The research reveals the interdependence of the aesthetic-stylistic and musical-speech components of opera interpretation in the process of evolution of the plot-thematic logic of the opera genre from the era of romanticism to the XXI century, typological trends of this evolution are revealed. The tasks of the research involve the identification of the main indicators of the genre etymology of opera creativity in the context of the musicological development of the theory of interpretation; expanding the range of literary and musicological prerequisites for the study of opera interpretation, updating its aesthetic parameters; consideration of the lyric as a semantic paradigm in the historical evolution of the genre form of opera; determination of personalized factors in the interpretation and musical embodiment of the opera plot, introduction of the aesthetic concept category to the thematic content of the opera; development of the concept of aesthetic and stylistic interpretation in connection with the artistic and thematic logic of the opera; identification of systemic trends in style formation in the opera composer's work of the 20th - early 21st centuries, in particular O. Messian, K. Penderetskyi, K. Saariaho, P. Etvesh, stylistic specifics of modern opera performance practice; proving the interpretative stylistic purpose of the opera plot in interaction with the phenomenon of the aesthetic theme of the opera work.
The material of the work was musicological works directly devoted to genre etymology and the evolution of opera in the space-time of European culture; opera works of O. Messian, K. Penderetskyi, K. Saariaho, P. Etvesh. The methodological basis of the work is determined by the combination of the historiographical and genre-semantic approach, the activation of the aesthetic evaluation approach in its unity with the hermeneutic, the disclosure of the unity of stylistic and interpretive study, as a result of all the above - the expansion of the effect of the musicological cognitive method in its application to the field of opera studies.
The scientific novelty of the study consists in the study of opera interpretation as an aesthetic and stylistic phenomenon capable of exceeding the constitutive requirements and language norms of the opera genre, the involvement of a story-based approach to the study of the theory and phenomenon of opera interpretation itself. The category of the opera logosphere is introduced as the unity of all artistic components of the opera, the varieties of the opera word, its compositional and stylistic functions are considered; the factors of interpretative opera thinking from its compositional and performing sides are revealed; the prerequisites of stylistic typology as a typology of interpretive thinking with its personal characteristics are defined; in connection with vocal and performing creativity, the concept of "character personality" is involved as the basis of an individual and stylistic performing opera image; a comparative aesthetic and stylistic description of the creativity of masters-innovators of the opera genre, such as K. Penderetskyi, O. Messian, K. Saariaho, P. Etvesh, is given; the phenomenon of the "opera man" and the opera hero, the idea of Homo aestheticus - as influencing the interpretive system of opera creativity as a whole are specified. The concepts of sacralization and carnivalization are further developed as aesthetic indicators of the stylistic evolution of opera creativity; the principles of opera "aesthesia" are specified.
