Исполнительское искусство Марии Каллас в демонстрации “нового совершенства” сопрано в вокальном творчестве ХХ века

Abstract

В статье исследован феномен Марии Каллас по его национально-греческому культурному основанию, а также по вписанности в идею времени. Рассмотрено воплощение христианских достоинств в творчестве Каллас, проведено аналогию ее жизнидеятельности с художниками соответствующего исторического периода. Охарактеризовано ее противоречие академическому вокалу в пользу “нового совершенства” сопрано и этики “резких действий” жизни и творчества.

У статті досліджено феномен Марії Каллас за його національно-грецькою культурною основою, а також за вписаністю в ідею часу. Розглянуто втілення християнських чеснот у творчості Каллас, проведено аналогію її життєдіяльності з митцями відповідної історичної доби. Охарактеризовано її протиріччя академічному вокалу на користь “нової довершеності” сопрано та етики “різких дій” життя і творчості.

In the article was investigated the phenomenon of Maria Callas on his national-Greek cultural base, as well as inscribed in the idea of the time. M. Kallas, the child of here nation, was perceived her religious and national roots, was also generation representative of a significant mark in the history of mankind. It was a teen-movement, but in solidarity with them were psychologically and ideologically also representatives of other age status. Maria Callas showed the charge maximalist rejection of tradition, which was indicative of the atmosphere of the 1950’s – 1960’s. Last showed up in the sudden “spurts” of biography of Callas, led to her departure from the theater in the 1960’s. Let’s pay attention to the parallels of the creative M. Callas to the above figured genius, her contemporary, pianist G. Guldu: the rejection of the theatrical scene for M. Callas and the stage podium and philharmonic halls for G. Guldu in mid-1960 in terms of understanding the chosen search of artistic positions. It is considered the embodiment of Christian virtues in the works of Callas, an analogy of her life activity of artists corresponding historical period. Great musicians, that formed the glory of Greece in the XX-th century, lived outside Greece and dissociated themselves from the church, J. Ksenakis, M. Theodorakis, a representative of pop culture E. Vangelis and others. However, they were brought up the cultural aura of Greece and inseparable from her Orthodox culture. In M. Kallas case, Greek education and confession of the Orthodox faith is clearly identified some dominant behavioral and psychological indicators – such as “confusing scene and life”, which is strongly marked all who have written about Callas. Last traditionally considered by bad actor – but this approach does not correlate with the genius of Callas. This principle of the separation stage and life is born by the rationalist culture of the West, in which the qualities of differentiation is an index of cultural position as such. But in mystical concept of Orthodoxy and initially the Christian position in general Repentance miraculously transforms in this religious concept of the human being. Therefore, in the Orthodox, those who sing in the church – are support the special mission, they are in the religious sense “confuse the choir and the life”, that as a behavioral-psychological stereotype absorbed “mother’s milk”. M. Callas filled this highly intelligent non-rationalism with the analogy to the principle of singing-divine service of the Orthodoxy singing practice. And getting as a result – Miracles of creative and life transformations. This also applies to her body image and her main artistic tool – voice, in which she, in the opinion of all who heard her, was able to turn her disadvantages into advantages. Intellectualism M. Callas specifically stated in the method of her work: spontaneity was foreign to her, she worked hard, methodically, with the full voltage of the spiritual and intellectual powers. The conjugation of the spiritual – intellectual is revealing to the traditions of the Eastern Christian Church. Favorite heroines for Callas were Traviata and Norma in the opera by Verdi and Bellini, where the heroines sacrifice themselves and thus purify the soul. The idea of sacrifice is at the basis of the last and culminating role of Callas in the theater and in the film – the role of Medea. But here is a sacrifice not only herself, but also others, that forms expressionist figurative turn, corresponds to the set of avantgarde art of the 1950’s – 1960’s. It was characterized her opposition to an academic vocal in favor of a “new perfection” of soprano and ethics “drastic action” of life and work for the detection of behaviorally-creative extremism in the spirit of the youth movement of the 1950’s – 1960’s.