Опера Ф. Пуленка «Диалоги кармелиток» как «христианская концепция человека»

Азарова Валентина Владимировна

doi:10.7256/2454-0625.2016.6.21299


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Culture and Art

Reference:

Azarova V.V. Francis Poulenc’s Opera ‘Dialogues of the Carmelites’ as a Christian Concept of Human // Culture and Art. 2016. № 6. P. 729-741. DOI: 10.7256/2454-0625.2016.6.21299 URL: https://en.nbpublish.com/library_read_article.php?id=21299

Опера Ф. Пуленка «Диалоги кармелиток» как «христианская концепция человека»

Azarova Valentina Vladimirovna

ORCID: 0000-0003-1049-2259

Doctor of Art History

Professor, Department of Organ, Harpsichord, and Carillon, Saint-Petersburg State University

199034, Russia, Saint Petersburg, Universitetskaya Naberezhnaya 7-9

azarova_v.v@inbox.ru

Other publications by this author

Article was published in rubric "Music and music culture"

DOI:

10.7256/2454-0625.2016.6.21299

Received:

03-12-2016

Published:

10-12-2016

Abstract: The subject of the research is the opera concept being analyzed in terms of the artistic thinking of the second half of the XXth century, ‘Catholicism’ tendency in French musical theatre and analysis of musical dramaturgy as well as emotional and psychological aspects of the musical content. Based on the analysis of documentary sources, the author of the article describes the history of opera creation, how it developed on stage, stages of the development of the Christian concept of human, and principles regulating the relationship between the literary text (drama) and music in the opera. The subject of the research also involves the main vector of submitting the artistic meaning represented in the opera as an existential choice made by the main heroine, Sister Blanche, no her way to the Holy Spirit. The author of the article conducts the musical-philosophical, musical-theological and musical-psychological hermeneutic reconstruction of the process of the development of the artistic concept in Francis Poulenc’s opera ‘Dialogues of the Carmelites’ and analyzes the semantic and composition organization of the literary text and musical text in the opera. For the first time in the Russian academic literature the author analyzes the aspects of the Catholic mysticism in the structure of the opera and the relationship between the superior phenomenon of the Grace of God and human freedom. The author also views the main principles of the relationship between drama and music in the opera and analyzes documentary sources related to the process of the transformation of the opera structure during 1953 – 1955. Azarova also touches upon the counterpoint of the spiritual and social dimensions in the musical dramaturgy. The author makes a conclusion about a specific musical content of the opera revealing universal human, humanistic, psychological, philosophical and theological meanings of the Grace of God as one of the main Christianity concept.

Keywords:

counterpoint of temporary lines, musical content, dramaturgy, Grace of God, concept of human, Christianity, Georges Bernanos, Francis Poulenc, Dialogues of the Carmelites, opera

References

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