The dissertation reveals the significance of mysterious instructions in the poetics of the Grand French opera, represented by the works of J. Meyerber («Huguenots», «African») and J. F. Galevi («Cardinal's Daughter»). Based on the generalization of a significant number of bibliography on the mysterious guidelines of the opera genre in European music, reveals the originality of the evolutionary paths of French musical theater from the XVII to the middle of the XIX century.
The dissertation states that the poetics of mystery, formed on the religious basis of Byzantine culture and inherited by the spiritual theater of the Western European Middle Ages, is ultimately the starting point, the beginning of the history of religious theater of modern times and opera genre, which throughout its history. otherwise it carried the «mode of mystery» and its leading genre features. Appeals to mythological, spiritual and religious themes, focusing on the ethical qualities of the heroes of mystery have always corrected the development of opera and performance, revealing not only its metamorphoses in the historical realities of European culture of XVII-XIX centuries, but also its «spiritual constants», genetically ascending. to the religious precepts of Byzantine culture.
It is substantiated that the ideological-semantic and figurative concept of the five-act lyrical tragedy was based on reworked mythological or historical-legendary plots, which accentuated the heroic-pathetic themes and Christian virtues indicative of high classicism. We remind you that the classicist tragedy in the work of P. Cornell coexisted with the hagiographic tragedies of the second half of the XVI - XVII centuries and their biblical counterparts. All these qualities immediately preceded the formation of further poetic-intonation, stage-production and spiritual- mysterious components of the genre canons of the «opera of salvation», the musical theater of the «Napoleonic Empire» and the Grand French opera of the XIX century.
It is noted that the poetics of the great French opera, the «classics» of which are presented in the operas of J. Meyerbeer and J. F. Galevi, focused on a spectacular five-act performance, the plot of which is associated with dramatic socio-political cataclysms of European history, in the spirit of the concept of French historicism and indicative of the method of allusions. At the same time, the genre canon of the Grand opera is genetically related to the French mystery tradition, which is manifested in the dominant role of religious conflict, which determines the plot of the work, characters, actions and behavioral motivations of its characters, appeal to the «intonation dictionary» of church singing tradition, determines the focus of the play on the idea of conciliar unity-transformation of human society.
