Can a historical legend be classified as a variety? Myth, fairy tale, legend

theme of the issue: Libretto for the crisis Author: Sergey Golubitsky The current theme of the issue continues the series about the impact of the crisis on the IT industry, which we started a week ago. But if in the last issue we were talking about real and tangible matters - goods, corporate budgets, workers

THE SECRET LIBRETTO "NORD-OSTA"

SECRET LIBRETTO "NORD-OSTA" Stanislav Belkovsky November 18, 2002 0 47(4670) Date: 11/19/2002 Author: Stanislav Belkovsky SECRET LIBRETTO "NORD-OSTA" (Why and for what did the hostages die?) Vladimir Putin lost the fight for Kaliningrad . This is the real outcome of the EU-Russia summit,

The libretto, whipped up by Schikaneder, combined several plot sources. Initially, it was based on the popular fairy tale “Lulu” from a collection of fantasy poems Wilanda "Jinnistan, or Selected Tales about fairies and spirits." However, in the process of work, the plot was “redrawn”, greatly changing (to the point that negative characters unexpectedly turned into positive ones, and vice versa).

At first glance, “The Magic Flute” is an opera-fairy tale that glorifies the victory of light over darkness, good over evil, love over deceit, perseverance over cowardice, friendship over enmity. In fact the last opera The composer's work is the deepest philosophical work in which Mozart's ideal of a just state is embodied. With all the confusion plot plot the idea of ​​the opera is extremely clear: the path to happiness lies only through overcoming difficulties and trials. Happiness is not given by itself, it is acquired as a result of resilience and fidelity, devotion and patience, love and faith in good forces. It is also significant that the forces of good and evil lie not only in human characters, they are rooted in the very foundations of the universe. In the opera they are personified by magical symbolic characters - the wise wizard Sarastro (bearer of the “sun sign”) and the insidious Queen of the Night. Tamino, a man seeking the truth and coming to it through a series of trials, rushes between the solar kingdom and the kingdom of the night.

the main theme of The Magic Flute - the way out of spiritual darkness into the light through initiation - is the key idea of ​​Freemasonry;

wizard's name "Sarastro" is the Italianized form of the name Zoroaster, a famous ancient sage, philosopher, magician and astrologer. According to Babylonian legends, Zoroaster was one of the first masons and the builder of the famous Tower of Babel (an image especially close to the “free masons”). In Egypt, this thinker was associated with the cult of Isis and Osiris, which also has an “echo” in the opera (the action takes place in Ancient Egypt, on the banks of the Nile, surrounded by palm groves, pyramids and temples dedicated to the cult of Isis and Osiris);

The symbolism of the number 3, which was sacred to the Masons, runs through the entire “Magic Flute” (three Ladies, three Boys, three temples, three opening chords in the overture, etc.);

The trials that Prince Tamino undergoes during the opera are reminiscent of a Masonic initiation ceremony. One of the tests takes place inside a pyramid, which is a traditional Masonic symbol.

In The Magic Flute, Mozart realized his dream of creating grand opera in German. Unlike most of the composer's other Italian-based operas, it draws on tradition Singspiel . This is an Austro-German type of comic opera. . A special feature of the singspiel is the alternation of complete musical numbers with spoken dialogues. Most of the numbers are ensembles, very diverse in composition and combination of voices.

A typical Singspiel plot is a fairy tale. The laws of fairy tales allow for the biggest surprises that do not require detailed explanations. That's why the basic principle dramaturgy "The Magic Flute" - a comparison of short scenes with frequent changes of scene. In each such scene, the composer’s attention is concentrated on this specific situation (the separation of lovers, the vengeful plans of the Queen of the Night, the funny treachery of Monostatos, the comic adventures of Papageno) or on the depiction of character images.

Both acts of the opera end with grand finales. At the same time, a peculiar feature of “The Magic Flute” is the accumulation of events not in the first, but in the second finale, and the abundance of private endings before the onset of the general, final outcome. First, Tamino and Papageno reach the gates of Wisdom and Love, then the fate of Papageno is resolved, who finally finds his Papagena (duet “Pa-pa-pa”). What follows is the disappearance of evil forces, whose power has come to an end. And only after all this comes the final triumph.

In the music of the opera, three leading figurative spheres can easily be distinguished: Sarastro, the Queen of the Night and Papageno. Each of these heroes is associated with a certain set of genre and thematic elements.

Mozart's Sarastro embodies a very popular in the 18th century the idea of ​​an enlightened monarch . He stands at the head of a perfect state, the people love and glorify him. Sarastro is fair, however, for good purposes he resorts to violence: he punishes Monostatos for pursuing Pamina; Pamina is forcibly kept in his kingdom in order to protect her from the evil influence of the Queen of the Night.

His kingdom is depicted in bright, calm, majestic colors. Such are both Sarastro's arias, the choirs and marches of the priests, the Boys' terzetto, the duet of the men-at-arms. The basis of their music is composed of melodies in the spirit of strict polyphony, close to the Masonic songs of Mozart and his contemporaries, and solemn marches reminiscent of Handel’s oratorios or Bach’s orchestral overtures. Thus, Sarastro's sphere is a combination of songfulness with hymn and chorality. Mozart in every possible way emphasizes her nobility, spirituality, and radiance.

The evil, dark beginning in The Magic Flute does not seem too scary, it is not taken very seriously, with a certain amount of irony. This sphere is represented by the vengeful Queen of the Night and her servant Monostatos.

The consignment Queens of the Night goes back to the style of seria, although with the elements of parody inherent in comic opera. Mozart characterizes it by means of virtuoso coloratura, which is very technically complex ( shining example- “Aria of Revenge” from Act II).

Papageno's sphere - comedy, play. Its genre basis is Austrian everyday song and dance music. Through the image of Papageno, The Magic Flute is more than any other Mozart opera connected with the Austrian folk theater. This funny character- a direct descendant of the national comic hero Hanswurst, although he has a different appearance (a product of the fairy-tale element, the “bird man”, Papageno personifies the natural, natural beginning in life). Folklore elements are clearly felt in both Papageno’s arias (“I am a well-known bird catcher...”, “A girl or a little wife...”) and brightly comic duets (for example, Papageno-Monostatos, scared of each other, or Papageno-Papagena “Pa-pa-pa” ). In their music, the Haydn tradition comes to life, but poeticized.

The relationship between Tamino and Papageno in the trials is not clear; it not only demonstrates the courage of one and the cowardice of the other, but to some extent gives a humorous touch to the excessive solemnity of the situation in which the action takes place. Thus, the folk comic element acts as a kind of counterbalance to serious Masonic themes, while, thanks to the fairy tale opera genre, it coexists quite peacefully with philosophical issues.

The remaining heroes are distributed between these three spheres, and this does not always happen unambiguously. Thus, the three ladies from the retinue of the Queen of the Night only partially belong to her sphere. In their musical characteristics, the features of the Austrian singspiel and buffa occupy an important place, and only in the 10th scene, in the march of the conspirators, together with the Queen of the Night and Monostatos, they acquire features that bring them closer to the ominous element of the Queen of the Night.

The image of Tamino evolves in accordance with the change in his attitude towards Sarastro: from an enemy he becomes his follower and like-minded person - and this is reflected in his musical characteristics. If at the beginning of the opera Tamino’s music is in many ways close to the seria style, then later it approaches the sphere of Sarastro.

Pamina, as the daughter of the Queen of the Night, largely inherits the language of seria (for example, in the g-moll aria No. 17), but in a duet with Papageno (No. 7) her musical characteristics acquire folk song features.

In general, Tamino and Pamina’s arias lack virtuosic brilliance, are written in modest, singspiel forms, and are close to folk song lyrics. An example is the “aria with a portrait” (No. 3).

As for Monostatos, he is a typical oriental villain for comic opera, and his characterization is completely buffoonish. His musical speech distinguished by rapid patter.

In accordance with the genre specifics of The Magic Flute, the three indicated spheres do not come into conflict, as in Don Juan, they coexist peacefully (as happens in a fairy tale). The basis of the opera is not a dramatic clash of antagonists and not a comedic rapid “unwinding” of intrigue, but an epic unfolding; not a conflict, but a comparison, not a progressive, purposeful process of thematic changes, mutual influences, but a dramaturgy of parallel layers.

Overture(the solemn opening Adagio and the sonata Allegro, Es-dur) is externally based on French traditions. French overture - slow introduction and fugato. Adagio – powerful and solemn. Allegro on a lively, light theme (from Clementi's sonata).

Ushakov's Dictionary

Libretto

libre tto, several, Wed (Italian libretto) ( theater.).

1. Verbal text of a large musical and vocal work, preim. operas.

| A brief summary (usually placed in a theater program) of the plot of the opera or play being performed ( decomposition).

2. Plot plan, script outline for ballet or films. The libretto is ready, all that remains is to develop the script.

Culturology. Dictionary-reference book

Libretto

(it. libretto, lit. - little book)

1) literary text of an opera, operetta, or less often an oratorio. Usually written in verse;

2) literary script for ballet, pantomime;

3) presentation of the content of opera, ballet, drama in a theater program or a separate booklet (hence the name);

4)

Dictionary of musical terms

Libretto

(it. libretto, literally: little book)

1. Literary text of opera, operetta, cantata, oratorio.

2. Ballet script.

3. A short summary of the content of an opera, ballet, drama, film, etc.

Explanatory Dictionary of the Russian Language (Alabugina)

Libretto

, uncl., cf.

1. Verbal text of a theatrical musical and vocal work.

2. Brief summary of the content of the opera, play.

* Retell the libretto. *

encyclopedic Dictionary

Libretto

(Italian libretto, lit. - little book),

1. literary text of an opera, operetta, or less often an oratorio. It was originally published as a separate book (hence the name).
2. Literary script for ballet and pantomime.
3. Presentation of the content of opera and ballet.
4. The plot outline or outline of a film script.

Ozhegov's Dictionary

LIBR E TTO,uncl., cf.

1. Verbal text of a theatrical musical and vocal work. L. Opera.

2. Brief summary of the content of a play, opera, ballet.

3. Scenario plan (special).

Efremova's Dictionary

Libretto

1. Wed several
   1. Text of a theatrical musical and vocal work (opera, operetta, cantata and oratorio).
   2. Script for ballet, pantomime, etc.
   3. Brief summary of the content of opera, ballet, etc. (usually placed in a theater program).
   4. The plot outline or outline of a film script.

Encyclopedia of Brockhaus and Efron

Libretto

(it.) - a book containing the text of a large vocal composition, secular or spiritual, for example an opera, operetta, oratorio, cantata. L.'s text is written in verse, mostly rhymed. Prose is sometimes used for recitatives. The text itself is also called L. The plots for L. are for the most part literary works, altered according to musical requirements. Sometimes L. is an independent work of a librettist or opera author, for example. Wagner, A. N. Serov (“Judith”). Notes are sometimes attached to the poem in order to give the main guiding melodies of the composition or its best passages. Often L. only briefly explains the action taking place on stage, without reproducing the words of arias, recitatives, etc. See Sun. Cheshikhin, " Brief librettos"(Riga, 1893). Small books published by Ya. Volkov, with short biographies composers, "Abridged L. operas" (about 70), "Brief L. operettas and comic operas"(about 40) and several "Ballet Programs" (in ballets programs correspond to L.).

Oddly enough, if we asked a resident of the 17th and 18th centuries what a libretto is, he would answer with full confidence that it is a book! Indeed, the name of this is translated exactly like that. Libretto used to be the name given to the literary basis of opera, ballet and other dramatic works. was a kind of script where the action of a stage production was described. But it was not given to him to become separate, because the plot described in the book was closely connected with the opera or musical itself. Later, this term began to be used to refer to certain

History of the libretto

Until the mid-18th century, all productions were staged in this musical vein, adhering to a certain scheme. This was due to the fact that most of the dramatic tasks were of the same type. Several composers could use the same libretto in their works. But in the second half of the 18th century there even appeared separate species activity - composing musical accompaniment. The librettist had to come up with individual plots, not similar to the previous ones. This person understood better than anyone what a libretto was, and, working together with the composer, was ready to offer suitable options. Of course, it was necessary to understand and convey the original author's idea, the nature of the dramatic work. We can say that the librettists faced a difficult task - to combine the poems, the musical component and the actions of the characters in the production. For example, famous masters of this genre were R. Calzabigi (Gluck used his services when working on “Orpheus and Eurydice”) and Da Lonte (collaborated with Mozart, Tchaikovsky, Rimsky-Korsakov and others

What is a libretto in the 19th century?

In these times of professional writers to write literary foundations composers began to replace operas, ballets and operettas. True, in order to understand what a libretto is and how to complement the production with it, considerable creative potential. There were also composers who continued to collaborate with librettists, but trusted them to perform other tasks. A person, for example, had to prepare only a poetic text.

Examples of productions and their authors

The basis for the libretto to this day is literary works, which are processed in accordance with musical and stage requirements. For example, this feature can be noticed when comparing Pushkin’s “Queen of Spades” and Tchaikovsky’s interpretation of it. Few works of this genre can be called autonomous, that is, written specifically for a specific production. It is known that composer Richard Wagner wrote librettos for all of his works independently. Alexander Serov, a Russian composer, had the same talent. He is the author of the librettos of the operas “Judith” and “Rognada”, although the latter was written in collaboration with theater critic Dmitry Averkiev.

The relevance of the genre in modern times

Modern Musical Theatre does not stand still and actively offers viewers new genres and productions. Of course, the most striking innovation was the musical. Libretto to this genre differs slightly, because this musical performance essentially “coming from” American operetta. A musical is also basically a musical interpretation of a literary work. True, there is more theatricality in it, complemented by choreography, staged situations, and special movements of the actors. And of course, main role music plays in it, which means that the libretto in this case receives much more significance than it previously had in the operetta.

Libretto

(Italian libretto, lit. - little book).
1) The verbal text is musical and dramatic. works - operas, operettas, in the past also cantatas and oratorios. Name due to the fact that opera L. from the end. 17th century often issued for visitors to the t-row in the form of small books. L. cannot be considered as independent. lit.-dramatic production; representing a literary-dramatic basis of the opera, they find their true meaning and reveal their merits only in unity with music, when staging works. Up to mid. 18th century in L.'s composition a certain scheme prevailed, due to the uniformity of musical and dramatic. tasks. Therefore, the same successful L. was often used repeatedly. composers. Later, literary works are, as a rule, created by the librettist in close contact with the composer, sometimes in his presence. participation, which ensures the individual nature of the concept and a closer unity of action, words and music (these are the L. created by R. Calzabigi for Gluck’s “Orpheus and Eurydice”, L. Da Ponte for Mozart’s “Don Giovanni”, M. I. Tchaikovsky - to “The Queen of Spades” by Tchaikovsky, V.I. Belsky - to “Tsar Saltan”, “The Tale of the Invisible City of Kitezh and the Maiden Fevronia” and “The Golden Cockerel” by Rimsky-Korsakov, etc.). Since the 19th century. some outstanding composers, possessed literary and dramatic. talent, they created the literature of their operas independently, without resorting to the help of a librettist or using it partially, for example. for the preparation of poetic texts (G. Berlioz, R. Wagner, A. Boito, M. P. Mussorgsky, in the 20th century - S. S. Prokofiev, K. Orff, J. F. Malipiero, G. C. Menotti and etc.).
Basic The source of L.'s plots is art. literature - folk (myths, legends, epics, fairy tales) and professional (poems, novels, short stories, dramatic plays, etc.). L., not having any lit. prototypes are found relatively rarely (L. Meyerbeer's opera "Robert the Devil", written by E. Scribe; L. of the opera "Khovanshchina" by Mussorgsky, created by the composer himself, and some others). When processing literary works into L. b. h. undergo significant changes: sometimes only the plot is borrowed, in other cases it is used general composition, partly the text. Often, the very concept of production changes significantly. (“The Queen of Spades” by A. S. Pushkin and P. I. Tchaikovsky). Use cases are dramatic. prod. in L. completely or with insignificant. reduction and addition of the text in 19 and beginning. 20th centuries were isolated ("The Stone Guest" by Dargomyzhsky according to Pushkin, "Pelléas and Mélisande" by Debussy according to Maeterlinck, "Salome" by R. Strauss according to Wilde, etc.), in modern times. In opera they occur quite often, without any exception. phenomena.
The types of literature and their features are extremely diverse both in content and in terms of general structure and application of poetry and prose. text, the presence or absence of division of the text into numbers, etc. The history of L. is inextricably linked with the history of opera in all its genres and nationalities. varieties. Each historically specific type of opera (for example, Italian opera seria and opera buffa, French “grand” and comic opera, German Singspiel, Russian historical and fairy-tale opera, epic opera, etc.) has its own type L. One of the most important problems when creating L. - a combination of scenic logic. actions, i.e. natural. development of events and characters, with the laws of music. compositions: alternating vocals, choreographic and symphony episodes, changes in tempo and dynamics, completeness of certain operatic forms (arias, monologues, ensembles), and finally, special requirements for the text (laconicism, ease of pronunciation, simultaneous combination of various texts in ensembles, etc.). Due to the specificity of literary dramaturgy, chapters worked in this area. arr. minor poets and playwrights. However, outstanding literary figures also took part in the creation of L. figures different eras(in the 18th century - P. Metastasio and C. Goldoni, in the 19th century - E. Scribe, V. Hugo, E. Zola, in the 20th century - G. Hofmannsthal, S. Zweig, J. Cocteau, P. Claudel, etc.). High craftsmanship Some writers who worked almost exclusively also achieved it. in the genre of L. (P. J. Barbier, A. Meliac and L. Halévy in France, F. Romani and S. Cammarano in Italy, V. I. Belsky in Russia, etc.).
2) Literary script for a ballet performance.
3) Brief summary of the content of opera, operetta, ballet.
Literature: Yarustovsky B., Opera dramaturgy of P. I. Tchaikovsky, M. - L., 1947; his, Dramaturgy of Russian Opera Classics, M., 1953; by him, Essays on the dramaturgy of 20th century opera, book. 1-2, M., 1971-75; Druskin M., Questions of musical dramaturgy of opera..., M., 1952, ch. 1; Kleszunski J., O estetyce libretta operowega, Warsz., 1892; Istel E., Das Libretto, V. -ЗLpz., 1914, revised. ed. The art of writing opera-libretto, N. Y., 1922; Sonneсk O. G. Th., Catalog of librettos printed before 1800, v. 1-2, Wash., 1914, 1945; Kraussold M., Geist und Stoff der Opernichtung, Lpz., 1931; Delia Corte A., La "poesia per musica" e il libretto dopera, Turin, 1950; his, Drama per musica dal Rinuccini alio Zeno, v. 1-2, Turin, 1958; Rollandi U., Il libretto per musica attraverso i tempi, Roma, 1951; Fortner W., Lion F., Gramer H. v., Libretto der neuen Oper, "Akzente", 1957, H. 2; Schumann K., Die Emanzipation des Librettos. Literarische Tendenzen in der modernen Oper, in: Lebt die Oper?, Bonn, 1960; Weisstein U., The libretto as literatur, Norman (Okla.), 1961; Müller R., Das Opernlibretto im 19. Jahrhundert, Winterthur, 1966; Bragaglia L., Storia del libretto. Nel teatro in musica come testo e pretesto drammatico, v. 1, Roma, 1970; Smith P. J., The tenth muse. A historical study of the opera libretto, N. Y., 1970; Thiel E., Rohr G., Libretti: Verzeichnis der bis 1800 erschienenen Textbücher, Fr./M., 1970 (Kataloge der Herzog August-Bibliothek Wolfenbüttel. Neue Reihe, Bd 14). E. S. Chernaya.

Music Encyclopedia. - M.: Soviet Encyclopedia, Soviet composer. Ed. Yu. V. Keldysh. 1973-1982 .

See what “Libretto” is in other dictionaries:

- (Italian, little book, notebook). Words that make up the content or explanation of an opera or ballet. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. LIBRETTO, etc. A book explaining the content of a ballet or opera. Explanation... ... Dictionary of foreign words of the Russian language

Libretto- LIBRETTO text of a vocal work: most often this term is applied to the verbal and script element of an opera or operetta. Attributing the librettization not to il libro (book), but to il libretto or libello, i.e. “little book,” reveals... ... Dictionary of literary terms

Libretto- a work with the text of an opera or outlining the content of a ballet. For publication from full text L. is compiling a bibliogr. entry under the name of the librettist, even if on tit. l. The publication lists the composer as the author. Eg.: Sterbing Ch.... ... Publishing dictionary-reference book

LIBRETTO, uncl., cf. (Italian libretto) (theatre). 1. Verbal text of a large musical vocal work, mainly. operas. || A brief summary (usually placed in a theater program) of the plot of the opera or play being performed (colloquial). 2. Plot... ... Ushakov's Explanatory Dictionary

Presentation, plan Dictionary of Russian synonyms. libretto noun, number of synonyms: 3 presentation (41) plan ... Synonym dictionary

libretto- libretto. Pronounced [libretto] and [libretto]... Dictionary of difficulties of pronunciation and stress in modern Russian language

- (Italian libretto lit. little book), 1) literary text of an opera, operetta, or less often an oratorio. Originally published as a separate book (hence the name). 2) Literary script for ballet, pantomime. 3) Presentation of the content of opera, ballet. 4)… … Big Encyclopedic Dictionary

LIBRETTO, uncl., cf. 1. Verbal text of a theatrical musical vocal work. L. Opera. 2. Brief summary of the content of the play, opera, ballet. 3. Scenario plan (special). Ozhegov's explanatory dictionary. S.I. Ozhegov, N.Yu. Shvedova. 1949… … Ozhegov's Explanatory Dictionary

Wed, uncl., Italian. in translation, a little book, notebook: words, content or explanation of an opera, ballet. Dahl's Explanatory Dictionary. IN AND. Dahl. 1863 1866 … Dahl's Explanatory Dictionary

- (Italian libretto, lit. - little book) 1) literary text of an opera, operetta, or less often an oratorio. Usually written in verse; 2) literary script for ballet, pantomime; 3) presentation of the content of opera, ballet, drama in a theater program or a separate booklet... Encyclopedia of Cultural Studies