The Musical and the Rock Opera at the Turn of the 20th and the 21st Centuries: Interactions and Dialogues
Article Sidebar
Main Article Content
Abstract
of the priority sphere of “light-genre” musical theatre – the rock opera and the musical
– during the course of the 2000s and 2010s. According to the researcher, the long-standing
opposition between the aforementioned genres: the rock opera as the manifestation of “artistic
experimentalism” and the musical as the personification of the “commercial intentions” of
modern popular culture – have presently been replaced by efficient creative dialogue. On the
one hand, the contemporary musical (along with the “academic” and “non-academic” varieties
of opera) makes great active use of the figurative-emotional and musical-stylistic arsenal of rock
music, which saturates the musical and theatre-stage dramaturgy of recently written compositions
with the appropriate energy. The apparent confirmations of this tendency are the broadly known
Russian poly-genre projects – the “opera musicals” by Efim Podgaits (“Lord of the Flies”) and
Alexander Pantykin (“Gogol. Chichikov. Souls”). On the second hand, in the newest productions
of “traditional rock opera” one can trace the inclination towards a peculiar “musicalization”
of the original text (which is stipulated by the requirements of “relevant” stage direction and
permeated with motives of “vital daily occurrence”). As examples of the described tendency,
the author of the article examines some of the recent Russian performances which re-interpret
Alexander Zhurbin’s song opera “Orpheus and Eurydice” and Eduard Artemyev’s rock opera
“Crime and Punishment.”
Keywords: musical, rock opera, interactions between genre and style, “Lord of the Flies” by
Efrem Podgaits, “Gogol. Chichikov. Souls” by Alexander Pantykin, “Crime and Punishment” by
Eduard Artemyev, “Orpheus and Eurydice” by Alexander Zhurbin.
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Andrushchenko E. Yu. Sinteziruyushchie tendentsii v myuziklakh i rok-operakh E. Lloyda- Uebbera kontsa 1960–1980-kh godov: monografiya [The Synthesizing Tendencies in the Musicals and Rock Operas by Andrew Lloyd Webber from the late 1960s to the 1980s: Monograph]. Rostov-on-Don: Rostov State S. Rachmaninoff Conservatory, 2015. 248 p.
3. Andrushchenko E. Sinteziruyuschie tendentsii v myuzikle i rok-opere vtoroy poloviny XX – nachala XXI veka: monografiya [The Synthesizing Tendencies in Musical and Rock Opera from the Second Half of the 20th to the Early 21st Centuries: Monograph]. Rostov-on-Don: Rostov State S. Rachmaninoff Conservatory, 2018. 152 p.
4. Baeva A. A. Opera [Opera]. Istoriya sovremennoy otechestvennoy muzyki: uchebnoe posobie [History of Modern Russian Music: Textbook]. Ed. by M. Tarakanov, E. Dolinskaya. Moscow: Muzyka, 2001. Issue 3: 1960–1990, pp. 186–256.
5. Budanov A. V. Kompozitor Efrem Podgaits: «Ya prosto pishu noty…» [The Composer Efrem Podgaitz: “I Simply Write Notes…”]. Moscow: Kompozitor, 2014. 448 p.
6. Egorova T. K. Rukopisi ne goryat (o postanovke A. Konchalovskim opery E. Artem'eva «Prestuplenie i nakazanie») [Manuscripts do not Combust (about A. Konchalovskiy’s Production of the Opera “Crime and Punishment” by Eduard Artemyev]. Muzykovedenie [Musicology]. 2016. No. 7. Pp. 42–46.
7. Zhurbin A. B. Kompozitor, pishuschiy slova: O sebe i svoey rabote [The Composer who Writes Words]. Moscow: Kompozitor, 2005. 352 p.
8. Il'icheva N. I. Layt-opera – novyy zhanr muzykal'nogo teatra XXI veka [Light Opera as a New Genre of Musical Theatre in the 21st Century]. Muzyka i vremya [Music and Time]. 2019. No. 4, pp. 25–28.
9. Maklaren L. Madonna [McLaren L. Madonna]. Rostov-on-Don: Feniks, 1998. 320 p.
10. Medkova M. A. Prezentatsiya opery Eduarda Artem'eva «Prestuplenie i nakazanie» [The Presentation of the Opera “Crime and Punishment” by Eduard Artemyev]. Elektronnaya muzyka [Electronic Music]. 2008. No. 1, pp. 3–12.
11. Syrov V. N. Stilevye metamorfozy roka: issledovanie [The Style Metamorphoses of Rock: Research Work]. The 2nd supplemented edition. St. Petersburg: Kompozitor, 2008. 312 p.
12. Troitskiy A. Rok-opera (Pop-leksikon) [Rock Opera (Lexicon of Popular Music)]. Muzykal'naya zhizn' [Musical Life]. 1989. No. 20, p. 31.
13. Tsuker A. K. I rok, i simfoniya: issledovanie [Both Rock and Symphony: Research Work]. Moscow: Kompozitor, 1993. 304 p.