Integrity of the vocal-stage image of Kateryna Ismailova in the same opera by D. Shostakovich

Abstract

The relevance of the research lies in the desire of creators and scientists to comprehend the deep layers, subtexts and hints of the composer, who, against the background of the modern interest in psychological drama, want to rethink his creative heritage. Scientific novelty consists in the establishment of specific approaches to creating the image of the main character through the organic interaction of music, vocals, acting, plastic, scenographic solutions of the performance in various versions of the opera. The purpose of the publication is to determine the features of the integrity of the vocal and stage image of Kateryna Ismailova in the opera of the same name by D. Shostakovich with the use of modern means of expression, their potential for new synthesis. Research methods. To clarify the differences in solving the image of the main character in the essay by N. Leskov and the opera by D. Shostakovich, the comparative method is used. To determine the features of the incarnations of different versions of the opera, from the time of its creation to the present, the comparative method was used. To determine the specifics of different directorial approaches to the interpretation of the image of Kateryna, genre-stylistic and interpretation methods were used. The main results and conclusions of the study. The characteristic features of the interpretation of D. Shostakovich's opera are considered: in the first edition - "Lady Macbeth of Mtsensk county", in the second - "Kateryna Ismailova", their difference from the original source - N. Leskov's essay, who gave the original title of the work. The transformations of the image of the main character in the context of N. Leskov's essay and in different versions of the opera are analyzed. Specific approaches to the creation of a holistic vocal and stage image of Kateryna have been identified due to the organic interaction of music, vocals, acting, plastics, scenographic solutions of the performance in various versions of the opera. It is proved that all three versions of the opera - the first and second editions and the “zero” version are equally actualized in the world's musical theaters and are selected in accordance with the institution's repertoire policy and the directors' personal intentions. It has been established that the director's approaches to the interpretation of the opera can vary, but the directors should not cross the moral and ethical line, adhering to the ideological plan of the composer. During the existence of the opera, the image of the main character develops along the path of deepening psychologism, acquiring greater integrity due to the organic interaction of improved means of stage expression.