Opera by A. Vivaldi "Olympiad" as an Example of Venetian Seria

Abstract

The purpose of the study is to reveal the specific features of A. Vivaldi's opera heritage (on the example of a cultural analysis of the opera "Olympiad"), which is currently in the process of practical-creative and theoretical awareness, which is historical compensation for more than 250 years of forgetting the great Master. The methodological basis is the intonation approach of the school of B. Asafyev in Ukraine in the focus on hermeneutic, comparative aspects of stylistic analysis, as is the case in the works of D. Androsova, E. Markova, O. Muravska, O. Roshchenko, A. Sokolova, L. Shevchenko, and others, the intellectual-biographical method becomes essential [see the work by V. Shulhina, O. Yakovlev] in order to understand the mental stereotypes that nourished the cultural environment of the famous composer. Scientific novelty. For the first time in the cultural heritage of Ukraine, a description of the opera typology of the Venetian seria was made in its imitation relative to the Neapolitan opera of this type and in parallel to the development of the Viennese variety of this music-theatrical phenomenon. In addition, the author's note in the presentation of opera-seria is highlighted, which is significantly different from foreign presentations of Italian theatrical productions. Conclusions. The opera "Olympiad" by A. Vivaldi was written to the libretto by P. Metastasio, which allegorised the idea of cultural and artistic leadership of Italian and German cities in post-Renaissance Europe, drawing a parallel to the cultural and artistic setting of the Olympics in Ancient Greece. This social order shone especially brightly in the opera of A. Vivaldi, Venice, whose native city with its carnival production, which was at the centre of cultural and presentation events, corresponded to the Olympic cultural policy of Ancient Hellas. The analogy of the libretto seria to the hagiographic plot of the Roman mystery opera is revealed in the integrity of the ethical positive characteristics of all the characters of the opera, the collisions and dramatic moments of their relationships were born due to a coincidence of circumstances and involuntary violations of the promises made. Hence, the absence of drama in the classical-realistic interpretation, everything escalates as much as possible until the last scene ("crescendent drama" according to V. Kholopova), where the appearance of unexpected news or an unnoticed logical argument "resolved" all misunderstandings in a mysterious, conciliatory good ending.