Амплуа баритона в “Дон Жуане” Вольфганга Амадея Моцарта

Abstract

В статье рассмотрено выразительные возможности баритона – ведущего вокального тембра в “Дон Жуане” Моцарта – сквозь призму проблемы оперного амплуа. На примере сравнительной характеристики партий Дон Жуана и Лепорелло выявлено широкие возможности данного тембра в создании сценических образов различной направленности и содержания. Исследовано вопрос эволюции оперно-сценического амплуа, в связи с индивидуальным стилем композитора, этическими установками эпохи, театральными традициями, режиссерскими решениями.

У статті розглянуто виражальні можливості баритона – провідного вокального тембру в “Дон Жуані” Моцарта – крізь призму проблеми оперного амплуа. На прикладі порівняльної характеристики партій Дон Жуана і Лепорелло виявлено широкі можливості даного тембру у створенні сценічних образів різної спрямованості і змісту. Досліджено питання еволюції оперно-сценічного амплуа, у зв’язку з індивідуальним стилем композитора, етичними установками епохи, театральними традиціями, режисерськими рішеннями.

This article examines the expressive potential of baritone (the leading vocal timbre of “Don Juan” by W. A. Mozart) concerning the problem of opera role. It is thought that the bass opera repertoire was founded by G. Rossini, V. Bellini, G. Donizetti, G. Verdi. However it all started with W. A. Mozart. His music gives a new understanding of the expressive possibilities of the low-range male voices. Interest to an investigation of Mozart’s music heritage continues unabated. The increased attention of researchers aimed to author’s opera music, which became a field of active creative experiment at the end of the last century. Creative activity of singers concentrated on the search for new dramaturgical solutions of well-known opera images. It actualizes the problem of opera role, a universal concept that combines timbre, technical and dramaturgic components of the role. The article’s purpose is a disclosure of the specificity at the baritone / bass opera roles in “Don Giovanni” by W. A. Mozart. The reformatory essence of this work was emphasized repeatedly. Changes affected the vocal component; in particular, the vocal timbre of a baritone / bass was fixed in a special position in this work. It was chosen as the characteristics of four roles, three of which are the principal: Don Giovanni, Leporello, Commander. Each of them represents its own line in the complex dramaturgy of Mozart’s opera. They are the heroic (Don Giovanni), comic (Leporello) and mystically fateful (Commander). As a result, one and the same vocal timbre can implement various theater roles. Comparative analysis of Don Juan and Leporello roles carried to identify the latitude of imaginative metamorphosis, as well as the possibility of interpreting the baritone- bass roles in “Don Giovanni” by W. A. Mozart. The stage theatrical character of these heroes is studied from the position of the theatrical character of role and the score role. The theatrical character of role (it happened in the dramatic theater) is considering changes to the libretto; the score role is considering the musical text itself, the means of expression, vocal abilities. The analysis has revealed the following. The theatrical tradition treats Don Juan initially in the guise of a villain, although with traits of chivalry and fearlessness. Later this image moved from the “villain” role to the “hero” role; it moved from the comic to the dramatic/heroic. Leporello’s image is more static, not beyond the role. It gives the maximum understanding of the comic art of the 18th century, having absorbed features of his theatrical predecessors – Katalinon, Harlequin, Sganarelle, Pulcinella, etc., as well as Gansvurta of the Austrian tradition. It was a bunch of Don Giovanni and Leporello is concluded spring of rapid action of this drama giocoso. In communication heroes based both Leporello’s comedy and Don Giovanni’s heroism. The serenity of the heroic / tragic and comic was indispensable condition of classicist theater, and still dramatic, and musical. Role of the “hero”, the courageous nature of the image is revealed in the musical batch of Don Juan in the wealth conditions, thematic material; in choosing tonalities D-dur, B-dur; the predominance of exclamatory intonations, in particular rising quart movement of sounds triads, etc. … Leporello lives and acts only “in tandem” with the host, as the shadow of the latter. It has its own qualities Buffon (patter, jumps in the vocal part, ↓ m. 7, in moments of danger – in um. 7 ↓), but often repeats characteristic of Don Juan quart and fanfare motives. This, on the one hand, the contrast of the images, and on the other, their relationship, and gave rise to a certain tradition of their stage performance in musical theater. Differentiation of functions of heroes was cultivated in the productions of “Don Giovanni” for a long time – since the premiere, and until the 1970’s, when the performing arts increased tendency Regie-theater, in which the idea of the director dominates the ideas of the authors of the work – the composer, performers (in this case, of singers), conductor. An example of the former is a musical performance of the Salzburg Festival in 1953 (conducted by W. Furtwängler, Don Juan – Cesare Siepi), and the second – the film-opera “Don Giovanni. Leporello’s Revenge”, filmed in 2000 by Canadian filmmaker Barbara Willis Sweet, Dmitry Hvorostovsky and starring Don Juan and Leporello. The depth of meaning, programmed in the same “Don Juan”, allows the singer every time to build their own, unique pattern roles, overcoming entrenched scenic cliches. As a result, the opera role becomes a renewing phenomenon, while remaining an important evidence of tastes at new era.