Li M. Opera art of China and Europe in the context of mutual representations

The dissertation is devoted to the complex lighting of the semantic and genre-style mutual representations between the operatic art of the great civilizations of China and Europe, their mutual influences and mutual perception. The relevance of the theme chosen is determined by the importance of opera and vocal art in world’s musical culture; significance of the traditional and contemporary Chinese musical theater (opera); the artistic validity of the creative achievements of the European Chinese style opera, as well as the lack of knowledge in the Ukrainian art concerning the specific process of mutual reception of European and Chinese opera. The specifics of the Chinese style (chinoiserie) as one of the most important artistic manifestations of Orientalism in European art is defined. The idea of the specific interpretation of Oriental themes in the European composers opera from the XVIII - the first quarter of the twentieth century has been improved. The features of the chinoiserie style implementation in European opera art of the XVIII – XX centuries on the material of the “Chinese women” by Ch. W. Gluck, “Bronze Horse” by D. Ober, “The Nightingale” by I. Stravinsky, “Turandot” by G. Puccini are revealed.