Modern director’s reflections of Dmytro Bortniansky’s «Sokil» and «Alkid» in the Lviv national opera

Abstract

Purpose of Research. The purpose of the research is to analyze Andreas Weirich's directing of the operas «Le Faucon» and «Alcide» by D. Bortniansky on the stage of the Lviv National Opera. Methodology. The methodology of the research is based on an interdisciplinary approach that allows us to use the knowledge from the history of music culture, musicology, theatre studies, performing arts, contemporary theatre, etc. To achieve the goal of the research, the author has used the following methods: a historical one (to analyze the genesis of the creation and production of D. Bortniansky's operas «Le Faucon» and «Alcide»); an analysis (to highlight ethical and aesthetic narratives and images of the operas «Le Faucon» and «Alcide»); a comparative method (to analyze the differences between Andreas Weirich's directorial versions of the opera «Alcide» and its innovation in its synthesis with the opera «Le Faucon»). Scientific Novelty. The scientific novelty of the research is the analysis of Andreas Weirich's directorial interpretations of Dmytro Bortniansky's operas at the Lviv National Opera. Conclusions. Thus, the performances of D. Bortniansky's operas «Le Faucon» and «Alcide» in 2021 at the Lviv National Opera by Ukrainian conductor Oksana Lyniv and German director Andreas Weirich are a model of the renaissance of national traditions and Ukrainian content in the context of modern European culture. The innovativeness, ethical and aesthetic narratives, and synthetic nature of the combination of two different operas reveal the heuristic potential of the reflection on the internal conflict of the modern individual by the classics of national musical culture.

Key words: «Sokil », «Alcide», Dmytro Bortniansky, opera, director, theatre, stage design, modern theatre, image.