Experimental opera platform in Ukraine: from the history of unrealized project.
Background. In this article we`ve been the insane purposes by Yevheniia Miroshnichen-ko which was attempt to create the Young Opera House (so-called “Mala opera” – “Small opera” on strict translate). «Mala opera» must have been the stage from young opera singers which haven`t practice of singing on great opera scene. This structure like so widespread at the world types like than opera studio and internship courses. The opera studio is the most common practice format for young opera singers in Ukraine. They work at conser-vatories and aim to educate a professional singer and actor. Today there are four opera studios, of which only the Opera Studio in Kyiv has its own hall and stage. Another format for the preparation of opera singers is the world-wide traineeship at the theater. For example, the Théâtre de la Bastille from Paris offers young musicians two years of study, a scholarship and work experience with well-known singers. However, scholar-ships worth eight hundred euros per month are not enough to reside in France. Also, the same courses exist at opera theaters in Milan, Moscow, New York, etc. The latter says that the level of preparation and life there is the best for the young singer, and that’s all that can be dreamed about, and there is still something to get into an internship besides a beautiful voice, a foreign language proficiency. They compared them to the project “Small Opera”, which was going to be imple-mented by Eugenia Semenivna Miroshnichenko – opera singer, teacher and professor, Hero of Ukraine, a representative of the Ukrainian vocal school Mariia . Donets-Tesseir. A large number of talented students, who, due to the lack of stage playgrounds, could not realize themselves in Ukraine, encouraged her to create the “Small Opera” project, which was supposed to provide jobs for graduates of the conservatory. The full aware-ness of the singer’s contribution to the cultural and public life of Ukraine continues, within the limits of this article, an attempt was made to provide a scientific basis for the detailed analysis of the value of the project “Small Opera”, taking into account time intervals and analyzing each period, taking into account the cultural and artistic demo-graphic status of that time. Objectives. The object of the study is an analysis of the attempt of the People’s Artist of Ukraine Yeugeniia Semenivna Miroshnichenko to create an alternative envi-ronment for the practice of young singers in the territory of post-Soviet Ukraine and to understand the factors of the failure of such an attempt. Also compares her experience with the experience of running similar programs with other opera theaters in the world. Methods. In this research we`ve used the comparative and biographical method. Firstly we described the role and place this idea on latest period Yeugeniia Semenivna`s life-creativity. And eventually we compared the different formats for practice of the young singers on Ukraine and on the world commonly. Results. Yeugeniia Semenivna conducted an unequal battle with the corrupt Kyivan administration. In 2009, Y. Miroshnichenko died of a heart attack, before receiving a letter about the impossibility of reconstruction of the building. The Lukyanivka Tram Traffic Culture House, an object that should have become a “Small Opera”, was sub-jected to increasing attacks by developers and contenders on the land of Kiev. Now there is an art platform for business, performances, photo sessions, etc., which, by accident or not, is called «Mala opera». The commercial institution has nothing in common with the plan of E. Miroshnichenko. Free of post-Soviet biases space for contemporary, classical and experimental operas, for talented and loyal singers, directors, conductors, costume designers, artists, choruses and orchestras. Eight years after her death, the situation became worse. Ukrainian students of solo singing classes are traveling abroad while studying to look for other opportunities for growth and self-fulfillment. Theater platforms that would be similar to the «Young Op-era» and full opera studios across Ukraine would have a regulatory role, would have led to a faster cultural and artistic development and provided a complete education and an incentive for further growth. However, for today, these opportunities are limited. Coclusions. Exploring the influence of such a structure as an opera studio, intern-ships and small opera houses is possible only through analysis and experience. In par-allel with E. Miroshnichenko, and now there are many attempts to create independent experimental opera houses on the territory of Ukraine, namely the Opera for the benefit of the city of Odessa and the “Small Opera” city of Dnipro. Accordingly, their develop-ment, the emergence of new projects, the effectiveness will require further study and systematization.