The research methodology is based on the theoretical substantiation of the
analysis of the performing style through the positions of the phenomenology of
creativity (research by E. Husserl, O. Losev, M. Arkadyev, G. Tsypin, and
T. Ivannikov). The application of a systematic approach led to the involvement of
the theory of the performing style (research by I. Yergiyev, O. Katrych,
V. Medushevsky, V. Moskalenko, Y. Nikolayevska, O. Stakhevych, I. Sukhlenko,
and L. Shapovalova) in the perspective of the specifics of vocal creativity at the
present stage.
The material of the research is audio and video recordings of operas with the
participation of J. Kaufmann: «Condemnation of Faust» by G. Berlioz, «Fidelio»
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by L. van Beethoven, «Carmen» by J. Bizet, «Lohengrin», «Valkyrie»,
«Siegfried», «Parsifal» by R. Wagner, «La Traviata», «Troubadour», «Aida»,
«Don Carlos», «The Force of Fate», «Othello» by G. Verdi, «Faust» by S. Gino,
«Andre Chenier» by U. Giordano, «This is How Everyone Works» by
V. A. Mozart, «Nina» by G. Paisiello, «Bohemia», «Longing», «Girl from the
West» by G. Puccini, «Fiorabras» by F. Schubert; separate arias from operas by
G. Puccini, G. Donizetti, G. Verdi, R. Wagner, U. Giordano, and others (concert
performances, solo albums), operettas (J. Strauss), CDs of «Winter Road», «The
Miller’s Beautiful Wife» by F. Schubert, «Arias of Verism», Arias from Mozart,
Schubert, Beethoven and Wagner (2009); Liederabends from songs by F. Schubert,
G. Mahler, R. Strauss, G. Wolf; also involved audio recordings of individual parts
and arias performed by L. Brownlee, P. Bechadi, Wang Chuanyue, and Shi Ite.
The scientific novelty of the obtained results is that in the dissertation for
the first time the singing-performing style is investigated from the point of view of
the phenomenological approach; we have formulated aspects of the study of the
phenomenology of personality through the positions of interpretology; the
periodization of J. Kaufmann's creative biography has been offered; the main
examples of J. Kaufmann's performance versions are analysed; we have formed a
stylistic system as a combination of stable and mobile features of expression and a
metasystem of singing and performing style of J. Kaufmann. As a result, his
creative work is presented as a phenomenon of musical art at the turn of the 20th21st centuries; from the point of view of the performance analysis and comparative
interpretology, the descriptions of the performance versions by J. Kaufmann,
L. Brownley, Shi Ite, P. Bechada, and Van Chuanyue have been proposed.
