Conductor Boris Afanasiev: period of creativity in Dnepropetrovsk

Abstract

The aim of the article is the revelation of features of conducting and performing arts by B.Afanasev. The author examines the work conducted by the synthesis of his professional theatrical-musical interactions: conductor, orchestra, soloists, chorus and the audience; the critic analyzes the development of professional criteria artistry of conducting and performing arts. People's Artist of Russia Boris Afanasyev led of Dnepropetrovsk Opera and Ballet for eight years. He worked as the chief conductor (1984-1992). Maestro conducted the many operas and concerts in this theater. Thanking the high conductor's mastery of B.Afanasev Dnepropetrovsk Opera and Ballet Theatre was recognized as one of the best opera and ballet companies of the time. In conducting work of B.Afanasyev meaningful value acquired preparations. During the preparatory period formed their own way of performing vocal and orchestral pieces opera performances. Conductor B.Afanasyev always analyzed operatic work, his previous theatrical expression. Such famous musicologists as A.Postavnaya, E.Dolinskaya, Yu.Stanishevsky, E.Yavorsky published reviews of the work of the conductor. Chief conductor B.Afanasev memorable public orchestral interpretation of operas by Verdi, Tchaikovsky, Bizet, Bilash, Gubarenko. B.Afanasev always demonstrated his own understanding of music, uniquely interpreted imaginative world masterpieces. With B.Afanasev person can determine the true nature of the art of opera conducting, to understand its specificity, to bring general and professional patterns, especially conductor reveal the creative laboratory, as well as find out the socio-cultural conditions of the effective functioning of such a phenomenon as an opera performance. Methodology of the article has a complex character. It is based on research such principles as a theatrical musical historicism, systematic, artistic and aesthetic analysis. Practice drawing up the plan, B.Afanasyev explored the historical and cultural context and has the necessary distribution orchestra in groups for orchestral interpretations of various acts of submission. This form of conductor’s work helped to bring to opera and orchestral performance triad opera synthesis: unity of word, music and stage action. All this allows us to reveal the extent of the conductor's personality B.Afanasev. Scientific novelty study. The author for the first time in the history of Ukrainian musical theater science studies the phenomenon of conducting and performing arts by B.Afanasev as chief conductor of the Dnepropetrovsk Opera and Ballet Theatre. Identify relevant features of opera as a musical phenomenon and artistic spectacle it helps analysis of the interaction of orchestral and vocal and stage directions in the art of opera conducting and B.Afanasev. Conclusions. The author has made the concept, which helps to justify the artistic and social status of the conductor’s work of the Dnepropetrovsk Opera and Ballet by B.Afanasev. The research activities of the main conductor B.Afanasev enables to define interpretive beginning in operatic orchestral performing. The author defines the conductor dominant as the main creative task, which is currently all subjects. It is possible to determine the effective principle of conducting and performing arts by B.Afanasev. This validity of the principles was built the entire system of its criteria of artistic quality opera.