| |
In this article, the author analyzes the influence of cultural and historical contexts on the interpretation of soprano roles in operas by Chinese composers of the late 20th century. In the course of the study, it was found that Chinese opera works differ from Western European ones in plot, music, singing style, parties, performances, language, and development features. This leaves its mark on the specifics of the interpretation of soprano parts. The analysis of the interpretation of the soprano parts, formed under the influence of cultural and historical contexts, is analyzed in the course of the article on the example of the opera "The Gray-haired Girl" by Ma Ke and Zhang Lu and the operas Evening Reception, "Fengyi Gazebo," "Notes of a Madman," "Poet Li Bo" and "Guo Wenjing's Rickshaw. The opera "The Gray-Haired Girl" by Ma Ke and Zhang Lu reflects the social and political sentiments of the era, and the soprano roles often embody images of heroic women symbolizing struggle and perseverance. The soprano roles in the opera "Evening Reception" reflect intellectual and emotional aspects related to cultural rituals and interpersonal relationships. Based on Chinese folklore, the soprano role in the opera "The Fengyi Gazebo" focuses on the gentle and lyrical aspects of the character, through which national and cultural values are transmitted. In the opera "Notes of a Madman", the soprano part conveys the inner struggle and crisis of the characters, their social isolation and emotional tension. The opera "Poet Li Bo", based on the life and work of a famous Chinese poet, uses soprano roles to convey poetic sophistication and a sense of immortal beauty. The opera "Guo Wenjing's Rickshaw" examines the difficulties and hardships of ordinary people, and soprano roles can emphasize drama and social empathy for the plight of the characters.
Keywords:Chinese opera, cultural aspect, history, national traditions, Chinese composers, ethnic characteristics
|
LEGAL
INFORMATION:
