Італійська Оперна Антреприза В. Андросова - Є. Кехрібарджі В Міському Театрі Одеси (Квітень 1853 - Березень 1854)

Abstract

. Historical studies of the music theatre history in Ukraine, in particular, the problems of the Italian opera formation and activities, in the context of intercultural communication, can not be limited to the comprehension of issues exclusively in musical and performing arts. The positioning of the theatre as a sociocultural phenomenon involves consideration of the artistic activity of the Italian enterprise in the close interrelation of scenic art with the culture of theatricality, the everyday culture of the city, the managerial and financial activities of the enterprise through the reproduction or, if necessary, reconstruction of communicational models in the system of such relations as an artiste — audience, a theatre — theatrical directorate, an artiste — impresario, an artiste — local power, etc.; all of them were in constant interaction with each other. The application of this approach, in particular, to the study of the Italian enterprise of Odesa activities in the difficult period of 1853—1854, when the events of the Eastern War, developed, can reveal not only new socio-cultural factors for deepening the theatrical crisis, but also those that belonged to the sociopolitical and economic area. Objectives. The objectives of this study are to investigate the activities of the Italian operatic troupe of Odesa in the theatrical season of 1853—1854 in the context of aggravation of the military-political and economic crisis in the Black Sea region at the beginning of the Eastern War, on the basis of attracting archival sources, publications in local and foreign periodicals. The methods used in the present article assume the application of the semiotic approach, as well as the implementation of mosaic reconstructions and cross-disciplinary investigations that allow to study the music theatre as an entire social and cultural space. Results. One of the most complex and dramatic pages of merchant S. Androsov’s four-year Italian opera enterprise in the city theatre of Odesa has been studied. Theatrical debts, accumulated during the first years of his family enterprise, in the conditions of the deployment of the Crimean War and the impossibility of international maritime trade, which provided financial means for repayment of impresario debts, led to the enterprise bankruptcy. The characteristics of singers’ engagement in Italy are described, the content and character of the troupe scenic activity are highlighted, vocal and dramatic virtues of the leading soloists are analyzed. The operatic repertoire, where dominated the masterpieces of Verdi and G. Donizetti, has been proved to contain mainly new operas, being popular in Italy and other Western European countries. The main reasons for the failure of the premieres and some debut performances and the decline of audience’s interest in the Italian opera were revealed, namely: limited vocal and dramatic means of Italian artistes, a weak performing ensemble, problems with the formation of the full body of the troupe and its financing, caused by the lack of entrepreneurs ’ experience in the field of the theatrical management. Conclusions. Activity of the Italian enterprise of Odesa in the period of 1853—1854 carried out in the conditions of the economic and political crisis caused by the beginning of the Eastern War. Consequently, the limitation of theatre support opportunities through sutlerness incomes in port quarantine, the need to repay debts for previous periods together with impresario V. Androsov’s and his companion E. Kechribardzhi’s inexperience and negligence caused new debts and resulted in the final bankruptcy of the enterprise. The troupe that arrived in Odesa in groups during the theatrical year, were engaged in austerity saving, included along with well-known in European theatres experienced singers, a part of young artistes, recent graduates of conservatories as well as performers with limited voice data and mediocre actor abilities. All these factors influenced the quality of the ensemble, caused the decrease of the Italian opera popularity, as well as, at the end of the opera season, the failure to keep the contract requirements for the new operas staging. At the same time, appearances in the troupe of the European celebrity A. Cortesi-Crippa, artistically and vocally talented singers M. Zakki, M. Viani, C. Guarducci, J. Sikorsky-Moriani contributed to the preservation of Odesa opera performance traditions, presented to the audience the best examples of voice part performance in famous operas by G. Verdi, G. Donizetti and other popular Italian composers of that time. V Androsov’s and E. Kechribardzhi’s enterprise in the Odesa City Theatre as one of the pages of the Italian opera house, existed until 1873, activity is worth to be studied as an integral element of the music culture of the city and of the entire Black Sea-Azov region.