Pakhomova Y. The synesthetic aspects of Lesya Dychko's thinking as a composer (as exemplified by the «Zolotoslov» and «Christmas Play» choral operas)

At the turn of the 21st century, the issue of the further development of the operatic art in a new era, of the possibilities and expediency of its existence in the traditional, classical interpretation is thrown into sharp relief. A feeling of the genre exhaustion and the crisis of ideas spurred contemporary artists to explore new ingenious ways and to conduct creative experiments in the music and theatre environment. The transformation of the aesthetic paradigm of the modern era has greatly influenced the search for a new philosophy of art, musical language and ways of arra nging a musical piece. In turn, the implementation of the latest style trends and ideas of composition and dramaturgy have led to ambiguity, multidimensionality and plurality of interpretations of the genre, in which the concepts of synthesis and variability prevail. On their way to the realization of those tasks, artists often appeal to inter-genre and cross-form synthesis, creating fundamentally new philosophical and aesthetic levels of musical text through the integration and convergence of the means of expression of other art forms.