Камерный генезис оперного жанра в определении выразительной специфики "Дидоны и Энея" Генри Перселла

Abstract

В статье исследованы особенности актуальных смысловых срезов камерной “мадригальной” оперы Г. Перселла “Дидона и Эней”, рожденной в условиях английского прото-рококо конца XVII века. Рассмотрена специфика соответствующих стилевых тяготений оперы к адраматическим структурам неосимволистской современности. Охарактеризован отличительный признак оперы “Дидона и Эней” Г. Перселла – ее камерность, обусловленная культурным принципом прото-рококо как детище английской Реставрации XVII века

У статті досліджено особливості актуальних смислових зрізів камерної “мадригальної” опери Г. Перселла “Дідона та Еней”, народженої в умовах англійського прото-рококо кінця XVII століття. Розглянуто специфіку відповідних стильовых тяжінь опери до адраматичних структур неосимволістського сьогодення. Охарактеризовано відмінну ознаку опери “Дідона та Еней” Г. Перселла – її камерність, зумовлену культурним принципом прото-рококо як дітища англійскьої Реставрації XVII ст.

The content of this article is the researched peculiarities of current sense lenses of the chamber “madrigal” opera by G. Purcell “Dido and Aeneas” born in the conditions of English proto-rococo of the end of XVII cent. and therefore responding the stylistic longings towards a-dramatic structures of neo-symbolic contemporary. Chamber music as a term formed within the art of early baroque and classicism in a paired relatedness with the church quality of expression: church – chamber sonata, concert. A within this pair of terms in the traditions of secularized scientific approach it is common to interpret the term “chamber” as “secular”, therefore opposing to the church type of genre. Such antithesis “chamber-church” was unknown to the French instrumental tradition, in which the saloon art was determined as a type of spiritual assembly as an inheritance of the likes of Gallia of IV–VI centuries, that represented the Orthodoxy of the Merovingian epoch. Church-spiritual signs of saloonness were defined by figurativity and composition symbols of rococo. This direction formed in specific conditions of French aristocratic, namely deeply religious tradition. French saloonness had direct analogy in practice of Italian cameratas – and formation of English opera happened in the face of G. Purcell, who’s wholly the contemporary of English Restoration, apprentice of pro-French oriented English Chapel. The features of related stylistic longings towards a-dramatic structures of neo-symbolical contemporaneity have been researched. Transformation of story about the heroic mission of Aeneas into the story of unfortunate love of Dido was mentioned, from which Aeneas separated through the intrigues of witches but not the call of honor of the Rome’s Founder that indicates conscious feminization of not only the participants of the performance, but also of the concept of the story. Also stands out the factor of play activity related with the mythological story, from which the sacrificial heroic core of events and psychology of heroes is consciously removed and the tempered sacrifice of Dido’s love stands out. All the aforementioned means that the greatness of Purcell is a genially capacious generalization of original achievements of English-Briton aristocratic art of the Restoration epoch as nationally independent branch of proto-rococo. Distinguishing feature of the opera “Dido and Aeneas” by G. Purcell is characterized: its chamberness stipulated by cultural principle of proto-rococo as the child of English Restoration of XVII cent., who, within the conditions of English Restoration, established in closeness to the French opera through introduction of ballet performances and basing on tenor part in the characteristics of the main hero. Though the opera by Purcell principally disassociates in the spirit of Briton-English saloonness of “masks” from the dramatic-tragic declamatory pathetics for the benefit of madrigal contemplationess and academic elegance of art, feminine and actable grounds of which formed the style quality marked as Briton-English proto-rococo by us.