Shapinskaya Ekaterina Nikolaevna,
Doctor of Philosophy, Professor,
Deputy Director of the Expert-Analytical Center
for Development of Educational Systems
in the Sphere of Culture,
the Lykhachev Russian Research Institute
for Cultural and Natural Heritage
e-mail: reenash@mail.ru

Tsodokov Yevgeny Samsonovich
Editor-in-Chief
E-Journal “OperaNews”
e-mail: tsodokov.es@mail.ru

Paradox of Opera-1: Cultural Meanings, Aesthetic Values and Historic Destiny

Abstract: The paper is presented in the form of a dialogue, the authors examine the problems of transformation of such a complex cultural form as opera in different historical and cultural epochs and its specific features in (post)cultural situation of our time. The authors suggest their own points of view (those of musicologist and of cultural researcher) on the correlation of different elements in the synthetic genre of art, find out universal and transient elements in reification of this genre in theatre practice, discuss aesthetic value of opera in the context of domination of mass culture.

Key words. Cultural form, opera, genre, culture, music theatre, system approach, aesthetic value

[1] The article is written with the support of the Russian Humanitarian Scientific Fund’s grant № 15-03-00035.
[2] See also: Shapinskaya Е. Culture in Digital Epoch: Cultural Meanings and Aesthetic Values. 2015. № 2. [e-source] URL: http://cult-cult.ru/culture-in-digital-epoch-cultural-meanings-and-aesthetic-values/.
[3] Clement C. Opera or the Undoing of Women. Minneapolis: University of Minnesota Press, 1988.
[4] Hoffmann E.T.A. The Poet and the Composer // Literary Manifestation of Western European Romantics. Moscow: MGU, 1980. P. 198.
[5] Sad to say, the systematic approach to opera has just begun to be applied into musicological practice. Among singular examples of such works see: Naletova I. Opera as a Whole: the Systematic Approach. Book 1. Methodology. St. Petersburg: RGPU Publishing House, 2013.
[6] Williams R. Television. Technology and Cultural Form. London: Fontana, 1974. P. 13.
[7] Flier A.  Culturology for Culturologists. Moscow: Akademitchesky Proyekt, 2000. P. 256.
[8] See: Tsodokov Ye. Vanishing Opera [e-source] URL: http://WWWoperanews.ru/history54.html.
[9] Lielitz A. A Treat for Cultural Connoiseurs. Richard Strauss and his operatic last will and testament: CAPRICCIO // Ruchard Strauss, Capriccio. RM ARTS/San Francisco Opera Association. 1993. P. 21.
[10] Ibid. P. 22.
[11] Dimitrin Yu. Libretto: Its History, Art and Craft. St. Petersburg: Kompositor, 2012. P. 14.
[12] Ferman V. Opera House. Moscow: Muzgiz, 1961. P. 37.