Classical Opera Research Articles

КОМПОЗИЦИОННЫЕ ПРИНЦИПЫ ОПЕРЫ Е. И. ПОДГАЙЦА «ПОВЕЛИТЕЛЬ МУХ»

Efrem Podgaits is currently one of the most sought-after composers; his work is acclaimed not only in our country, but also abroad; he collaborates with the leading musicians of our time. His musical heritage is represented by a wide variety of genres. These include works for musical theatre, works for symphony and chamber orchestras, instrumental and ensemble music, vocal and choral opuses, music for radio, film and television. The genre of opera occupies a significant place in this list. The article is devoted to a very original opus by E. Podgaits — rock classic opera "Lord of the Flies", created in 1995 (libretto by L. Yakovlev). It is based on the eponymous masterpiece of classical British literature of the XXth century, a dystopian novel by Nobel Prize winner W. Golding. The premiere of the opera took place in 2007 at the Children's Musical Theater named after N. I. Sats (directed by V. Merkulov). The purpose and objectives of the article are to determine the genre and style specificity of the composition; to reveal the principles of the musical dramaturgy of the opera; to reveal the features of the musical characteristics of the characters, as well as the composer's individual approach to the chosen opera model. To achieve the set goals and objectives, an integrated method combining historical and musical-theoretical approaches was used.

Long-Term Average Spectrum Characteristics of Portuguese Fado-Canção from Coimbra

Descriptions of acoustical characteristics of Fado, a Portuguese urban style sung in Lisbon and Oporto, are scarce, particularly concerning Fado-Canção, a related style sung in Coimbra. The present study aims at describing long-term average spectrum (LTAS) parameters of 16 professional singers while singing and reading the lyrics of a typical Fado-Canção. LTAS parameters were investigated in terms of: (1) equivalent sound level (Leq); (2) spectral differences between 3 frequency bands 0-2, 2-5, and 5-8 kHz; and (3) quantification of spectral prominence between 2 and 4 kHz, calculated as the level difference between the peak in this frequency region and a reference trendline between 1 and 5 kHz, henceforth Formant Cluster Prominence (FCP). Given that Fado-Canção, besides Fado and traditional styles, originated also from classical singing, and that previous studies on Fado suggest the absence of a singer's formant cluster, the averaged LTAS for all Fado-Canção singers was further compared to the LTAS of two world-touring opera baritones singing an operatic aria and a lied. Results show that Fado-Canção is commonly sung with a Leq of 86.4 dB and a FCP of about 10 dB, values significantly higher when compared to reading. The FCP in Fado-Canção, although smaller than for the two classical opera singers' examples (14.8 and 20 dB, respectively), suggests that the style preserved some of its original lyrical influence. However, because younger singers present higher energy in the 5-8 kHz region relative to the remaining frequency bands as compared to older singers, it seems that Fado-Canção may be drifting towards non-classical vocal practices. FCP seems to be a promising straightforward method to quantify the degree of formant clustering around the region of the singer's formant in LTAS, allowing comparisons between different singers and singing styles.

Ecologies of translation: Chinese classical opera and Spanish Golden Age Theatre

Este artículo examina una tarea clave del traductor, que es identificar las «affordances», o prestaciones, de los contextos receptores en los que el texto traducido puede prosperar como obra independiente. El artículo sugiere que nuestro creciente interés contemporáneo en lo que podríamos denominar el retorno del espíritu del barroco como estética escénica proporciona un marco significativo para realizar el potencial en inglés tanto de las obras de teatro del Siglo de Oro español como de las óperas clásicas chinas. Ambas formas, en mayor o menor medida, se han visto atrapadas en un punto muerto de unicidad nocional, en el sentido de que muchos críticos, traductores y, en el caso de las óperas clásicas chinas en particular, el peso de la interpretación nacionalista, insisten en la reverencia textual más que su posible presencia poderosa en el escenario extranjero. Dicha presencia, de ambas formas, se construye a base de la energía direccional sostenida de la emoción como principal agente de la participación por parte del público. Tal emoción, está claro, no excluye el pensamiento, sino que lo inserta dentro del poder afectivo general que tanto la comedia como la ópera china innegablemente ejercen en el escenario.

The Art of M. Michael Cohen, Jr.

This article describes Dr. M. Michael Cohen, Jr.'s passion for art and music. His two sons share family memories and photos. Dr. Cohen developed a keen interest in the visual arts, collecting lithographs, enjoying many art exhibits, and conducting original research on Picasso's art. His interest in faces formed a central connection between his professional life and his artistic interest. His love of music began as a young boy. Classical music and opera were the soundtrack to his creative pursuits. He enjoyed sharing music with his family immensely, especially opera performances.

ОБРАЗНАЯ ВЫРАЗИТЕЛЬНОСТЬ ЯЗЫКА НАРОДНО-ХАРАКТЕРНОГО ТАНЦА В БАЛЕТАХ КЛАССИЧЕСКОГО НАСЛЕДИЯ

The article focuses on the phenomenon of folk character dance, which is a unique feature of Russian art, traces the key stages in the development of folk character dance in Russian ballet and identifies the sources that served as the basis for its figurative language. It is noted that the language of folk character dance is the creative fruit of many choreographers, whose works in the XXIst century are perceived as vivid examples of heritage. The author reviews the specificity of imagery in folk character dance currently existing in classical ballet repertoire. Significant attention is paid to the subtleties of depicting national characters when creating dance images of various ethnic groups. The author also considers the characteristic visualization in folk character dance, highlighting and describing distinctive features of a number of national characters more frequently implemented by the language of folk character dance in classical ballet and opera choreography of Russian music theatres. The article substantiates the idea that underestimating the potential of the language of folk character dance as means of expressiveness in ballet theatre leads to limitations for the new generation of choreographers striving to create realistic and truthful dramatic characters, depriving them of national distinction. In her research, the author aims to actualize the question of preservation of national character on the Russian ballet stage in the XXIst century.

Tosca by Giacomo Puccini

Reviewed by: Tosca by Giacomo Puccini Hannah Lewis TOSCA. Music composed by Giacomo Puccini. Libretto by Luigi Illica. Directed by David Lefkowich. Austin Opera, Circuit of the Americas, Austin, Texas. April 29, 2021. Click for larger view View full resolution Latonia Moore as Tosca and Adam Smith as Cavaradossi in Austin Opera’s Tosca. (Photo: Erich Schlegel.) Political intrigue, a jealous opera diva, murder, double-crossing, and suicide: Puccini’s classic opera Tosca is larger than life. With its dramatic narrative set to Puccini’s beautifully lyric late-Romantic melodies and lush orchestral scoring, it is no wonder that Tosca continues to be a staple of the opera canon. It was only fitting that Austin Opera chose this perennial favorite for their ambitious return to live performance, after halting all productions due to the COVID-19 pandemic. The outdoor venue— the Circuit of the Americas, home to America’s Formula 1 racetrack—seemed suitably grandiose for the occasion (while also allowing for social distancing). Austin Opera had initially planned for a traditional staging of the opera, but director David Lefkowich decided that the unusual setting necessitated a more modern restaging. His production recast the story from Rome in 1800 in the shadow of Napoleon’s invasion of Italy, to Italy in 1943, in Mussolini’s fascist grip. The Germania Insurance Amphitheater, situated next to the massive racetrack with an imposing observation tower just behind it, normally hosts rock concerts, but was sitting unused during the pandemic. Employing over 125 local artists and stage crew who were temporarily out of work, Austin Opera’s Tosca was perhaps the highest-profile public performance in Austin since the pandemic. The grandiosity of the chosen opera and unusual venue epitomized perseverance in the face of adversity. But the number of challenges that Austin Opera faced in mounting the production were more considerable than they could have anticipated. As Lefkowich and general director Annie Burridge recounted in a brief address before the performance, the set was meant to resemble a fascist Danteum building, with giant letters “Viva Il Duce” in the background. The week before opening night, a storm destroyed the entire set. Instead, the salvaged letters “Viva” were featured on an otherwise sparse stage, serving as a visual symbol of the celebration of challenges overcome, even if incongruous with the evening’s tragic story. According to publicity for the production, the performance also planned to take advantage of the sunset, timed to correspond with act 1’s impressive finale, “Te Deum.” Instead, opening night was met with a steady drizzle that later turned into heavier rain. The start time was delayed for twenty minutes in the hopes that the [End Page 557] rain would let up enough for the orchestra to play without damaging their instruments. Click for larger view View full resolution Aleksey Bogdanov as Scarpia in Austin Opera’s Tosca. (Photo: Erich Schlegel.) Eventually, it was announced that the performance would begin with electric piano, rather than full orchestra, until it was safe for the other instruments to come onstage. With empty seats visible in the orchestra and a piano accompanying the singers, the performance felt more casual, smaller in scope, almost like a rehearsal. During intermission, the musicians assembled onstage, but the rain resumed and they quickly exited, leaving only the keyboardist for the rest of the evening. Given the circumstances, the singers performed admirably. Their talent deserved a full set and orchestra to back up their stage presence and their voices; yet, even in the production’s stripped-down state, they were consummate professionals, their vocal and acting talent shining through. Latonia Moore fully embodied the complex emotional range of the title character. Aleksey Bogdanov, as Scarpia, was a frightening villain, bringing all the bile to the character that audiences have come to expect. Adam Smith, as Tosca’s lover, the artist Cavaradossi, was particularly impressive, especially when he delivered the dramatic emotional aria, “E lucevan le stelle,” in act 3. Cavaradossi sings this romantic aria as he awaits execution by firing squad. It was raining more heavily at this point and by the time he finished singing he was soaking wet, but remained completely in character and seemingly unfazed...

ГО ШУЧЖЭНЬ — ОДНА ИЗ ПЕРВЫХ ИСПОЛНИТЕЛЬНИЦ НА КИТАЙСКОЙ СЦЕНЕ ПАРТИИ ТАТЬЯНЫ В ОПЕРЕ П. И. ЧАЙКОВСКОГО «ЕВГЕНИЙ ОНЕГИН»

The article presents a portrait of the famous Chinese soprano singer Guo Shuzhen, who was one of the first performers of the role of Tatiana in China. It reconstructs in chronological order the stages in the creative path of Guo Shuzhen, who turned 2021 in 94. She began her ascent to the opera Olympus at the Central Conservatory of Beijing, where she was a student of Professor Sheng Xiang, the "Chinese Caruso", and completed her studies at the Moscow Conservatory, which she graduated with honours. In the class of Professor E. K. Katulskaya, а former soloist of the Bolshoi Theater, the singer joined Russian culture and Russian music and mastered the classical opera repertoire. The part of Tatiana seems to have been inherited by her teacher as E. K. Katulskaya sang this part at the Bolshoi Theater. In 1962 Guo Shuzhen took part in the production of the opera "Eugene Onegin" by P. I. Tchaikovsky at the Beijing Tian Qiao Theater and helped in the translation of the opera's libretto into Chinese. To date, Guo Shuzhen is a Professor of Vocal Music and Opera Department at the Central Conservatory of Beijing.

КУЛЬТУРНЫЕ КОНТАКТЫ РОССИИ И КИТАЯ В ОБЛАСТИ МУЗЫКАЛЬНОГО И ДРАМАТИЧЕСКОГО ТЕАТРА (50-е годы XX века)

The article is devoted to the cultural cooperation between the USSR and the People's Republic of China in the field of musical theater. The Treaty of Friendship, Alliance and Mutual Assistance between these two countries, signed in Moscow on February 14, 1950, became a starting point in the development of cultural contacts. The most productive period was from 1949 to early 1960s. An important marker of the development of Soviet-Chinese cultural relations was the tour of theater troupes from both countries to the Soviet Union and the Celestial Empire. The Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater team visited China in 1954, and later the artists of the Shaoxing Opera and the Shanghai Theater of Beijing Musical Drama demonstrated their art in Russian cities. The two countries' directors showed mutual interest in the classical opera art of their counterparts: in Beijing and Tianjin P. I. Tchaikovsky's "Eugene Onegin" and "The Queen of Spades" were performed by Chinese singers, while in Russian cities the traditional Chinese theatre plays "The Spilled Cup" and "The Grey-Haired Girl" were staged by Russian artists.

Screen Interpretations of Opera Classics

The study considers filmed versions of classical operas as an example of inter-art interaction. We compare film adaptation with such method of artistic activity as interpretation — the rendition of an opera by means of the cinema. The translation of the content of an opera into the screen language emphasizes the dialogic nature of a new, cinematic work. There is an analysis of the films based on the opera Female Hireling by composer Mykhaylo Verykivskyi by such domestic film directors as Iryna Molostova and Vasyl Lapoknysh, as well as the opera The Magic Flute by Wolfgang Amadeus Mozart directed by Ingmar Bergman (Sweden) and Kenneth Branagh (Britain). These films accentuate the main issue of film adaptation of an opera — the interpretation of an opera into a new artistic phenomenon. This type of screen adaptation is deemed quite controversial and insufficiently studied in domestic art history. The implementation of artistic methods of opera in other art inevitably affects the stylistic, formal unity of a newly created text. Intermediation as one of research methodologies of an artistic text is based on a number of popular theories about the synthetic nature of arts. The synthesis of the cinema with various literary genres, various kinds of arts, in particular operatic and theatrical ones, allows us to talk about intermediation not only as a methodology for analyzing a screen text but also as a specific way of constructing it. The purpose of the study is to determine the cinematic methods that have enabled the artistic synthesis of operatic and cinematic arts or were aimed by film directors at bringing the conventionality of opera as close as possible to the laws of the screen expression. The attention on the intermediate aspect of studying an artistic text, which is based on a number of currently popular theories about the synthetic nature of arts, was focused. The method of semiotically analyzing the texts of screen works is applied for studying their poly-code features — the creation of an artistic image by verbal and nonverbal components.Topicality, in both the 20th and the 21st centuries, the issues and ideas that have formed the basis of classical operas was proven. Rendering an opera piece of art into a new artistic phenomenon corroborates the opinion that a film opera diversifies the range of screen expressive means and proves its ability to exist as an independent cinematic genre.

8. Gioachino Rossini, Voice Assemblies In The Opera IL Barbiere Di Siviglia

Abstract In Naples, Gioachino Rossini creates some of his works for representations in other cities. The best known, the Barber of Seville or Useless Precaution, opened on February 20, 1816, atTeatro Argentina in Rome. The booklet, a version of Pierre de Beaumarchais’s eponymous novel, was rewritten by Cesare Sterbini, being a variant other than that already used by Giovanni Paisiello. Moreover, since then the work has enjoyed a great popularity, contributing to this triumph and the extremely short period in which it was conceived: two or three weeks. Later, Rossini claimed that he had created the work in just twelve days. The opening, initially bearing the title of Almaviva, was not successful, as the admirers of Paisiello, extremely indignant, sabotaged the show by whistling and shouting throughout the first act. However, shortly after the second performance, the work became so appreciated that the fame of Paisiello’s work was transferred to Rossini, the title The Barber of Seville becoming an inalienable Rossinian heritage. Il Barbiere was not Rossini’s favourite work. Ironically, it won the status of classical opera much later, at the end of the Rossini’s career. Today we clearly consider its status as the first in the history of the work, often overlooking the radical impact it had at the time of the opening, when it shocked and provoked a large audience of unknowing persons. The speed of his writing could explain the dramatic drop in intensity felt in the second half of the second act.

중국 고전 희곡 정식부호를 통한 중국애니메이션 발전에 대한 논의

희곡은 정식부호를 통해 내부의 여러 가지 요소들로 하여금 서로 협조협력하게 하여 연극의 줄거리를 보여주고 인물을 형상화 한다. 이렇게 완성된 시스템은 희곡 무대 공연에 사용되고 중국 애니메이션 스타일의 형성과 발전을 촉진했을 뿐만 아니라 중국 민족 애니메이션의 창작을 위해 풍부하고 성숙한 언어 수단을 제공하고 희곡 정식부호의 가치를 보여주었다. 창작 애니메이션 역사의 실천과 희곡 애니메이션의 예술적인 공통성으로부터 볼 때 중국식 애니메이션과 고전 희곡 원소를 서로 결합한 것은 미학역사의 필연적인 선택이며 애니메이션이 민족화 되는 과정이다. 이 역사 과정에서 중국식 애니메이션은 형성, 성숙, 확장과 저조한 단계를 모두 거쳤지만 여전히 많은 훌륭한 애니메이션 예술 작품들을 탄생해냈다. 중국의 고전희곡 정식부호는 서로 다른 방식으로 중국 스타일의 애니메이션 영화에 유입되었으며 표현하는 운율과 스타일은 서로 달랐다.BR 본 논문은 중국식 애니메이션의 발전과정 배경에 기초하여 연구를 진행하였고 문헌참고 비교연구 그리고 예시를 들어 분석하는 방법으로 희곡 정식의 근원으로부터 시작하여 희곡 정식부호 및 정식부호의 시스템을 정의하였다. 그리고 희곡에서의 공연, 음악, 국극검보, 공간 등 요소가 보여주는 부호성에 대하여 상세하게 설명하고 정식부호의 예술특징이 중국애니메이션에서 응용에 대해 논술했다. 중국식 애니메이션에서 희곡 “사공오법” 양식의 영향을 받아 음악과 무용이 광범위하게 사용 되였고 줄거리의 발전을 추진하면서 역할의 개성을 풍부하게 하고 내적인 검정을 각색 하였다. 중국식 미학에서 “묘하다”는“비슷한”과“비슷하지 않은”것 사의를 취하는 예술미학 특징이 있듯이 정식 부호도 사물의 형상을 보는 것을 통해 지성과 외모를 겸비한 역할을 형상화 한다. 마지막으로 고전 희곡 시스템이 중국식 애니메이션에서의 세 가지 발전경로를 해석했다. 직업군이 가지고 있는 속성을 버리고 캐릭터를 자유롭게 성격으로 분류하고 프로그램화 되어 있는 동작들을 애니메이션의 행동규칙으로 대체하며 고유의 시스템에서 벗어나 창의와 형식이 공생하는 관계를 형성한다.BR 본 논문의 이론은 중국애니메이션 자체구조를 기반으로 한다. 희곡 정식부호를 중심으로 애니메이션의 민족화를 귀결점으로 중국식 애니메이션에서 표현되는 방식을 적극적으로 찾고 고전 희곡 정식 부호로 하여금 확장되는 경로를 묘사하였으며 그에 미치는 영향을 보여주었다. 중국 고전 희곡은 민족특색이 강한 예술표현 형식으로서 중국 애니메이션 발전 동력의 원천이다. 그 발전 규칙에 대해 분석하는 것은 애니메이션 정식 부호 언어의 발전과 연구에 대해 이론적인 가치가 있다고 보며 중국식 애니메이션의 언어 시스템을 만드는데 본보기로 삼을 만한 사고방식을 제공할 수 있다고 본다.

ТЕАТРАЛЬНЕ ЖИТТЯ КИТАЮ

Based on the study of the problem of Chinese theater and musical art of the country, the original culture of the people is revealed. The problem of studying the worldview system of ancient China as the basis for the emergence of musical tradition has interested many scholars, because it influenced the cultural life of the East. Philosophical views influenced both theatrical life and the musical art of the country. Thus, China's cultural traditions were based on ancient Chinese philosophies: Confucianism, Taoism, and Buddhism. Special attention was paid to education, especially aesthetics, in China. Music education played an important role in Chinese culture. Confucius emphasizes the comprehensive development of man, while emphasizing the morality of the individual. Thus, the theatrical art of China is distinguished by cultural unity and originality. Musical load played a big role. The Chinese worldview is based on the vision of nature as a living organism. The first sprouts of musical and theatrical art appear. XII-XIII centuries marked the birth of Chinese opera. Chinese theater was fully popular. The musical side of classical theater is characterized by an inseparable unity of sound, word and dance. The range of images, moods, techniques of acting is characterized by a certain type of melody, rhythm, composition of the orchestra. The subject of ancient theater and musical art of China is interesting and not fully studied, which necessitates further development in the study of this issue. Performing skills were subject to a system of vocal skills. Yes, important were: language, temperament, the nature of singing. The storyline has always been built on plots in which good always wins over evil. Thus, an optimistic mood in everything. Thus, Chinese opera singing synthesized the traditions of folk song and classical opera with European bel canto. It is also important to possess not only the voice but also the body. There were special schools that taught the culture of jumping, running, spinning wheels, and so on. Such theater groups have been involved in educating the skills needed for theater since childhood.

О воплощении комического в башкирской национальной опере

The article examines for the first time various manifestations of the comical element in Bashkir national opera, in which the context of comedy is frequently present, among other examples, in serious genres, such as epical, lyrical drama. Indication is made of genre prototypes derived from Russian classical operas and a list of characteristic protagonists with whom the manifestation of the comical element is connected. Also mention is made of the possible reasons for which the genre of comic opera itself has not been created. The overview is made on a phased basis, in correspondence with the overall periodization of the development of Bashkir opera: the “Russian,” classical and contemporary stages. In sum a list is made of the forms and techniques of creation of the comical effect, not only the musical, but the extra-musical (the lexis, tongue-twisters, repetitions of words and word combinations, laughter). The carried out analysis and observations may present a useful contribution to the development of the theory of national opera in national compositional schools. Keywords: Bashkir national opera, manifestations of the comic element, parodying.

ВІДТВОРЕННЯ НАЦІОНАЛЬНОГО БУТТЯ УКРАЇНЦІВ У КІНОТВОРЧОСТІ ІВАНА КАВАЛЕРІДЗЕ

Мета статті – висвітлення проблеми національного буття українців у режисерсько-постановчому доробку І. Кавалерідзе – авторському кіно, створеному впродовж 1930–1960-х років. Методологія дослідження передбачала використання таких методів: загальноісторичний, порівняльно-історичний, аналітичний, біографічний. Наукова новизна. Вперше відтворено хронологію діяльності режисера, пов’язану із пошуком оригінальних засобів кіновізуалізації історичного минулого українців, зокрема, з використанням народних музичних творів, а також їхніх симфонічних обробок. Висновки. Підґрунтям для відображення історичного минулого України й українців для І. Кавалерідзе стала насамперед творчість видатного письменника Т. Шевченка, зокрема, його поеми «Гайдамаки», «Сон» та «Кавказ» («Злива», 1929; «Коліївщина», 1931; «Прометей», 1937). Філософія буття українців постала в центрі уваги режисера в екранізаціях народних пісень та класичних оперних творів («Наталка Полтавка» М. Лисенка, 1936; «Запорожець за Дунаєм» С. Гулака-Артемовського, 1937), де, не порушуючи основи музичних творів, режисер розкрив їхній глибинний зміст засобами монтажу та яскравим кінематографічним утіленням театральних умовностей. Глибокий психологізм та вищу точність художніх характеристик узагальнених образів українських селян (народних типажів, за своєю стилістикою близьких до довженківських кіногероїв) було представлено І. Кавалерідзе у фільмах «Григорій Сковорода» (1958) та «Повія» (1961, за твором П. Мирного).

Modernization of the visual series as one of the means to preserve the relevance of the opera performance

The purpose of the article is to consuder the issue of the stagingprocess of the opera performance in the aspect of the evolution of thedirectorial thought of the last third of the XX – the beginning of the XXIcenturies, as well as to analyze of the involvement of moderntechnological possibilities of creation on the operatic stage of the visualseries and correspondence to the new demands of the audience of thetheater are considered. The question „What is an opera in our time – thehighest of theatrical arts, or the business industry?” is considered. Sincethe current opera house, as a phenomenon, began to lose interest of thepublic. The scientific novelty of the article is the urgency of the questionof modernization of the production of classical opera. The scope of operadirecting is the key in the article, because in it follows the intricaciesassociated with the development of technologies and visual means ofexpressiveness that have influenced the state of the most iconiccontemporary opera performances. The typization and classification ofdirecting concepts during the existence of the opera as a genre is followed.The article analyzed the tendencies of creating an opera performance inSoviet times and in modern times through the prism of visual aspects. Theperformances by P. Tchaikovsky's opera „Eugene Oneginˮ at theMetropolitan Opera in the USA and the Vienna State Opera are consideredand analyzed, it is a methods of investigation. The author of the articleoffers a comparative analysis of two directorial decisions of the productionof the opera to understand the possible options for the development ofdirecting creativity, since the theater of modernity in the context of theevolution of the genre depends on the time and preferences of the modernaudience. The conclusions indicate that this problem is being studied fromthe point of view of the correspondence of innovative directorial decisionswith the attraction of opportunities of modern opera theater to the author'soriginal source.

РОЛЬ А. МАЛДЫБАЕВА В СТАНОВЛЕНИИ МУЗЫКАЛЬНОГО ИСКУССТВА КЫРГЫЗСТАНА

The article is devoted to the study of the creative work of the Kyrgyz composer, singer, actor A. M. Maldybaev and his role in the republic’s cultural space. A. M. Maldybaev’s versatile activity is considered in the context of professional art formation in Kyrgyzstan. Bright individuality of talent, close and deep connection with folk roots in combination with successful assimilation of classical opera heritage achievements made A. M. Maldybaev one of the founders of the Kyrgyz Soviet composer’s school. The author gives a brief overview of his works, many of which remain unknown to the scientific community but do not lose their relevance.

“The longer we heard, the more we looked” Music at the Victoria and Albert Museum

AbstractThe Victoria and Albert Museum, as the world's leading museum of art, design and performance, has a long‐standing engagement with music, being among the first European museums to collect and exhibit musical instruments, and to integrate sound‐related artefacts into many of its collections. This is due to its particular history as well as the personality and interests of its forefathers. This involvement with music has been made particularly spectacular through ground‐breaking exhibitions devoted to rock music but also tackling a particular genre like classical opera. This article looks first at the V&A's relation to sound through an historical perspective, followed by an overview of the most innovative examples of sound‐related exhibitions and a specific exhibition case study.

Cinematic Signatures of Orpheus and Operatic Evocations

This paper traces the tradition of the myth of Orpheus and Eurydice from Ovid and Vergil through Poliziano to late Renaissance, Baroque, early classical, and early twentieth-century opera as antecedents to Cocteau's Orphee and a number of contemporary films, including Imagining Argentina, Slumdog Millionaire, The City of Your Final Destination, Rabbit Hole, Remember Me, and The Book of Life. Because tragic and non-tragic endings are not reliable identifiers in the Orpheus tradition, the paper focuses on such narrative signatures as retrieval from death, playing a stringed instrument in the face of death, and dying twice.

On Wang Rongpei’s Drama Translation Strategy: A Case Study of The Peony Pavilion

As a special literary form, drama is characterized by personalization, colloquialization, rhythm and the feature of performability. For a long time, the focus of drama translation studies has also fallen on the “performability” at home and abroad. The Peony Pavilion is one of the masterpieces in ancient China. With its beautiful and elegant lyrics, engaging anecdotes and vivid characters, The Peony Pavilion has an enduring popularity on the opera stage and a high literary value. There are many translations of The Peony Pavilion. Among all the versions, Wang Rongpei’s translation has balanced “spirit” and “meaning” and creatively reproduced the original style. Wang Rongpei first proposed the translation theory of “faithful in meaning and vivid in description” when he translatingThe Book of Songs in 1994. He thought that “faithful” refers to accurately express the meaning of the original text with target language, and “vivid” means showing the original style, emotion, rhythm, images, and characteristics. This article takes Wang Rongpei’s version of The Peony Pavilion as the study object and puts it under the criteria of “faithful in meaning and vivid in description”, analyzing the translation of the lyrics and researching how he transmits the spirit on the basis of being faithful in meaning. The aim of this article is to analyze Wang Rongpei’s dramatic translation techniques and explore the guiding and theoretical significance of this strategy for Chinese classical opera translation.

The role of the estate art and private enterprise in the development of the ukrainian professional music and drama theater

The role of the estate art and private enterprise in the development of the ukrainian professional music and drama theater