FEMALE CHARACTERS IN ZAPOROZHETS ZA DUNAYEM ("A ZAPOROZHIAN (COSSACK) BEYOND THE DANUBE") BY S.HULAK-ARTEMOVSKY AND THEIR FATE IN STAGE PRODUCTIONS OF ODESSA MUSICAL THEATERS

Abstract

In this case, we emphasize the creativity of the creator of the work on the "spirit of the times" and the actual ideas- images that are actualized in the present. Purpose of the work is to follow the original version of the genre of opera of S. Hulak-Artemovsky "Zaporozheian beyond the Danube" in contrast to the formed concept of "Italian imitation", which impoverishes the ideas about richness of the genre-style compositions in S. Hulak-Artemovsky’s work, focused in the interpretation of female parties of Odarka and Oksana. Methodological basis is the musicological intonational principle, that is, the verbal and expressive principle of the interpretation of musical instruments, which has deep roots in national music. We specially emphasize the methods of the style-genre comparative and musical hermeneutics in the traditions of the works of E.Markova school. Scientific novelty of the work is determined by the originality of the theoretical idea of the principle genre-style multiplicity of the work of the Ukrainian composer in inscribing its plot and means into the style-thinking paradigm of the "Sixtiers" of the nineteenth century and the reactivity to it of the "youth wave" of the early 21st century. Conclusions. S. Hulak-Artemovsky's opera "Zaporozhets za Dunayem" ("A Zaporozhian Beyond the Danube") can not be evaluated as "modeling of "Italian in Algeria" by J. Rossini or other Italian models, since there is really a complex synthesis of Italian influences and typologies of comic and lyrized-dramatic operas of French and German traditions. The piece of work of the Ukrainian author is the only one-of-a-kind in Russian and Ukrainian music reaction to the theme of the conflict of the "fathers and children" of the Sixtiers of the 19th century. The interpretation of the main characters' parties of Karas and Odarka does not allow the hyperbole of comedicizing and "aging" of the characters, since by that the poetics of national history and the dramatic tension in the opposition of the Ukrainian Cossacks to the Turkish patronage are removed. Odarka's party is built with the principle scale of the range and the genre coverage of the expression indicative of the "full" soprano, whereas the Oksana's party is less diverse and the range of its singing is narrowed, which indicates the setting for the mezzo- Soprano as "narrowed" in relation to the soprano as such.