Batista Rubini. An analysis is given of various singing techniques, the use of which was characteristic for masters of singing of the late 19th and early 20th century. Questions of the boundaries of performance interpretation of the composer’s musical text by singers are touched upon. Examples of musical compositions are cited the performance of which is authentic in relation to the composer’s conception. Special attention is given to research of the singer’s vibrato as one of the particularities of performance, presenting this direction in the art of vocalism. For the sake of more precise analysis computer programs are applied which exceed considerably the objectivity of the studies. Keywords: belcanto, style of performance, computer programs, vibrato, Fernando de Lucia, Alessandro Bonci, Giacomo Lauri-Volpi.