MELODY AS A FACTOR OF VOCAL AND PERFORMING INTERPRETATION OF THE OPERA IMAGE

Chen Xiao

doi:10.23856/4616

Chen Xiao Odesa National Music Academy named after A. V. Nezhdanova http://orcid.org/0000-0001-9589-2512

Keywords: opera melody, opera speech, opera text, theory of opera melody, European opera melos

Abstract

The aim of the article is to determine current approaches to the phenomenon of opera melodics, clarify the concept of opera melody, substantiate the priority of vocal and performing interpretation in the formation of an opera image and in the development of an opera musical text. A comprehensive methodology for studying the genre nature of opera and its typological artistic features is proposed. The combination of textual and semantic approaches makes it possible to expand the understanding of the melodic functions of an opera text and its communicative tasks. The scientific novelty of the research is due to the identification of aesthetic, structural and compositional, artistic and psychological prerequisites for the creation of the theory of opera melos as an autonomous discipline that can influence modern opera studies and the creative practice of opera performers. The conclusions of the article indicate the key properties of the opera melody, which make it possible to characterize it as a way of creating an opera speech; emphasize the main factors of the opera melodic speech: the enlargement of the elements of the theme and the strengthening of its discreteness, the altitude-rhythmic fixation of the motivational relief, which makes it possible to convey the sound and content of the word, orientation on the “image of feeling”, emotional fullness and psychological personal reasoning, the requirement of getting used to and rebirth into an opera image and specific timbre predestination, that is, being attached to a certain type of vocal voice.

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