The dissertation is devoted to revealing the expressiveness of seria in the cultural conditioning of its existence in the baroque culture and in the ecclesiastical dedication of that kind of art.
The dissertation is dedicated to revealing the expressiveness of seria in the cultural conditioning of its existence in the baroque culture and in the ecclesiastical dedication of that kind of art. The aim of the work was the cultural and stylistic attribution of opera seria by A. Scarlatti, N. Porpora, G. Händel, A. Salieri, W. Mozart as a natural manifestation of the mysterious perspective of opera, the Napolitan school of which was the force of historical circumstances due to the activity of Scarlatti associated with the Roman school and the mystery opera created there, which combined the born artistically self-sufficient expressive features of individualized vocalism and the plasticity of stage movement with the typologies of the mysterious action of a religious, cultural and educational purpose.
Awareness of the typological specificity of seria is appropriate in terms of its growth from the mysterious foundations of musical theater, as well as in parallels to the actions that in the New continued functioning in the development of church didactic productions. This approach corresponds to the main expressive argument of seria - the "bright singing" of falsetto falsetto players and castratos, whose "figurative" principle of expression reflected the basic property of Christian ideology on the "dematerialization" of singing expression: vocals - in its abstraction from speech expression. The existence of this spiritual beauty in singing bel canto, certified by J. Rossini in its origin from the Byzantine choral calophony, provides a particularly ideal ground for the classics of opera art, which came at the beginning of the XXI century to the revival of the first opera deposits of the seria genre.
The dissertation summarizes materials from the history of the Christian mystery, from its various national manifestations, based on the achievements of the Orthodox world of the European East and West, leads to an understanding of the natural discovery precisely in the South of Italy, at the intersection of the Byzantine heritage and the achievements of Gallican France in its contact with Russia and Ukraine, of the mysterious institutions of opera. The latter in the form of seria, literally "serious", in the sense of "church" opera, singles out aria, genetically spiritual singing, as the main means of expression and relying on the possibilities of psalmody in the form of recitative types.
This recitation marked the supernatural speech of perfectly defined characters of legendary and historical roots, thereby laying the hagiographic ground for the presentation of the characters of the seria performance.
