The Opera "The Barber of Seville" by Giocchino Rossini in Domestic Paradigms
Authors: Titova Halyna 
Published: March 2022

The article reveals the stage interpretations of G. Rossini's "The Barber of Seville" on the Kyiv opera stage in the second half of the 20th — early 21st centuries by the directors Mykola Smolych (1944) and Dmytro Smolych (1955), Dmytro Hnatyuk (1979), (1990), A. Solovyanenko (2019). The author clarifies the relevance of the appeal to opera in the socio-cultural realities of today, substantiates the request of the audience of the information technology era on the chosen topic and the need to rethink the work at the beginning of the Romantic era in accordance with modern theater scene possibilities. The available musicological research of the opera drama "The Barber of Seville" in the context of the creative heritage of G. Rossini is mentioned in the article. A significant gap in the existing works on this topic is the fragmentary nature of scientific investigations of directorial interpretations of the composition in the musical theaters of Ukraine. The methodology of research of key aspects of opera is chosen: directorial incarnations of the specified period in the conditions of Ukraine — retrospective, interpretive; comparison of different domestic paradigms in the interpretation of the work — genre-stylistic, comparative; directions of development of domestic directing in the context of world tendencies — system analysis. The compositional construction of productions, their difference and proximity in relation to the original compositional source are analyzed. Individual approaches to the director's vision are revealed as well as features, principles of directing tasks and conceptual solutions to the reproduction of artistic images in the play. The performers of the parties in different stage incarnations are outlined. The personal directorial accents of the directors in the interpretation of "The Barber of Seville" on the Kyiv opera stage of the second half of the 20th — the beginning of the 21st centuries are determined, taking into account the specifics of theatrical aesthetics of the times of performances. The existence of certain "models", "examples", "paradigms", which were transformed under the influence of external and internal factors, is proved. The first two productions were embodied in the Ukrainian language against the background of traditional abbreviated musical material, simplifying the musical and stylistic structure of the opera buff. The last production is distinguished by a return to the original musical material — the opening of most bills and performance in Italian. The directions of development of domestic directing in the context of world tendencies are determined: original synthesis of traditional and innovative staging approaches in authentic versions of operas; the possibility of combining different styles, genres, forms in modern versions of opera in the context of postmodern aesthetics. The ways of further research of the chosen subject through the prism of synthesizing the experience of domestic and foreign directing with the use of stage design and innovative art technologies are predicted.