REFLECTIONS ON THE MUSICAL AND THEATRICAL APPROACH TO LYUBASHA`S IMAGE IN THE OPERA THE TSAR’S BRIDE BY N. RIMSKY-KORSAKOV
This article aims to render in an analytical manner the personal experience of Tatiana Busuioc, who performed the role of Lyubasha in the opera ‘Th e Tsar’s Bride’ by N. Rimsky-Korsakov, which was premiered on the 22nd of September 2010 at the Maria Biesu National Opera and Ballet Th eatre. ‘Th e Ts...
| Main Authors: | , |
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| Format: | Article |
| Language: | deu |
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Notograf Prim
2016-12-01
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| Series: | Studiul Artelor şi Culturologie: Istorie, Teorie, Practică |
| Online Access: | http://revista.amtap.md/wp-content/files_mf/149848202248_52_ReflectiiasupratratariimuzicalsceniceachipuluiliubaseiinoperaMireasaTaruluideN.RimskiKorsakov.pdf |
| Summary: | This article aims to render in an analytical manner the personal experience of Tatiana Busuioc, who performed the role of Lyubasha in the opera ‘Th e Tsar’s Bride’ by N. Rimsky-Korsakov, which was premiered on the 22nd of September 2010 at the Maria Biesu National Opera and Ballet Th eatre. ‘Th e Tsar’s Bride’ is one of the most performed operas amongst the composer’s works, and was written in 1898 on the basis on the corresponding drama of the Russian playwright and poet, Lev Mei (1822-1862). We will carry out an analysis of the theatrical acting in relation to the vocal performance, which was used to construct a complex female character and to reveal the internal spiritual world of the character. We will also attempt to pinpoint and highlight the most important moments related to the particularities of the vocal interpretation techniques, in terms of the need for stage movement, the need to create a plausible emotional state, as well as the artistic expressivity in both solo and chorus vocal parts. Keywords: opera, vocal interpretation, soprano, acting, Lyubasha’s image, solo, ensemble |
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| ISSN: | 2345-1408 2345-1831 |