SEMANTICS OF THE INTONATION DEVELOPMENT OF THE MUSICAL DRAMATURGY OF THE IMAGE (ON THE EXAMPLE OF THE IMAGE OF MIMI IN G. PUCCINI'S OPERA “BOHEME”)

Abstract

Research objective – identify the musical means that the composer uses to reflect the development of the dramaturgy of the operatic image (using the example of the solo – “Mimi’s Tale” from G. Puccini’s opera “La Bohème”). Decipher the intonational semantics of the opera score regarding the image of the main character. To substantiate the relationship between intonation characteristics and the semantic expression of the image. Determine the interdependence of the timbre-role of the vocalist’s voice with the accurate stage reproduction of Mimi’s image. The methodology: comparative analysis, scientifichistorical and bibliographic analysis, methodological performance analysis, figurative-semantic and acting analysis of musical material. The scientific novelty – for the first time, an analysis of Mimi’s part from G. Puccini’s opera “La Bohème” is presented under the prism of “theater of realism”. The dramaturgy of the development of the operatic part is presented as the interdependence of the vocal component and the musical semantics of the overall opera score. A justification is given for the dependence of the qualitative embodiment of Mimi’s image on a certain timbre-role. Conclusions. The construction of the score and, accordingly, the development of the figurative-semantic component of musical images in G. Puccini’s opera “La Boheme” corresponds to the general features of innovations in the musical art of the late 19th and early 20th centuries – a gradual but pronounced construction of the musical material of the opera, as the only semantic work, where the stage action, decorated with musical means, is not interrupted for a minute, revealing the images of the heroes in their transformation, which corresponds to the laws of realism theater. The performer of the role of Mimi is faced with the task of in-depth analysis of not only the vocal component of the part, but also the overall musical score of the opera, which contains the composer’s creative plan. Such professional work gives the singer the opportunity to take full advantage of her timbre-role to create a convincing musical image in the spirit of “theater of realism”.