CULTURAL INTEGRATION OF CHINESE OPERA SINGERS (SOPRANOS) INTO THE EUROPEAN VOCAL TRADITION THROUGH THE PRISM OF GLOBALIZATION PROCESSES

Abstract

The article examines the process of cultural integration of Chinese female singers (sopranos) into the European vocal tradition in the context of their mastery of the bel canto style, viewed through the prism of globalization processes that constitute an integral part of contemporary life and increasingly influence cultural existence. Accordingly, cultural exchanges along the “East–West” vector testify to certain changes in China’s performing arts, significantly reducing the weight of national factors in shaping its cultural “identity.” To substantiate this thesis, the study addresses the performance activities of selected Chinese singers throughout the 20th century and the first decades of the 21st century, which demonstrate their significant contribution not only to Chinese but also to world musical culture and serve as a vivid example of organic artistic integration into the European vocal tradition. In this context, the phenomenon of the so-called “Chinese bel canto” is partially addressed. It is noted that, compared to the previous major historical period in the development of Chinese culture and vocal art, the stage of its active transformation is very short and encompasses the 20th century, thus fundamentally changing the national system of music education. On the basis of scholarly sources, the reasons for the success of this process are identified, in particular those related to the touring activities of foreign musicians and singers since the beginning of the 20th century, the development of concert performance and musical life as a system, and subsequently the study and dissemination of European cultural experience by Chinese artists. These factors contributed to a gradual change in repertoire policy and the inclusion of works by Western European composers in performance programs. It is emphasized that the successful mastery of the Western European vocal manner by Chinese performers, as well as the participation of prominent representatives of Chinese vocal culture in numerous opera productions at leading theaters worldwide, underscore their international status. To address the topic of the article, the following methods are employed: historical, biographical, musicological, culturological, systemic, and descriptive-analytical, which facilitate the identification of the characteristics of the formation of Chinese performers as academic singers of the “European model”.