OPERA CHORUS IN THE HISTORICAL REALITY OF THE ESTABLISHMENT AND DEVELOPMENT OF THE KIEV OPERA HOUSE (XVIII – beginning of XX century)

Abstract

The article deals with the problem of the operatic genre that represents a unique synthesis of arts, and subordinate to the dramaturgy of any opera performance Opera Chorus that can be defined as an essential component of this synthesis. The attempt to determine the genesis of professional fundamentals of the opera choir and analyse the evolution of chorus function in the dramatic structure of any opera performance is made on the basis of different historical records, notices and critical reviews found in the numerous papers of corresponding historical periods. The data obtained through the thorough study of all above-mentioned sources stipulates to the choice of retrospective fact analysis used to form the structure of our scientific work.

This paper includes an overview of the main stages of the formation of theatre arts and casts light on the origins of histrionics, rooted in ancient times, namely in the unity of different folklore genres. Moreover, it gives a valuable information on a functioning of folk theatre (verteps) and school drama in the XVIII century.

In the course of the study, we also have defined the role of serfs troupes belonged to the social elite of the XVIII-XIX centuries, creative work of which has formed the basis for the further development of professional musical theatre.

Then, much attention in the scientific work is drawn to the characteristic of entrepreneurs’ repertoire policy, its quality, coming in line with the preferences of the audience at the beginning of the XIX century: dramas, vaudevilles and comedies, operas and ballets. Relying on the facts provided in the historical and cultural context, in our article we also highlight musical life of Kiev relevant for the 2nd half of the XIX century.

Our work shows the prominent role of amateur musical movement that made a huge contribution to the city's  musical culture. Besides the fact that during above-mentioned time was created "Symphonic Society of music and singing lovers", serf theatres continued putting on their performances as well.

The article also considers the reformist projects of the Imperial Russian Musical Society (IRMS), which determined the development strategy of professional music education in course of the development of Kiev musical-cultural environment. The last in its turn contributed to the broadening of local public artistic horizons.

Due to this fact, we reveal a positive role of the first permanent theatrical enterprise at the Kiev Opera House that gave rise to further development of opera and theatre culture in Kiev. The chorus and orchestra formed then, 2 years later became a part of Russian opera. Thus, the city’s public had acquainted with the best examples of Italian operatic repertoire.

It follows from what has been said above that the analysis of the formation and organization of the Opera House in Kiev notes the incontestable role of the Kiev branch of IRMS that facilitated the opening of the Kiev Russian opera.

Another point to be made is the role of the first choirmaster of the Kiev Opera House – I. Altani – in the formation of the foundations of professional choir of the Kiev Opera.

According to the results of our research, functioning of "Free basic classes of choral singing" under the direction of N. Gubert and "Public's Sunday classes of choral singing" (1869 and 1874 resp.) set the stage for the professionalization of choruses.

It should be mentioned that on basis of the archival sources, notices and critical reviews analysed, both the work of entrepreneurs working in Kiev Russian opera and the evolution of the function of chorus in a complex structure of opera production are studied.

The author of the article focuses on the role of entrepreneur I. Setov, who was the first to include crowd scenes into opera dramaturgy and in such a way made choir artists put their acting talent into practice. The continuity of his creative principles finds reflection in the work of another gifted entrepreneur – H. Pryanishnikov, whose contribution in further development of the role function of the opera choir is especially seen in the historical context. In the 90s of the XIX century, the value of the last was finally approved to be substantial and indispensable part of the opera performance. The one that ensures integrity of all its components.

The study describes the work of the Opera Chorus during 1897-1901, when it was invited to take part in shows produced by touring opera tropes. The absence of competent governance and opportunity to give performances regularly (the building of stationary theatre was damaged in the fire), affected choir’s proficiency greatly, but this fact had not reflected on the innovative function of the Kiev Opera Chorus. During the discussed time period were performed not only "Requiem" written by G. Verdi, a cantata for choir and orchestra, timed to the 100th anniversary of professional theatre in Kiev, another one, timed to M. Lysenko’s 35th anniversary, written by A. Gorelov, but also G.Verdi’s "Stabat Mater".

It should be pointed out that if during the pre-revolutionary years (1912-1915), the work of the Chorus was marked by high professional level, the season of the next two years can be distinguished mainly by the atmosphere of poor spiritual values, destroying the established artistic and cultural criteria. Mobilization of the chorus members started then, of course, did not improve the situation. The sound of unevenly staffed band was constantly deteriorating.

In the process of our study, conducted in a broad historical and cultural context, have been recreated the processes of origin, formation and development of the Kiev Opera House and analysed the work of the Opera Chorus as an important, meaningful, artistic and expressive part of a complex hierarchical structure of the theatre.