Abstract
In the cycle of three articles, the Russian chamber romance transformation into a new concert genre - dithyramb - is considered. The author analyses changes in some aspects of the art of singing in connection with the end of the era of the masterly style and transition into the pathetic one, as well as this process impact on the transformation of the voice part of the chamber romance. The allied features with opera arias are identified and the piano part role in early romances-dithyrambs and its similarity to opera scores of this period are studied. The prominent Russian opera singers’ role in the formation of the dithyramb’s performance criteria is determined.
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