«REGNAVA NEL SILENZIO» FROM DONIZETTI'S OPERA «LUCIA DI LAMMERMOOR» INTERPRETED BY YING HUANG : THE SPECIFICITY OF THE MUSICAL TEXT AND ITS PERFORMANCE EMBODIMENT

Abstract

The aim of this paper is to identify the peculiarities of the interpretation of the aria «Regnava nel silenzio» from Donizetti's opera «Lucia di Lammermoor» by Chinese opera singer Ying Huang in terms of the interpretation of its form and genre-stylistic components.
The research methodology consists of a combination of historical, textual, genre-stylistic, comparative, and interpretive methods. This made it possible to identify the main parameters of the musical text of the aria that influence the interpretation of the operatic character, to consider the performance of the aria in the historical context and to determine the degree of conformity with Ying Huang's version.
Results. The article considers the peculiarities of the interpretation by the Chinese soprano Ying Huang of the aria «Regnava nel silenzio» from Donizetti's opera Lucia di Lammermoor, which belongs to the classics of the world opera scene. It has been established that despite a considerable number of studies of Donizetti's operatic works, there are still many
uncertain aspects, primarily those directly related to the interpretation of his music. The article identifies the peculiarities of the aria's formation and its main stylistic parameters, the understanding of which forms the basis for building an adequate interpretation, especially when this musical text becomes the basis for a concert performance in which the dramatic situation is removed. The significance of the personality of the performer of the Lucia part in the historical aspect is revealed, as well as the composer's expectations and requirements for the singer's voice. The studio performance version of the aria by the Chinese singer Ying Huang is analysed, which, in comparison with the most prominent examples of aria interpretation in the 20th century, is defined as adequate in its style, close to the traditions of European opera singing, which confirms the importance of the classical opera repertoire for the formation and recognition of the opera singer in general and illustrates the overcoming of national and cultural barriers in the performing arts in China.
The novelty of the work lies in a new perspective of research, which combines genre-style and interpretive discourse, as well as in the appeal to personalities who are not widely known in Ukrainian musicology.
Practical significance. The information contained in this issue may be useful for Ukrainian and Chinese musicology, especially when interpretation of operatic music is studying.