Johann Adolf Hasse: the Tradition of the Baroque Era "Arias di Bole"

Abstract

The purpose of the study: to analyze the operatic work of J. A. Hasse, which corresponds to the phenomenon of the Italian Baroque tradition of the aria di baule of the 18th century, which was an integral part of the culture of operatic pasticcio in European operatic art. The research methodology is based on a comprehensive approach, including source research, comparative analysis, and analytical methods, which are used to highlight the history, tradition, and significance of the popular repertoire of arias di baule for singers and operatic art of the Baroque era. The methods used reveal the scientific, practical, educational, and performance aspects of the research, combining theoretical analysis with direct artistic practice. Scientific novelty: for the first time in Ukrainian musicology, the phenomenon of aria di baule as a component of opera practice of the 18th–19th centuries has been comprehensively examined; the main functions of insert arias have been systematized; their influence on the vocal and performing tradition of bel canto has been determined and the prospects for using this experience in modern musical theater have been outlined. In Ukrainian musicology, the phenomenon of aria di baule as a separate topic has been studied to a limited extent; no scientific studies dedicated to this phenomenon have been found in open sources, which is why it is relevant for further research and application of the results in modern vocal pedagogy and performance. Conclusions. As a result of the conducted research, it can be concluded that modern scientific literature treats aria di baule not as an accidental theatrical practice, but as an important mechanism of the functioning of the opera of the 18th–19th centuries. Through these studies, the concepts of authorship, performance freedom and historical authenticity are being reinterpreted. Opera performances of that time were collective creations, the involvement of outstanding soloists in the performance of parts in operas with the repertoire of arias di baule created a balance between the author's vision of the composer and the strict requirements of the market, where the singer-soloist acquired a new role - co-author in the history of opera art. The appeal to this phenomenon by modern performers contributes to the formation of a new type of musical thinking, which combines scientific reconstruction, creative interpretation and living performing tradition.