Феномен наполеоновского ампира и традиции музыкального театра Гаспаре Спонтини

Abstract

В статье исследовано феномен наполеоновского ампира, определившего специфику французской культуры первой половины XIX века. Рассмотрено проекции данного стиля в музыкальном театре Франции указанного периода. Охарактеризовано оперное творчество Гаспаре Спонтини (“Весталка”, “Фернандо Кортес”, “Олимпия”) в русле типологических качеств названного стиля.

У статті досліджено феномен наполеонівського ампіру, що визначив специфіку французької культури першої половини XIX сторіччя. Розглянуто проекції даного стилю в музичному театрі Франції вказаного періоду. Охарактеризовано оперну спадщину Гаспаре Спонтіні (“Весталка”, “Фернандо Кортес”, ”Олімпія”) у руслі типологічних якостей названого стилю.

Empire style, developed in Europe in the first half of the XIX century and manifested primarily in architecture and the visual arts, it is focused on the idea of pomp, power elevation, exaltation of the emperor figures until sacralization. Details of this style, thus directly involves the essence of the concept of “Empire”. typological quality of Empire, on the one hand, show the community “imperial models” of the various states, including France and Russia, on the other – can reveal the specifics of their implementation in specific national and historical conditions. In the latter case, the French absolutism of modern times and its imperial “incarnation” in the XIX century indicative of the emphasis on educational and civilizing mission, whereas in the history of the Russian Empire during all stages of its existence, has consistently advocated spiritual understanding of the messianic idea of Russia as a keeper (on the “Third Rome” Rights) orthodoxy inherited from the Byzantine Empire. However, it should be noted that this kind of discrimination in France and Russia delineated quite clearly imperial ideas in the modern times, especially in the first half of the XIX century. While the genesis and the French and Russian absolutism and imperial still goes back to the Middle Ages, in particular, to the ideals of the Christian empire, prevailing in Byzantium. The idea of “symphony of powers” and the high emperor authority (the king) as a secular and spiritual ruler in one person was important not only for Russia. Russia, and France, interest in them throughout its history and in one way or another subsequent to them in accordance with the traditions of the Gallican church and Gallicanism in general. Musical as “signs” Empire became those genre areas in which the scale of design and ideas alongside a pillar on the typical, generally valid means of musical expression, which is often the genesis dates back to the spiritual and religious traditions. Similar quality in the French culture, of course, had an opera, the occurrence of which in the XVII century. It was inseparable from the ideas of French absolutism and its associated culture them. Empire style was formed in the French culture of the early XIX century. He served as a frame of almost religious cult of Napoleon, he became the personification of his political power and military glory. “Next” Napoleon Bonaparte in the history of the world is evident not only in its militarystrategic and military victories, but also in the French culture, generated by its age. A. Burovskiy considering personality “Emperor of the French”, noted that Napoleon in his activity is always guided by the idea-the idea of France as a “cultural leaders in Europe”. G. Spontini – composer of the time of the Empire and the Restoration, when once again become fashionable all solemn, majestic, monumental. Reign in different spheres of public life conservative-protective trend paves the way for strengthening the ailing, were classical positions. In the art of opera classicism in its officially recognized variant triumphed it works G. Spontini. Aged in “Empire” style, his opera acquired modern sound thanks to the “method of illusions”, the essence of which is the ability to correlate acts, deeds and character of opera characters with real historical persons. For “Empire style” opera by G. Spontini characterized by the dominance of certain types of heroes – strong, bright natures, showing their generalship, military, heroic qualities (Licinius, Cortes, Cassandra). An essential feature of the heroes of “Empire style” Opera serves their ability to selfsacrifice, not only due to their quality, but also the semantic essence of Empire as the Empire style, since the latter, according to M. Ugrin, “... keeps the spirit of service and sacrifice”. Designated properties opera heroes G. Spontini appealing complemented the composer and librettist to “the method of allusion,” allowing, as previously stated, to compare the quality of these operatic characters with the personality of Napoleon Bonaparte, its epoch.