The interpretative function of singing in the “score” of a modern ballet performance

Statement of the problem. Under consideration is a specific form of art synthesis – singing in modern ballet. The synthesis of arts is attributive to the poetics of European opera, where a choreographic plan is used, however, singing in ballet is a rather rare phenomenon against the background of the dominance of singing in the operas of the 18th and 19th centuries. Nonetheless, there are eloquent examples of the return of singing in a ballet as a characteristic feature of the innovative choreographic theatre (“Pulcinella” by I. Stravinsky). The relevance of the topic is explained by the lack of musicological research devoted to the functions of singing as a component of ballet, while in modern practice there are clear precedents for the revival of this phenomenon. Some topical sources indicate the synthetic type of theatrical spectacle in the context of French Baroque culture (Danshina, 2010; Anfilova, 2004; Chepalov, 2008 and others), but the vocal component is not considered as a special problem. The purpose of the article is to investigate the interaction of vocal and ballet arts in the modern practice of ballet productions of the Kharkiv Opera and Ballet Theater (Ukraine) in the retrospective context of European musical-theatrical traditions. Modern ballet “The Little Prince” based on A. Saint-Exupery’s novel of the same name (2016) staged by Kharkiv ‘M. Lysenko’ National Academic Theatre of Opera and Ballet (KhNATOB) was chosen to be the material of the article. The following research methods are used: historical and typological approach that distinguishes the styles of European opera culture; semantic analysis of ballet performance as an artistic text; interpretative-cognitive comprehension of singing and its functions in ballet dramaturgy. Presentation of the research results. The creative experience of the French choreographer Johann Nuss on the stage of Kharkiv Opera Theatre – the premiere of the modern ballet “The Little Prince”, testified to the actualization of intertextuality in solving the problem of the relationship between singing and dancing. Traditional artistic plans are an important factor in the dramaturgy of a ballet performance. Together with two purely choreographic levels where the virtuoso skill of dancers and plastique of “talking” movements prevails, the singing voice is the third plan, which indicates the continuity of the French tradition (one can remember the model of J. B. Rameau’s “Gallant India”). The choice of musical material for the performance belongs to J. Nuss. He “saw” the image of Rose, who the Prince is in love with, twofold: as a choreographic-plastic and a “singing” one. Respectively, the role of Rose is embodied by a ballerina (Honoured Artist of Ukraine Iryna Khandazhevska) and a singer (Honoured Artist of Ukraine Olena Starykova, soprano). Dressed in a costume of a flower, the singer represents an ideal creature: themes from R. Glier’s and S. Rachmaninoff’s vocal compositions sound. The appearance of other bright characters is accompanied by instrumental music fragments, these are the King (J. S. Bach’s Second Orchestral Suite), the Ambitious Man (L. Delibes “Coppélia”), the Drunkard (“Winter” from A. Vivaldi’s “The Seasons”), and the Banker (J. S. Bach’s Suite for Cello Solo). So, the introduction of coloratura singing into the spectator’s plan of perception of the expressive-linguistic means of ballet opens a new symbolic world. Conclusions. Singing in a ballet is a specific manifestation of the art synthesis characteristic of modern choreographic performance. The vocal art emphasizes the highest, spiritual degree of communication, adding to the spectators’ experience a cathartic component. The interpretative function of singing in the concept of the performance is obvious: singing is a symbol (expression) of the divine essence of a human. Energy of vocals, multiplied by the traditional means of classical choreography and modern ballet, is a component of “multimedia modality” (Petrovic, 2017) as a sign of the interpretive thinking of the directors. Understanding the action of multimodality in the space-time of ballet is an interpretative dimension of spiritual reality. The prospect of researching. The study of modern forms of stage life of “singing in a ballet” indicates the need to develop this concept in the theoretical and methodological key, as well as to consider other examples of ballet performances (“One Thousand and One Nights” by F. Amirov, “Spartacus” by A. Khachaturian in Kharkiv Opera and others).