Zoya Hayday’s concert activity in the 1930s: vocal and performance social and cultural aspects

Abstract

We have studied concert activity of Z. Hayday in the 1930s, her ideological orientation and meaningfulness in the context of so-called “cultural construction” in the country, conditions of the concert activity, professional approaches to repertoire selection and in vocal and performance practice on the territory of European part of the USSR including industrial regions of Donbas. This allowed us to determine concert repertoire of the performer that took into account not only conjuncture requirements of the time to its creation, but also personal professional preferences of the singer and her artistic taste, ways and means to reach success, particular nature of communication between the artist and the audience during concert tours, find reasons of her strides and failures, studying at the same time artistic preferences of different social groups through perception of concert programs by soviet audience of that time. Also, we managed to trace the attitude of the singer to concert activity that reflected in her willingness to accept all its conditions in the 1930s, namely: peculiarities of organisational work, requirements to the content of concert programs, tour routes, peculiarities of concert and tour life in different cities and regions, remuneration etc.