Liu S. Style paradigms of modern opera work: vocal and performing approach

The study proves that modern opera work is a complex artistic, institutional and semantic phenomenon that is corrected by many artistic and socio-cultural factors, it means both from the inside, from the immanent nature of the genre, and from the outside, from socio-historical requirements. It turns out that the leading aspect of modern opera theater is directing, which is the main way of style modernization of opera content, so, in the context of the integral artistic construction of opera, the functional connections of directorial and musical and performing interpretation are actualized. It is noted that the main genre and style constitution of opera provides the dominance of musical language, musical understanding of event and character content, and this requires a special study of the vocalist-performer as the center of all musical efforts, all musical and artistic energy (synergy) of the opera composition. Therefore, an important task of musicological research is to prove the style paradigmaticalness of vocal intonation and vocal and performing interpretation in opera. The chronological boundaries of the study are determined, on the one hand, by the history of the opera genre, covering a significant period of time; it means, it provides a certain time retrospection. On the other hand – focus on the current stage of opera, in the late XX – early XXI century. The material of the research was, first of all, modern studies of opera work, both musicological and aesthetic and cultural; opera compositions by leading European composers (from the era of classicism to the twentieth century) and their modern stage productions, including operas by W. Mozart, M. Glinka, P. Tchaikovsky, G. Verdi, and some others.