Pre-opera Tenor Singing as Reflected in Lyric Tenor Parts in Works By G. Rossini and Ch. Gounod

Abstract

The purpose of the work is to reveal in the parts of Almaviva ("The Barber of Seville" by G. Rossini) and Faust (opera of the same name by Ch. Gounod) the features of the tenor pre-opera parts of church singing, extremely honoured by sincerely believing composers. The methodological basis is the intonation approach of the B. Asafyev school in the works of Ukrainian musicologists, including T. Verkina, O. Kozarenko, I. Liashenko, O. Markova, O. Roshchenko, O. Sokolova and others, using scientific comparative-stylistic, hermeneutic, biographical-descriptive, analytical-typological research methods. The scientific novelty is determined by the independence of the approach to the named parts from the standpoint of church singing usage, which in musicological studies was corrected by the plot of the plot, and not by certain religious attitudes of the authors of the opera. The analysis of well-known parts from the standpoint of their reflection of the church use of tenor parts in the traditions of Byzantine old church singing appears to be innovative. Conclusions. Selected for analysis are the parts of well-known operatic characters by G. Rossini and Ch. Gounod, written for compositions that appeared in the declaration of the ideas of the Restoration (Rossini's work) and an anti-romantic statement in favour of popular religiosity (in Ch. Gounod), in which an analogy to church values is assumed tenor sounds in the expression of canonical indicators of church merits of Love. Lyrical tenors embody in these operas the most important author's ideas – the Good Expectation of the Restoration in the role of Almaviva in G. Rossini's "The Barber of Seville" and the generosity of love that inspires the Atonement of the sinful defiance of the Law.