Van M. The lyrical semantics of feminine image in operatic creative activity of G.Donicetti, C. Gounod, N. Rimskiy-Korsakov, J.Puccini

The thesis is dedicated to comprehension lyrical feminine image in operatic party of the works to G.Donicetti, C.Gounod, N.Rimskiy-Korsakov and other as manifestations to trends dispsychologization-disindividualization their lyrical background, which became installation "аntirоmаntic" art past age. For the first time in ukrainian musicology phenomenon music lyricism is presented in categorial interpretation at a rate of composer creative activity XIX cetury, when in the highlight turned out to be the lyrical french opera, founded by priest C.Gounod. For the first time in ukrainian musicology is specified on originality of the concepts of the realism, declared in genre of the french lyrical opera, in which for the first time in history of the opera bring forth was a typology lyrical soprano. The last on its nature, again-таки for the first time, but in histories of the opera this time, did not form the analogy male voice, as this existed in feminine party XVII-XVIII cl., as well as in "Rоssini" soprano, which prototyped singing the castrated man. Discourse entailment of the operatic lyricism feminine party at a rate of XIX centuries can be presented beside such sort to formula: the lyricism, as attributive sign of the operatic singing in church origin of the last, in presentation him at a rate of оpera art to XIX ct. is concentrated in typologies of the french lyrical opera C.Gounod, composer-priest and adherent to nationalities in music, where in the highlight stand expressiveness of "lyrical soprano" as entailment of femine-childs characters; such sort lyricism feminine nature, aside from french art, had determined continuation in russian music in composition of N.Rimskiy-Korsakov, but avoiding italian and german operatic ways.