Semantics of paired feminine images in the operatic creativity of R. Wagner (on the example of the Tangheiser opera)

Abstract

Statement of the problem. Musical semantics is directly related to the phenomenon of musical content – modeling, understanding and generalization of the events of a musical work. The semantic approach is based on the study of the content of the elements of the musical language. Turning to paired images embodies a new perspective on the classification of operatic characters. The lack of research on this issue determines the scientific novelty and relevance of the chosen topic. The work of R. Wagner is indicative of the phenomenon of paired images. In his opera works, such characters form their own dramatic line. Analysis of recent research and publications. Among the latest studies devoted to the worldview of R. Wagner and the philosophy of his work, the scientific investigations of L. Havrylchyk (2015) and B. Kotyuk (2013), O. Polishchuk, V. Warrior (2016) proved useful. Issues directly related to the Tannhäuser opera, namely, the mythological aspect and tonal semantics, are considered in the works of O. Roschenko (2007), S. Litti (2014), K. Seigrified (2015). Separately, it should be noted the research on semantics as a general cultural and, in particular, musical category – O. Kühl’s manual (2008) and F. Mozhaev’s article (2014). Main objective of the study is to determine the semantics of paired female images – Venus and Elizabeth – in R. Wagner’s opera “Tanghäuser”. The scientific novelty. The novelty of the research lies in the fact that for the first time the semantics of paired female images is investigated using onomatopoeic and comparative methods at the level of musical language and at the figurative-emotional plan in the context of the general dramaturgy of the opera. Methodology. The following research methods are used: onomatological, semantic, genre-stylistic, functional-systemic, structural-functional, comparative, intonation analysis method. Results and conclusion. The semantics of the images of Elizabeth and Venus embody the idea of a contrasting juxtaposition of two worldviews. At the “mythological” level, which in R. Wagner’s operas serves as the foundation, the first basis, connections with Apollonian and Dionysian principles can be traced. These aesthetic categories are used to denote the two primary forms of cultural creativity – light, intellectual, rational and dark, passionate, ecstatic-irrational. At the highest, “religious” level, the images of Venus and Elizabeth correspond to different forms of religion: pagan and Christian. In the opera “Tannhäuser” Elizabeth and Venus are participants in the main love triangle (Tannhäuser-Venus-Elizaveta) and have different effects on the fate of the protagonist of the opera. The semantics of the images of Venus and Elizabeth are most appropriate to be considered precisely in the context of their pairing, and not separately. Two female characters are built according to the principle of complementary contrast and during the dramatic development remain two opposite “driving forces” of the main storyline.