CHAMBER VERSIONS OF OPERA ARІAS BY ITALIAN COMPOSERS OF THE END OF THE 19 TH CENTURY INTERPRETED BY THE CHINESE SOPRANO HUI HE AND «VERONA LIRICA»

Abstract

This article examines the nuances of the interpretation of operatic arias by Italian composers from the late 19th century by Chinese soprano Hui He in collaboration with the string ensemble «Verona Lirica». In contemporary musicology, the significance of studying the operatic arts across various cultures is increasingly recognized, as it unveils unique aspects of
interpretation and intercultural communication. The artistry of Chinese performers, particularly Hui He, represents an intriguing phenomenon that opens new avenues for understanding the interplay between different musical traditions.
The aim of this paper is to identify the features of the musical and performance interpretation of individual operatic arias by Italian composers from the late 19 th century by Hui He and the string ensemble «Verona Lirica».
The methodological approach of this research encompasses historical, textual, genre-stylistic, and comparative analyses, facilitating a deeper exploration of the intricacies involved in performance practice. The findings reveal that Hui He’s interpretations are marked by a distinctive originality while maintaining the traditions of Italian opera, all the while incorporating elements of Chinese musical culture. Special attention is given to arias such as «Io son l'umile ancella» and «La mamma morta», which exemplify not only the technical proficiency of the performer but also the depth of emotional expression, thus affirming Hui He’s ability to create vivid stage personas even in the context of concert performances.
The novelty of this research lies in the integration of genre-stylistic and interpretive analyses, as well as the focus on performers who have not received widespread recognition within Ukrainian musicology. The practical significance of this work is that its outcomes can inform the development of educational programs and research initiatives in the field of operatic interpretation, which is particularly pertinent to musicology in both Ukraine and China.
In conclusion, the article emphasizes that the interpretations by Hui He and the «Verona Lirica» ensemble serve as exemplary cases of the successful adaptation of operatic repertoire for concert settings, thereby fostering cultural connections and enhancing interest in the operatic arts within China.