Abstract
In Khabarovsk and a number of other provincial towns at the turn of the 19th – 20th centuries, foreign and Russian operetta formed the basis of the mixed operetta and drama troupes’ repertoire. One of the first Russian samples of this genre is analyzed in the article. Combining traditional musicological analysis with musical and sociological approach, the author attempts to establish a link between artistic and stylistic peculiarities of the popular work in the period under consideration – the operetta by I.F. Decker-Schenk “Hadji Murad”, on the one hand, and its perception by the local artistic forces, audience and critics on the other. It is revealed that the ratio of “complexity” as a characteristic of high art and availability, typical of entertainment genres found by the composer and librettist, gave the provincial audience a feeling of belonging to art, at that theater became a symbol of the “civilized” provincial life.
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