Concerning the Question of the Interpretation of the Tragedy of Karl Gutzkow “Uriel Acosta” in Valentina Serova’s Opera of the Same Title
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Abstract
composer of the so-called “second tier,” a public figure, musical critic, and the author of five operas,
works for symphony orchestra and cycles of instrumental miniatures. Comparison is made between
the opera libretto and the literary source, and examination is made of the particularities of the
content and dramaturgy of the work. Analysis is made of the idea, the content and the dramaturgy
of the tragedy with the same title by German writer, playwright and public figure Karl Gutzkow,
which served as the source of the libretto. Emphasis is made of the presence of two plotlines: the
social-religious and the lyrical; demonstration is made of the differences in the correlation of the
given lines – the predominance of the first in the play and of the second (the theme of tragic love)
in the libretto. Observation is made of the changes added by the composer into the primary source
as the reflecting shift of literary accents: the replacement of the names of the main protagonists and
the contingent of the dramatis personae, as well as the cuts of several of the characters and scenes;
the addition of new scenes; abridgement of the text in separate preserved episodes; a different
interpretation of the stage situations, etc. The connections with the operatic conceptions of Piotr
Tchaikovsky (the leading role of the lyrical line, the aspiration towards endowing the images with
greater psychological attributes, the wavelike dramaturgy) are brought to light.
Keywords: Valentina Serova, Karl Gutzkow’s tragedy, the opera “Uriel Acosta.”
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References
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