DRAMATIC VERSIFICATIONS OF THE CHORAL SEGMENT IN THE OPERA «MOSES» BY MYROSLAV SKORYKA

Abstract

The aim of this article. The purpose of the article is to reveal the peculiarities of the dramaturgy of the choral episodes of M. Skoryk's modern Ukrainian opera «Moses». Research methodology. Historical-cultural, structural-systemic methods, as well as the method of typology were used in the research process. Novelty. The peculiarities of the realization of the tragicphilosophical component of the idea of the libretto of Ivan Franko's poem of the same name in M. Skoryk's music are highlighted. The thematism was studied, the main dramatic lines of the use of the chorus in different episodes of the opera were determined, depending on the course of plot events. A significant predominance of the choral element in this opera work was revealed, which gives it the genre features of an oratorio opera. Results. Conclusions are formulated that the specificity of the modern composer's vision of artistic processes by Myroslav Skoryk, through the prism of his own creative searches, was reflected in the rethinking of the opera genre and determined its timeless relevance.
The opera «Moses» by M. Skoryk continues the line of works depicting the process of human self-discovery.
The multi-level concept of the opera is embodied with the help of musical-intonational dramaturgy, which M. Skoryk builds according to the principle of a hierarchically and logically organized spiritual-musical universe. Through the symbolic plot of the biblical parable, the picture of the birth and formation of a new conscious Ukrainian nation is recreated. The line of the chorus, built according to the principle of action and counteraction, becomes the background for depicting the stages of the spiritual and moral struggle of the people. The chorus is both an active central character, and a background, and a commentator on the action taking place. The intonation component of the musical language of choral scenes is built on the principles of stylization, almost quoting the peculiarities of church singing, which is traced back to the classics of the Ukrainian choral concert genre of the second half of the 18th century. Such elements as the imitation of church singing, choral responsorship and the general type of texture have been significantly modified.