OPERATIVE VOCAL-PERFORMANCE INTERPRETATION IN THE LIGHT OF THE HERMENEVTIC APPROACH: A PSYCHOSEMANTIC ASPECT
Abstract
The purpose of this article is to elucidate the psychosemantic aspect of solo vocal-performing intonation as a key moment of operatic interpretation, responsible for the artistic meaning and the figurative form of its embodiment in opera. The methodology of the study is determined by the development of a hermeneutical approach to the genre form, the compositional-stylistic parameters of operatic creativity, which presupposes a significant psychosemantic deepening of figuratively-intonational characteristics. The scientific novelty is due, in general, to the chosen hermeneutical approach to operatic intonation, to the definition of two basic hermeneutical contexts for the study of opera interpretation, the comparison of which contributes to the identification of key semiotic mechanisms for the formation of opera images. A novelty factor is also the approach to solo singing as a focal point of operatic vocal intonation, since it implies personal expression and expression, according to the laws of the genre, associated with the fulfillment of a certain role, with the actorplay embodiment of the key idea of opera. The findings of the study allow us to emphasize the psychosemantic aspect of the solo vocal and performative intonation as decisive in the implementation of the artistic idea of an operatic work. It turns out that the two main hermeneutical contexts for the study of vocal and operatic interpretation are determined by two substantive plans of the opera genre: outside the musical, plot-event, which is associated with certain verbal material and uses it as a tool for constructing the genre form; immanent-musical, which transforms all the components of opera synthesis into ways of embodying the conglomerate of musical intonational expressive means, subdues the whole construction of the opera with a spiritual and aesthetically pleasing singing.
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