It is established that the concept of classical, in particular classical in music, today acquires new significance at many levels of aesthetic and art studies, also taking on a certain psychological resonance, ie grows into a general humanitarian category. At the same time, despite the large volume of literature on the classical phenomenon, it is difficult to find a satisfactory common common notion of the classical, especially given its certain "genetic duality", namely - the interaction of historical and theoretical preconditions for its categorization.
Attempts to identify paradigmatic features of opera as an important social phenomenon, ie the importance of opera as a center of ethical and aesthetic cultural norms, artistic canons, leads to the study of opera and language properties, having features and historically formed, and semantically defined, ie genre.
Both aspects of the study of the classical are open, ie those that do not have a stable system of evaluative approaches, and their interdependence increases the complexity of the problem. At the same time, because for the modern musician, as well as the average recipient, the category of exemplary, as recognition and ideality at the same time, as a synonym of perfection, is surprisingly important, this problem needs to be studied and solved.
In general, at the heart of the phenomenon of classical opera poetics remain unchanged three main principles that correspond to the three leading functions of musical action as artistic (formative-compositional cognitive; intonation-sound suggestive; cognitive-semantic ethical): - "perfection", perfection of form, which ensures the quality of harmony; - selectivity of intonation-motive musical material, which allows to adhere to the ideal of beauty; - installation on the meanings generated by one's own creative experience of music as a moral and aesthetic phenomenon, immanent content, which contributes to the feeling of achieving the truth, ie the realization of a certain ideal idea of man and the expediency of his life.
Thus, the operatic aesthetics of the classical is based on the basic value criteria of truth, goodness, beauty, harmony and meaning, and the category of the classical in operatic performance denotes the quality of a work of art as an integration of ethical and aesthetic, ie as a kalokagatic phenomenon. Hence the advantage in understanding the phenomenon of opera-classical axiological approach, which grows into semantic at the level of musical text, the material of specific musical compositions; this approach also allows us to attest to the effects of plurality and musical meaning and the meaning of the classical in music, ie to point to the polysemantic nature of the classical operatic image.
