OPERA-SERIA AS A PERFECTION SYMBOL IN THE EUROPEAN CULTURE OF THE XVIIITH CENTURY

Abstract

The purpose of this work is to understand the cultural development of the opera-seria phenomenon in the European culture of the 18th century. The methodological basis of the work is the position of the cultural and intonation approach, which is presented by the followers of B. Asafyev's school in Ukraine – D. Androsova, I.Kotlyarevsky, I. Lyashenko, O. Markova, and others [1; 3; 4; 6]. At the same time, we highlight the hermeneutic-comparative, stylistic-genre methods based on the example of J. Huizingi, M. Eliade, and other culturalists-artists [2; 7]. The scientific novelty of the study is determined by the fact that, for the first time in Ukrainian musical cultural studies, the phenomenon of opera-seria in European culture becomes the subject of research. For the first time in Ukrainian cultural studies, V. A. Mozart's opera «The Mercy of Titus» is being studied, and for the first time indicators of what is called today «late seria» are formulated. Conclusions. The description of opera seria in the middle of the 18th century indicates significant changes in the conditions of presentation of this genre in the theater. The «late» version of this genre is «infected» with psychologism and a mixture of expressive manifestations. Historical data testify to the pan- European resonance of the Italian-Neapolitan invention of the seria genre, the genesis of which was determined by the mysterious roots of the musical art of Europe as a whole. This made the genre attractive to various nations and countries, despite criticism from enthusiasts of revolutionary and anti-church movements, who considered it necessary to get rid of the «anachronism» of seria art. Various national schools adopted and developed this genre, creating unique interpretations that enriched the common musical heritage. Even during periods of social and political change, seria art remained a symbol of cultural excellence.The Viennese composer Wolfgang Amadeus Mozart, who also worked in the genre of opera seria, preserved the use of this typology until the 1790s within the framework of the artistic self-sufficient expression of the author's creativity mastered by the Viennese. Thus, Mozart preserved and improved the traditions of opera seria, integrating elements of Viennese opera into them. artistic culture and self-sufficiency. This emphasized his unique author's style and ensured a lasting influence on the musical art of Europe.