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DOI:
https://doi.org/10.25807/PBH.22225064.2019.50.100.109
The paper is devoted to the problem of studying the historical context in Russian
operas as a necessary factor in creating a full-fl edged stage image for a vocalist. The
paper is based on the fundamental research in this area by Russian musicologists, his-
torians and cultural scientists; in Chinese scientifi c thought, this problem has not yet
been refl ected. The historical context is considered in two Russian operas: “Eugene
Onegin” by P.I. Tchaikovsky and “The Tsar’s Bride” by N. A. Rimsky-Korsakov, which
give quite contrasting ideas about the historical time of different eras. In the “Eugene
Onegin” opera, the emphasis is made on contrasting the provincial landlord life and
the capital city of St. Petersburg. As a special sign of the time, the author considers
the duel between Lensky and Onegin: as a socially signifi cant phenomenon and as a
tragedy of human relations. In the opera “The Tsar’s Bride”, the study of the historical
context focuses on the special phenomena under the reign of Ivan the Terrible: the
oprichnina, the bride’s viewing, and the tragic outcome of love relationships of the
main characters. To understand and express the whole depth of the historical truth in
these operas is not an easy task for the singer-vocalist. Studying the historical truth
in each opera will help create a full-fl edged stage image.
Keywords: singer, vocalist, Russian opera, history, context, artistic image, duel, oprichnina, bride viewing, tragedy.
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