Dramaturgic features of the opera «Saðho» by J. Massenet.
Background.J. Massenet is a great French composer of the XIX century. In recent years, there has been an increasing interest in his creativity. Vital and the career of the com-poser is considered in works of foreign and domestic researchers. Attention also is paid to history of creation and execution of his works. However only the most popular operas by the composer – «Manon» and «Werther» – are in details analyzed. Other operas by the composer aren’t considered in detail. Besides, in opera creativity of J. Massenet find con-tinuation of traditions of opera verismo or the musical drama by R. Wagner. At the same time researchers don’t notice influence on his operas of the French lyrical opera (one of the most important opera traditions of the second half of the XIX-th century). Objectives. The objectives of this study are to determine genre of the opera «Sapho» by J. Massenet and specifics of it dramaturgy. The detailed analysis of dramaturgic fea-tures of the opera will allow to gain more complete impression about opera creativity of J. Massenet. Besides, clarification of genre accessory of the work will allow to designate the place of works of the composer in the context of a various genre palette of the French opera music of the XIXth century. Methods. In article the method of the complete analysis is used. The main task of a method – disclosure special, single in the work. Also the musical and theoretical method is used. He is connected with the analysis of opera dramatic art. The opera «Sapho» has been written in 1897 on A. Bernede and A. Kaen’s libretto. The literary primary source of the libretto – the novel of the same name A. Doudet. It was popu-lar at the end of the XIX-th century. The novel is devoted to unfortunate love of the former courtesan Fanny Legrand (known as Sapho) and the provincial young man Jean Gossen. In the opera there are clearly expressed lines of the social drama and there is an ethical pathos. It is caused by novel realism A. Doudet. But first of all «Sapho» – the lyrical drama. «Super idea» of the opera is a hopelessness of love, some kind of semantic formula of many samplesopéra lirique.Ideological and semantic and dramaturgic basis of «Sapho» by J. Massenet – an an-tinomy of ethical values. In the opera two local societies face. The first society capital – bohemian Paris, personifies defect, the second society provincial Provence – personifies purity. In the psychological plan this antithesis refracts in sincere throwings of the main characters of the opera – Fanny and Jean. In fact, it is about incompatibility of two cul-tures: the vain big city and patriarchal life on a nature bosom. Each of them is allocated with a special circle of stylistic means and semantic aura. The super idea of the opera (impossibility of preservation of the love union) influ-ences density of events of a lyrical plot of «Sapho». It consists of six duet and dialogical scenes and Fanny and Jean’s three solo numbers. Scenes are based on the principle: consent – a duel – attempt to restore the lost consent. Conclusions.Thus, in dramatic art of «Sapho» two lines are combined. The al-gorithm of their alternation creates special illumination of a love story. The detailed description of the differentiated social environment and detailed characteristics of minor characters alternates with the line of development of relationship of the main charac-ters. At the same time the antithesis Paris – Provence influences psychological states of the main characters and strongly connects them with an environment and their mor-als. Important stage of development of the dramaturgic conflict in each number of the opera of which the lyrical line consists. So, already the first dialogue–acquaintance of heroes defines an ethical perspective of the opera. He also defines the main direction of the movement of a lyrical collision. The second duet and dialogical scene reflects ap-proach of full mutual understanding. The third is the culmination of pure feeling. The fourth scene represents the conflict of the main characters. The conflict leads to Fanny and Jean’s parting. The dramatic art of the fifth duet of the main characters moves to overcoming the conflict. In the sixth duet and dialogical scene full external consent is reached. However as the internal conflict remains not resolved, the scene leads to final parting of heroes. The idea of hopelessness of love is so embodied.