Abstract
The article explores the involvement of N. A. Rimsky-Korsakov's opera works in the phenomenon of Italianism in Russia during the second half of the 19th century. The vocal parts of Snegurochka and Marfa from the operas "Snegurochka" and "The Tsar's Bride" are chosen as the material for the study. The aim of the study is to identify signs of opera bel canto in these parts. To achieve this goal, Rimsky-Korsakov's work "My Musical Life Chronicle" and scientific studies dedicated to the art of bel canto and Russian-Italian musical connections are used in the research. The novelty of the work lies in conducting the analysis of the opera parts of the mentioned characters with the involvement of bel canto opera singing techniques that reached their peak in Italian opera art of the 18th to early 19th centuries. As a result of the study, it is concluded that in Marfa's part, the external "decorativeness" of bel canto elements transformed into the psychologization component of Marfa's character in the turn towards the "Italian style".
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