Национальный цифровой ресурс Руконт - межотраслевая электронная библиотека (ЭБС) на базе технологии Контекстум (всего произведений: 610373)
Контекстум
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Первый авторVoitkevich
Страниц9
ID449964
Аннотация“The Brothers Karamazov” opera by Alexander Smelkov, a Petersburg composer, who worked in close collaboration with Yuri Dimitrin, a playwright, is viewed through the prism of “the literary source – the opera libretto” relation. The texts of the opera and the novel are subject to a comparative analysis for the ёrst time. This analysis results in the conclusions about what changes were made in the literary source by the authors of the opera-mystery. Two acts connected with the images of Grushenka and Katerina Ivanovna are given a special focus. The solo text characterizing the opera female characters are written by Yu. Dimitrin and Z. Gippius. The article dwells on the reasons of using “other” texts in the libretto as well as the meaning of the borrowings helping to reveal the idea of the authors of the opera. The theme “in the spirit of Tchaikovsky” in the scene with Grushenka gives rise to the analogy with the opera “Eugene Onegin”, A.S. Pushkin’s novel, and F.M. Dostoevsky’s Pushkin speech. There are interesting parallels between the circumstances of Z.N. Gippius’ personal life and Katerina Ivanovna’s fate. The conclusion is drawn that the composer and the librettist’s deep knowledge relates to understanding of literary criticism and reяects the writer’s creative heritage.
УДК782.1
Voitkevich, S.G. On Some Features of A. Smelkov and Yu. Dimitrin’s Libretto “The Brothers Karamazov” / S.G. Voitkevich // Журнал Сибирского федерального университета. Гуманитарные науки. Journal of Siberian Federal University, Humanities& Social Sciences .— 2016 .— №1 .— С. 194-202 .— URL: https://rucont.ru/efd/449964 (дата обращения: 06.04.2025)

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Dimitrin’s Libretto “The Brothers Karamazov” Svetlana G. Voitkevich* Krasnoyarsk State Institute of Art 22 Lenin Str., Krasnoyarsk, 660049, Russia Received 23.08.2015, received in revised form 23.10.2015, accepted 14.11.2015 “The Brothers Karamazov” opera by Alexander Smelkov, a Petersburg composer, who worked in close collaboration with Yuri Dimitrin, a playwright, is viewed through the prism of “the literary source – the opera libretto” relation. <...> This analysis results in the conclusions about what changes were made in the literary source by the authors of the opera-mystery. <...> Two acts connected with the images of Grushenka and Katerina Ivanovna are given a special focus. <...> The solo text characterizing the opera female characters are written by Yu. <...> The theme “in the spirit of Tchaikovsky” in the scene with Grushenka gives rise to the analogy with the opera “Eugene Onegin”, A.S. Pushkin’s novel, and F.M. Dostoevsky’s Pushkin speech. <...> There are interesting parallels between the circumstances of Z.N. Gippius’ personal life and Katerina Ivanovna’s fate. <...> The conclusion is drawn that the composer and the librettist’s deep knowledge relates to understanding of literary criticism and refl ects the writer’s creative heritage. <...> A special corresponding bond between the modern time and the writer’s artistic world is becoming stronger and stronger as the years pass. <...> Moreover, the problems outlined by F.M. Dostoevsky in his novels and Svetlana G. Voitkevich. <...> Dimitrin’s Libretto “The Brothers Karamazov” essays are becoming more and more topical with time” (Voitkevich, 2014b: 44). <...> Referring to Dostoyevsky’s last novel, the authors focused their attention on its spiritual meaning. <...> The text of the libretto refl ected the main events of Table 1 No. of the opera piece, name 1. <...> F.M. Dostoevsky’s novel “The Brothers Karamazov” The words of children’s choir: Part I. Book I. Chapter 4 “The Third Son, Alyosha”. <...> Chapter 3 “Peasant Women Who Have Faith”, Chapter 4 “A Lady of Little Faith”. <...> Chapter 2 “The Old Buffoon”, Chapter 6 “Why is such a man alive?”. <...> Chapter 5 “The Confession of a Passionate Heart. “Heels Up”” Part I. Book III. <...> Chapter 4 “The Confession of a Passionate <...>