Принцип «баритонізації» басового голосу в партіях опер ХІХ сторіччя

Abstract

У статті узагальнено відомості про парадигматику виразових засобів високого («баритонового») баса в ХІХ столітті й подальшого його трактування у цьому аспекті. Такого роду спостереження зроблено на прикладі низьких голосів в операх Вольфгана Амадея Моцарта крізь призму концепції «баритонізації» чоловічого голосу в епоху Джоакімо Россіні й в основному Джузеппе Верді.

В статье обобщаются сведения о выразительной парадигматике «баритонизированного» высокого баса в ХІХ в., в продолжении трактовки этого рода тембральной выразительности в партиях опер В. Моцарта и в отражении концепции «баритонизации» мужского вокала в эпоху Дж. Россини и специально Джузеппе Верди.

In work are generalised information about expressive pаrаdigm of «nearly to baritone» high bass in XIX cent., in continuation of the interpretation of this sort timbre expressiveness in party Figaro in opera W. Mozart on comedies P. Beaumarchais and in reflection of the concepts «approaching to baritone» in masciline vocal in еpоch of Rossini-Verdi. The collation of the descriptions of the singing before XVIII allows to draw a conclusion about particularity of the aesthetic preferences in old Europe – for separations high-fаlcetio and low-bass sounging. The italian opera confirmed in XVIII cent. as seria – «serious», has presented its «lightened» variant in the manner of comic opera-buffo. The music decision Mozart of timbre staff in «Wedding Figaro», 1786, reflects «expansion of heroism from bass», as overcoming of their buffo loads in favour of true vocal in bass party main acting persons. Right behind for Mozart function «builder of the order disposition», Figaro, in italian opera diversionary is filled lyrics, gravity of the utterances of high moral heroes. Such «dоmеstic» and social «legitimist» Figaro – in image Gueronimo (D. Cimaroza, «Secret marriage», 1792). The new stage – a period to Restorations G. Rossini, which not only «restored» figurative singing castrated man, named by him bel canto, in souning feminine «Rоssini voice». He has also freed bass possibilities expressions – in souning of bass as such and in tenor timbre. «Barber from Sevilia» Rossini significant party Figaro as third tenor (Kavatina – in rhythm tаrаntеla!) that «draws near» her to tenor vоcаl Almaviva. The culmination vokal novation became «vоcаl revolution» J. Duprez as barytone expansion of tenor singing. Contrary process – barytone expansion of bass if consider that discriminating devil last is nonforcing softness and mobility, near to tenor souning. And development that ideas is tracked beside Rossini in «Barber from Sevilia»: «negative» Figaro – a Doctor Bartolo – is given beside timbre presenting, sanctified party Figaro beside Mozart. And singular continuation of given image emerges Mefistofele – in opera Ch. Gounod «Faust» Connects their timbre receivership: high bass, – as well as dramaturgy factors «organizer of the human relations». Between opera Rossini and Gounod lies the period, noted activity V. Bellini and G. Donizetti. The opera of Bellini «Puritane» is built in directivities on concentration bass voice in leading party of the personages. Stands out bаritone party Richard Fort – and bass Sir George. The mobility and power of the high notes in parties of Sir George allows to interprete her as party of the high bass – but in sense plan to present good noble Figaro, which will move its compatriot on patriotic feat and that on renovation of moral positive in amorous relations. The bass parties in opera G. Verdi do not comply with taxonomic frame of style specifics of Verdi. However culture of the chant in kind of role baritone «high bass» was orientated on principles dramatic-tenor singing, – but «dramatic» baritone signified in party Verdi not less, than corresponding to tenor type. The ways of romantic recostruction voice in italian opera define the especial mission bass party in creations Verdi. This destination bass vocal to researchers note, indicating on composition «Nabuссo» (1841) as on that, which marks «end-to-end» line bass expressiveness on the following stage creative activity. In opera «Simon Boccanegra» surprises the concentration of the male chant and low voice in him: three mains of the personage from five – a basses. Reasoning of Boccanegra obviously, to functions of reasoner find in image Fiesko. The high sense of the duo two basses – a state justified position, which became all more actual in national consciousness italian with advancement to termination of the Public war G. Garibaldi. And continuation to this ideas – a duo Filipp and Inquisitor in «Don Carlos». So they note, indicating and bass party of the Pharaoh, which personifies the unity of folk and state authorities, allegory which there is march. Such understanding authorities ruler answers the legend and waiting the miscellaneous folk – social «creative activity of the relationships» Figaro ща Mozart-Beaumarchais finds in opera Verdi power social-state materialization.