Conceptual and Dramaturgical Principles in the 19th Century Opera on a Biblical Subject
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Abstract
The article is devoted to the study of some features of the interpretation of the biblical historical concept in the romantic opera of the 19th century. Its conceptual and dramatic matrix is defined as universal, since it operates not only in operatic works with biblical themes, but also in musical dramas that are not related to the embodiment of the events of Holy Scripture, but have a religious conflict. This type of opera poetics is based on the principles of biblical historicism, which is based on the idea of Divine Providence. It is determined by the religious and philosophical tragedy, which arises from the content of the Holy Scripture and forms the stages of the entire dramatic process. The author traces the genesis of this phenomenon and notes that one of the first dramatic principles of biblical history was embodied by the Italian opera of the 19th century. This process was embodied in a special space-time continuum of musical dramas, containing three times: the past, associated with the violation of God՚s Covenant (starting point), the present, embodying the idea of punishment for the crime of God՚s laws (the development of the conflict to the climax and the beginning of the denouement), and the future, signifying the redemption of sins and salvation (denouement and catharsis).
Keywords: biblical historicism, religious and philosophical tragedy, dramaturgy, opera on biblical subject, the 19th century opera, Bible, conceptual and dramaturgical principles, Holy Scripture.
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