A Guide to "Interstellar Spaces": a book by Natalia Savkina dedicated to Prokofiev's "Fiery Angel". S. Prokofiev

B. Gavrilova

"FIRE ANGEL" BY SERGEY PROKOFIEV: REFLECTIONS ON "WESTERN EUROPEAN" IN THE RUSSIAN OPERA

The 20th century enriched the world musical culture with a new masterpiece - in 1927 Sergei Sergeevich Prokofiev worked on The Fiery Angel. Having made a sharp leap from the "light-jolly" "Oranges", the composer gave an operatic embodiment to the "Gothic" story about the tragic love of an earthly woman for a mystical creature. For the first time in Prokofiev's work, a transcendental conflict was clearly identified, which entailed antinomies: the real - the apparent, the everyday - the mystical, the sensual - the supersensible, the material - the ideal. The synthesizing power of the creative genius threw a "bridge" between the two eras - the Middle Ages and the 20th century, denoting their semantic closeness. The opera introduces into a tense atmosphere the revelations of mystical consciousness - its visions, hallucinations, its religious inspiration.

Among the many research angles generated by the opera "The Fiery Angel", it is very interesting to consider it in the aspect of the problem: Western European in Russian opera1. This is prompted, first of all, by a bright and unusual plot, taken as a basis by Prokofiev and causing him to come into contact with a different culture, a different time continuum2.

The novel by Valery Yakovlevich Bryusov "The Fiery Angel" (1905-1907) reflected the attention to the other - other cultures, historical eras, which became the "calling card" of his style - what was aptly called "a sense of history". "Other" in the novel "The Fiery Angel" is a medieval Ger-

1 One way or another, the problem of "Western European" in Russian opera is also relevant in relation to the operas - the predecessors of "The Fiery Angel", such as "The Stone Guest" by A. S. Dargomyzhsky, "The Maid of Orleans" and "Iolanthe" by P. I. Tchaikovsky , "Servilia" by N. A. Rimsky-Korsakov, "Francesca da Rimini" by S. V. Rachmaninov. To a certain extent, bearing in mind the “Polish” acts, one can also include here “A Life for the Tsar” by M. I. Glinka and also “Boris Godunov” by M. P. Mussorgsky.

2 Here it is worth considering the fact that the appeal to the history of the “passionately restless Renata” (S. Prokofiev’s expression) occurred in 1919, when he himself was within the boundaries of a different culture. Fascinated by the extraordinary plot of Bryusov in America, the composer composed the main material of the opera in southern Germany in 1922-1923.

mania, entering the era of the New Age, when Catholicism and the Inquisition, represented by their zealous servants, mercilessly fought against the growing progressive trends of humanism, breaking the fate and worldview of people. Creating the "Fiery Angel", Bryusov persistently strove for almost authenticity of the text, wanting to be perceived as written "then" - in Germany of the 16th century, during the period of religious ferment of minds against the backdrop of the courts of the Inquisition and the passionate desire of man to know his nature. With purely scientific scrupulousness, the writer studied extensive historical material, which included both authentic medieval documents and modern historical research3. A feature of the novel was the subtlest stylization of the "spirit and letter" of medieval Germany, expressed in a complex of expressive techniques. Among them are the consistently applied principle of detachment from the author's "I"4, a specific literary style with a characteristic detail of descriptions, comments and digressions, a general moralizing pathos, a large number of comparisons, allusions, associations, and various kinds of symbolism (numerical, color, geometric).

An interesting find of Bryusov was the introduction to the novel of heroes who, during their lifetime, became legends of their time. The active characters of the action are the famous medieval philosopher and occultist Cornelius Agrippa of Nettesheim (1486-1535), his student the humanist Jean Vir (1515-1588), as well as the legendary doctor Faust and Mephistopheles.

3 These included, in particular: Lamprecht's History of the German People, Weber's, Lavisse and Rimbaud's The General History, Ulrich von Hutten's Letters of Dark People in Russian translation by Nikolai Kuhn, Colin de Plancy's reference dictionary of demonology and occultism, " Histories, disputes et discourus des illusions des diables en six livres" by Jean Veer, "les grands jours de la sorsellerie" by Jules Bessac, a book about Agrippa of Nettesheim by Auguste Pro, folk German books about Faust published by Scheille, "The Hammer of the Witches" by Jacob Sprenger and Heinrich Institor.

4 To do this, Bryusov even resorted to hoax, prefaced the novel "Foreword by a Russian Publisher", which describes the history of the "genuine" German manuscript of the 16th century, allegedly provided by a private individual for translation and printing in Russian. Bryusov himself, thus, appeared only in the modest role of the publisher of the "historical document".

In this peculiar context, Bryusov unfolds a story full of drama and seething passions, based on a situation typical of medieval literature of “the contact of the earthly world ... with the other world ... the intersection of both worlds”, which led to “a paradoxical situation, giving rise to a tense action that entails 5. Who is the Fiery angel Madiel really - a messenger from heaven or a gloomy spirit of hell, who came for the sake of temptation and death - this question in the narrative remains open until the finale, which causes allusions with the end of the first part of "Faust" Goethe.

Naturally, Bryusov's stylized arpop plot gave Prokofiev many reasons to consider The Fiery Angel through the prism of the German Middle Ages. And indeed, at the first stages of work, he felt the irresistible magic of the "Gothic" plot. Immersion in the space of meaning of "The Fiery Angel" captured the composer so much that he "visualized" it. Prokofiev's wife Lina Llubera recalls this: “Life in Ettal, where the main part of the opera was written, left an undoubted imprint on it. During our walks, Sergei Sergeevich showed me the places where certain events of the story "took place". The passion for the Middle Ages was supported by mystery performances6. And now much in the opera reminds me of the situation that surrounded us in Ettal, and influenced the composer, helping him penetrate the spirit of the era.

Prokofiev, who possessed the ability of a director's vision of the plots of his musical and theatrical compositions, envisaged a future production in the medieval spirit. This is illustrated by an entry in the Diary, left on the impressions of the composer’s visit to the museum of the Dutch typographer Christoph Plantin: “In the afternoon, one of the directors took me to see the house-museum of Piapin, one of the founders of printing, who lived in the sixteenth century. This is really a museum of ancient books, manuscripts, drawings - everything is in the atmosphere of the time when Ruprecht lived, and since Ruprecht, because of Renata, rummaged through books all the time, this house amazingly accurately gave the situation

5 The situation of "miraculous phenomena" was very common in medieval society. The literary genre example was built on the description of such cases.

6 We are talking about the production of the medieval mystery "The Passion of Christ"

Stova” at the Oberammergau Theatre, which was visited by the Prokofievs.

novka, in which the “Fiery Angel” takes place. When someone puts on my opera, I recommend him to visit this house. It has been carefully preserved since the sixteenth century. Faust and Agrippa of Nettesheim probably worked in such an environment.

Images of medieval Germany appear in the stage directions preceding the acts of the opera: “... From the window, a view of Cologne with the outlines of an unfinished cathedral ... Renata is alone, bent over a large leather-bound book” (from the stage direction to the second act); Street in front of Heinrich's house. In the distance, the unfinished Cologne Cathedral ... ”(from the remark to the first picture of the third act); "Cliff over the Rhine..." (from the stage direction to the second scene of the third act); "Monastery. A spacious gloomy dungeon with stone vaults. Large door leading outside. When it opens, bright daylight falls through it and a stone staircase is visible leading up to the surface of the earth. In addition to the large door, there are two small ones: one from which the abbess and nuns exit, the other for the inquisitor. At a certain height under the vaults there is an underground stone gallery. On the floor of the dungeon, Renata, in the gray clothes of a novice, prostrated crosswise ”(remark to the fifth act).

Let's move on to the most important images of the novel in their interpretation by Prokofiev. At the first stages of the development of the opera plot, the composer was extremely interested in the image of Agrippa of Nettesheim. This is evidenced by the composer's statements and marks on the pages of the novel, according to which the sketches of the libretto were drawn up. In the Diary, Prokofiev emphasized that he was attracted by an interpretation of this image that was fundamentally different from the novel: “... I made extracts from Bryusov’s scene with Agrippa in order to make a completely new, different than Bryusov’s scene of the meeting between Ruprecht and Agrippa on these materials” . Agrippa Bryusova is a scientist and philosopher, persecuted by ignoramuses and leading evasive conversations about the essence of magic; in the interpretation of Prokofiev, Agrippa is a sorcerer and warlock capable of reviving otherworldly forces7. To emphasize the infernal sound of this image, the composer introduced into the scene with Ag-

7 The “witchy” coloring of the scene with Agrippa is emphasized in the preliminary remark: “The scenery is indefinite, somewhat fantastic. On the dais Agrippa Nettesheim in a mantle and a crimson cap, surrounded by black shaggy dogs... Around thick books, folios, physical instruments, two stuffed birds. Three human skeletons are set quite high. They are visible to Agrippa, but not to Ruprecht."

rippoy (scene 2 of act II) an interesting stage detail in the form of skeleton figures “coming to life” in the culminating phase of the action. No matter how paradoxical it may seem, the infernal interpretation of the image of Agrippa reflected the objective gift inherent in Prokofiev: in the opera, Agrippa appears exactly as the consciousness of his contemporaries perceived him.

The intertextual line of the novel turned out to be very attractive for Prokofiev. The images of Faust and Mephistopheles, perceived by the modern era of the composer as revived archetypes, gave rise to creative searches. The bright, colorful scene in the tavern (Act IV), written without any association with the music of a distant era, is perceived as a rich everyday engraving of the 16th century. Here are collected together the philosophical dispute that is being held at the table in the tavern, and the accompanying bustle of the servant, unexpectedly interrupted by a witchcraft incident, and the prayer of the frightened owner, and the harsh, but cowardly denunciations of the townsfolk. Keeping the priority of an objective approach, the composer shows the essence of the central characters of the scene. At the same time, if Prokofiev's Faust embodies the archetype of a medieval philosopher, then his Mephistopheles is nothing more than a version of the Spiessian image modified in the spirit of the theater of performance. The vocal part of Mephistopheles, consonant with the manner of his stage behavior, is built on sharp sudden contrasts, reflecting the idea of ​​a kaleidoscope, an endless change of masks. The episode of “eating the servant”, known since the time of the medieval shvank about Faust, is rethought by Prokofiev, rising to the level of a parable. It is no coincidence that a healthy village servant boy from Bryusov's novel is transformed here into a Tiny Boy - an allegory of the human soul, which has fallen under the crushing power of evil.

Obviously, even after writing The Fiery Angel, Prokofiev continued to reflect on the expressiveness of the "medieval" details of the opera. In 1930 he, together with the Metropolitan-opera artist Sergei Yuryevich Sudeikin, developed a new version of the script8. This included very remarkable episodes, in particular, the scene of Ruprecht and Renata with peasants (1 scene

8 At present, this document is stored in the funds of the Russian State Archive of Literature and Art in Moscow.

on Act II), the scene at the ruined monastery, the semantic center of which was a medieval fresco depicting an angel (Scene 2, Act II), as well as a scene with heretics condemned to death (Scene 3, Act II). The ideas of Prokofiev - Sudeikin never received stage implementation. Perhaps, tired of the "dark" plot of the opera and the difficulties with its advancement on the stage, the composer eventually abandoned the prospect of stage modification of the opera that he liked at first. Perhaps the rejection of picturesque details was caused by a different reason - namely, out of fear that they would obscure the main idea of ​​the opera - the story of a restless soul, marked by the highest degree of psychological stress.

One way or another, Prokofiev, as a theatrical playwright, saw the visual and figurative series of the opera in the “medieval spirit”. As for the musical embodiment of the "Gothic" plot, the situation here was much more complicated. In his work, Prokofiev was a stranger to stylization as such9. The music of the "Fiery Angel", reflecting the originality of the style of one of the most daring innovators of the 20th century, is deeply modern. It contains many innovations in the field of harmony, rhythm, vocal intonation, timbre solutions. At the same time, the music of the "Fiery Angel" is permeated with symbolism and allegorism. In the opera (first of all, this concerns its vocal layer) a kind of system of allusions with the genres of medieval music appears. This reflects the most important setting for the work of Prokofiev, a theater playwright, which M. D. Sabinina characterizes as the ability to “appeal to the creative imagination, fantasy and associative thinking of the listener” (; italics mine. - V. G.). At the same time, the appearance of allusions to medieval genres is not spontaneous, but entirely subordinated to the specifics of the composer's dramatic tasks, the peculiarities of the movement of his idea in time and space of a given artistic text. In general, several dramatic ideas can be distinguished, musically expressed through allusions to medieval genres. This:

♦ generalized display of psychological types of the Middle Ages;

♦ showing the religious nature of the love of the main character.

9 Thus, in the research literature there are many critical and sometimes harsh remarks by Prokofiev, the object of which was the stylization of Stravinsky.

A generalization of the psychological types of the Middle Ages is given in the musical characteristics of the Mother Superior, the Inquisitor, the Mistress, and the Worker. The first of these images personify the "top layer" of medieval consciousness - the faces of Catholicism, hence the associations with the cult genres of the Middle Ages arising in their musical characteristics.

Thus, the vocal part of the Inquisitor is based on the synthesis of genre elements of Gregorian chant, anniversaries, and psalmodic recitation. In the vocal leitmotif of the Inquisitor, O. Devyatova notes the closeness to the Gregorian chant, expressed in "the ascetic severity of intonations, the constant return of the melody to the reference tone, the" arched "development, the predominance of stepwise movement in even meter" .

On the whole, the intonation complex of the Inquisitor is characterized by genre stability, “fixation” associated with the ritual function of his speeches. Genre features of a cult spell (exorcism) are manifested in the vocal part in the form of accentuation of reference tones (“c”, “a”, “as”), imperative “exorcising” intonations (including the ascending fourth leap “as - des”, rhythmically accented moves over wide intervals).

The "grassroots layer" of medieval consciousness - its inertia and limitations - is embodied by the Mistress and the Worker; this entails the profanation of medieval genres as an important means of characterizing them.

The culmination of the detailed story of the Mistress (Act I, c. 106) becomes a quasi-organum. Genre allusions reflect the parodic context of what is happening: throughout her story, the Mistress, sparing no effort, denigrates Renata. Her accusatory remarks are echoed by the stupid Worker. The voices of the Mistress and the Worker "merge" in the summary code "because I do not want to be an accomplice of the human enemy" (c. 106). By introducing a quasi-organum, the composer achieves "generalization through the genre" (Alschwang), ridiculing the hypocrisy and hypocrisy of the "judges".

Adjacent to the same semantic series is musical characteristic Ruprecht in the scene of Renata's litany, which will be discussed below.

Showing Renata's feelings for the Fiery Angel, sometimes reaching religious frenzy,10 leads to an appeal to genre elements traditionally associated with the culminating moments of a religious cult.

As an example, let's take Renata's monologue story (I act). At the sacralized moment of naming the name “Madiel”, the leitmotif of her love for the Fiery Angel sounds in the orchestra in the genre form of a chorale (c. 50). The version of the leitmotif colored with melismatics that appears in Renata's vocal part is perceived in the context of the scene as an alleluia - an episode of glorifying God, which is for the heroine her "angel".

Close genre associations arise in the scene of the litany that develops the dramatic line of Renata's love for the Fiery Angel (Action I, pp. 117-121). The use of the genre traditional for Catholic culture is intended to emphasize the religious nature of the feelings experienced by the heroine for Madiel/Henry. In the second varied implementation of the leitmotif of love for the Fiery Angel in Renata's vocal part, on the word "bells" (v. 1 before f. 118), the effect of anniversaries is formed. Emphasizing the strength of the heroine's feelings, Prokofiev simultaneously profanes the context of the scene by pedaling comically Ruprecht's lines. They are based on chopped lapidary "remarks-echoes", accentuating the triad of F-dur, which is far from the key of Renata's love revelations. Thus, the most important idea in the dramaturgy of the opera is the idea of ​​spiritual and emotional incompatibility of the main characters.

Renata's Arioso “Where the Holy Is Near...” (Act V, c. 492) reflects the new, enlightened and contemplative state of the heroine, acquired within the walls of the church monastery. In accordance with this, the intonational basis of the arioso is made up of elements of Gregorian chant: an arcuate movement from the tone-source "d" of the second octave, followed by an ascending fifth "jump-return".

The appearance of the cult layer of intonations of the Middle Ages in the vocal characterization of Matvey will be unclear without understanding the inner essence of this image in Prokofiev. Compared to the character from Bryusov's novel, Prokofiev reads the image of Matvey philosophically. In the opera, Matthew embodies

10 What evokes associations with stories replicated in medieval literature about the religious ecstasies of saints.

the idea of ​​salvation, "good fortune", the point of application of the timeless categories of Christian ethics. This determines the conditionality of the appearance of the scene exposing it - a statuary "episode of numbness", an allegory of stopped time, in which all the characters are perceived as symbols11.

Probably, the prayerful intonation encoded in Matthew's vocal part represented a kind of semantic counterbalance to the elements of demonic obsessions and spells that arise as "radiation" of the "dark" plot of the opera12.

The same can be said about the interpretation of the vocal part of the Tavern Owner. Taken outside the specifics of the essentially farcical stage situation (the episode of Mephistopheles "eating" the Tiny Boy), his intonations reveal a relationship with elements of the cult genres of the Middle Ages.

In a more indirect form, the appeal to the memory of musical intelligence is expressed in the orchestral layer of the opera. The transcendental conflict causes a special phenomenon of sounding, which embodies a space of huge acoustic volumes that has no analogues in the art of music, with the effects of a collision of colossal energies. The specificity of the central conflict determines the predominance of scenes in which the actual operatic action is leveled, where the subconscious plan turns out to be in the foreground, including moments of irrational "insights". The most important meaning-forming function, implemented by the orchestra and determining the originality of the opera "Fiery Angel", becomes the function of explication of the subconscious. As is known, for Prokofiev from the very beginning it was fundamental in the construction of the musical dramaturgy of the opera not to “reify” the irrational plan: in his opinion, this would reduce the highest psychological intensity of the action to the level of a cheap spectacle13. The lack of opera

11 The symbolic conditionality of the scene is emphasized by Prokofiev in the remark preceding it: “The cliff over the Rhine. The fight has just ended. Ruprecht lies wounded, unconscious, not releasing his sword from his hand. Matthew leaned over him anxiously. In the distance, the silhouettes of Heinrich and his second are visible, wrapped in cloaks. On the other hand, Renata, half hidden from the viewer. Her neck is stretched tensely, she does not take her eyes off Ruprecht. Henry doesn't notice. Everyone is completely motionless until the first words of Matthew, at which Heinrich and his second disappear unnoticed.

12 Prokofiev also included the opera The Gambler among the "dark" subjects. This was a direct effect of the composer's passion for the ideas of Christian Science.

13 Here is an excerpt from Prokofiev's Diary dated December 12, 1919, illustrating this idea: “... An opera can turn out to be exciting and powerful. It is necessary to introduce all the drama and horror, but not to show a single feature and not a single vision, otherwise everything will collapse at once and only props will remain ... "

stage effects - "tips" from the author are compensated by transferring the internal action to the orchestra. The strength and expressiveness of the music brings the listener as close as possible to the suggestion of the emotional life of the characters. Sometimes it gives rise to the "appearance effect" - the feeling of the presence of some invisible force nearby, the feeling of the reality of this force. By reinforcing the ambiguity, the composer saturates the orchestral fabric with meanings, which often come into conflict with stage development, realizing the idea of ​​counteraction. The thematic elements within the orchestral fabric become "signs", and their complex contradictory relationships with each other reveal the semantic scheme of the internal - metaphysical plot. The irrational plan - the atmosphere of mystical visions and hallucinations - "comes to life" thanks to the orchestral development at the key moments of the action - in the scenes of Renata's hallucinations, divination by a fortune teller (I act), the scene of "knocks" and Ruprecht's meeting with Agrippa (II act), in the scene of "appearance » Heinrich / Fiery Angel and duel (III act), in the episode “eating” (IV act), and, of course, in the apocalyptic finale of the opera.

The fundamental quality of the Fiery Angel orchestra is dynamism. The tense dynamics of the development of the orchestral "plot" is a chain of culminations of various scales, embodying the "form-state" (B. Asafiev's term). An important consequence of dynamism is spontaneity, sound titanism, which at the deep associative level correlates with the special energy inherent in Gothic architecture. The orchestral development in the opera is in many ways likened to "a grandiose spiritual impulse", "saturation with gigantic action", "assertion of a dynamic principle" as the distinctive features of Gothic.

Let's move on to the conclusions. Obviously, when reading Bryusov's novel musically, Prokofiev did not follow the writer along the path of stylization of medieval coloring. In the plot of Bryusov's novel, he was attracted primarily by the universal aspect, that "evolution religious feeling man of the Middle Ages", which he spoke of as common idea operas14. The inevitable when referring to

14 From a letter from Prokofiev to P. Suvchinsky dated December 12, 1922: “The Fiery Angel is a careful and documentary depiction of the religious experiences of the sixteenth century. ... It is about fixing one of the painful curls through which the Middle Ages passed man's religious feeling...

“Different plot” musical genre associations turned out to be completely subordinated to the laws of Prokofiev's theatrical dramaturgy. From the very first bars, Prokofiev's music immerses the listener in the mysterious atmosphere of Gothic "mysteries and horrors", recreates with amazing power that emotional aura that accompanies the visionary ecstasies of mystical consciousness. Features of the interpretation of key images, the brightness of vocal characteristics, the grandeur of orchestral development - all this serves to embody the main idea of ​​the opera - the tragic path of a person in search of the "unknown God".

Raising a single drama of a medieval heroine to the level of a universal tragedy of a crisis of faith, the composer gave the "Western European" plot a "worldwide" content, and in this he showed himself to be a typical Russian artist - the heir to the aesthetic traditions of Tolstoy and Dostoevsky. The synthetic nature of Prokofiev's operatic text serves the idea of ​​deciphering the subtexts of the human spiritual world. The composer shows the "evolution of religious feeling" as a grandiose tragedy of the human spirit, threatening catastrophe on a universal scale.

LITERATURE

1. Beletsky A. The first historical novel by V. Ya.

Bryusov // Bryusov V. "Fiery Angel". M., 1993.

2. Gurevich A. Culture and society of the medieval

Europe through the eyes of contemporaries. M., 1989.

3. Devyatova O. Prokofier's opera

va 1910-1920. L., 1986.

4. Prokofiev S. Diary. 1917-1933 (part of the second

Raya). Paris: rue de la Glaciere, 2003.

5. Prokofieva L. From memories // Prokof-

ev S. Articles and materials. M., 1965.

6. Rotenberg E. Art of the Gothic era.

(System of artistic types). M., 2001.

7. Sabinina M. About the operatic style of Prokofier-

va // Sergei Prokofiev. Articles and materials. M., 1965.

“They ask you not to sneeze into this book”
(S.S. Prokofiev's mark on a copy of V. Bryusov's novel
"Fire Angel". In 2 parts. M.; Scorpion, 1908)

When did Prokofiev make this entry above the opening of the first page of the text? Probably in 1919, when Prokofiev first read The Fiery Angel. The book was given to the composer by a former Russian officer, once marshal of the nobility of the Minsk province, and then an emigrant, Boris Samoylenko. Or maybe this is a different copy and the litter, along with the rest of the marginalia on the margins of the novel, appeared in the midst of work on the libretto of the 1st or 2nd edition? How to know...

It is a pity that N.P. Savkina, using the pages of the novel "The Fiery Angel" as an illustration, did not comment on them and did not indicate the imprint of the publication. Nevertheless, Bryusov, "speckled" with Prokofiev's pencil, proves the predetermined non-randomness of the composer's appeal to the plot "Fiery Angel" for opera libretto. The choice was dictated by the need for faith, for a religious awareness of being. It is symbolic that in the midst of composing music based on a novel from medieval life in Russian philosophical thought, a definition of the post-war post-revolutionary period of world history as a “new Middle Ages” appeared, which, according to N. Berdyaev, implies “a rhythmic change of eras, a transition from rationalism new history to irrationalism<…>medieval type.

"Angel" with a capital letter

In this vein, "The Fiery Angel" (that's right, with a capital letter from the author of the music), on which he devoted almost ten years (from 1921 to 1928), is one of the most irrational, with the undoubted presence of the "otherworldly" composition by Prokofiev. The fatal and the mystical accompanied both the creation and existence of the opera, which, in the end, according to Prokofiev, was “unlucky”...

However, the chronicle of the creation of "Angel" is not exactly the history of an opera or a symphony, and by no means the ups and downs of failed productions or the difficulties of musical notation. Before us is a whole decade of the composer's life in exile.

Savkina N.P. "Fiery Angel" by Sergei Prokofiev: on the history of creation
- M .: Scientific and publishing center "Moscow Conservatory", 2015. - 288 + 16 p. incl. notes, illus. Circulation 300

A difficult period that passed under the sign of "Angels and Demons", a confession of a genius who passed through his own soul the transcendent forms of evil of an entire era. The relevance of the essay has not faded with time. Music is alive in the development of interpretations and interpretations. The semantics of the "Fiery Angel", moving farther and farther away from the storyline of Renat - Ruprecht, is changing towards the "world aspect" (in the words of N.Ya. Myaskovsky) literally before our eyes. Prokofiev's musical text opens up new vistas in understanding the mysteries of the spirit and the history of mankind. The tragedy of time and the drama of personality, the collision with reality and the collapse of rationalism influenced the worldview of Sergei Prokofiev in an extraordinary way. Over a decade of living away from Russia, Prokofiev evolves from an atheist, a pragmatic "non-believer", not without cynicism at times, into a devoted adherent of the Christian Science religion ("fashionable Boston science" Cristian Sciens), into a disciplined adherent of healing with the help of suggestion and fortitude.

In creativity, the crisis of rationality, or, according to Prokofiev, the “conflict of reason and faith”, the departure from the pathos of the schemes of the former life, collapsed with the grandiose music of the opera The Fiery Angel, and then the Third Symphony, created on the basis of the thematic material of the opera. Prokofiev's contemporaries valued this music extraordinarily highly: "For me," Fiery Angel "is more than music," wrote enthusiastically N.Ya. Myaskovsky, - ... the genuine and unusually "caustic" humanity of this work will make it eternal. S.A. Koussevitzky about the Third Symphony responded like this: “... This best symphony since the Sixth Tchaikovsky. “I have never felt anything like this in my life when listening to music. She acted on me like a doomsday, ”recalled S.T. Richter.

Age of the "Fiery Angel"

In the decades that have passed since its creation, Prokofiev's "Fiery Angel" has collected a rather extensive discography (mainly due to recordings of the Third Symphony), but has not received either a worthy notographic list or an impressive list of theatrical productions. The reasons for this are a separate issue. The bibliography of the "Fiery Angel" is also sparse. References to a work are most often of a specific musicological nature (features of the vocal style, thematics, form analysis, tonal plan of the composition, features of the harmonic language). That is why the book by N.P. Savkina about the history of the creation of the "Fiery Angel" by S.S. Prokofiev.

The idea of ​​the book dates back to 1997. The collection of material, its study and systematization were gradual and gradual. An intermediate result of N.P. Savkina was the publication of a number of articles and scientific reports, later included in the book in a revised form as separate chapters. A unique opportunity to work with materials from the collection of Svyatoslav Prokofiev and the so-called London Prokofiev Archive (SPA "The Serge Prokofiev Arhive", Columbia University, New York, USA), as well as access to the collections of the Russian State Archive of Literature and art (S.S. Prokofiev fund No. 1929) allowed N.P. Savkina to structure and introduce into scientific circulation entire layers of sources that are inaccessible to domestic researchers. These are, first of all, the sources of musical text - handwritten copies autographed by the composer of the 1st edition of the opera, his notebooks with musical sketches, unknown photographs, literary manuscripts, personal documents. So, the variant of the libretto of "The Fiery Angel" by B.N. Demchinsky (“the finest multi-page proportion”) can rightly be considered one of the most vivid impressions and sensational discoveries in the modern “Prokofievian”.

The most numerous and informative type of sources cited by N.P. Savkina - Prokofiev's letters and his correspondents. For the first time, epistolary dialogues by S.S. Prokofiev with G.G. Paichadze, B.N. Demchinsky, F.F. Komissarzhevsky, E.A. Eberg, A. Coates, B.S. Zakharov, B.V. Asafiev and others. Previously published letters are given by the author of the book in fragments from printed sources. This selection is interesting in context, when the story of the "Angel" connects the addressees and correspondents with an invisible connection, as it were, "on a tangent", forming a diverse, complex, but visible picture of historical truth from disparate facts. So, for example, the final section of the book appears, indicated by the author of the “Letter from the Telegram of Mystification (instead of an appendix)” with the correspondence between Prokofiev and Varvara Feodorovna Demchinskaya, the widow of B.N. Demchinsky, the first publication of Prokofiev's letters to J. Szigeti and I.V. Hesse.

"From Life to Life"

The first impression (once reading is not enough, the book is worth studying and re-reading...) from acquaintance with the fundamental work of N.P. Savkina: how deep, fresh, original! In the literature devoted to music, S.S. Prokofiev, you will hardly find a book similar in genre, concept, structure, presentation. Departure from external "scientific", confidential personal intonation, remarkable erudition of the author, "metaphysical" approach to phenomena and facts, the volume of unknown and unique sources put this book on the level of "large" interdisciplinary literature, addressed to oneself. a wide range of reading elite. To those who, in our “airless” time of consumption, are still concerned about the questions of “the infinity of the Christian cosmos” and “the path from everyday life to being, from the momentary to the timeless”.

The author defined the composition of the book as follows: “... its constructive logic is built in accordance with the nature of heterogeneous material. From the circumstances - everything that was connected with the preparation of the musical edition of the work, the first plans for the production, which turned out to be illusory, all kinds of accompanying events - to the issues of content and meaning in the understanding of the author ... Such an arrangement, violating the linearity and vectoriality of the chronology, leads to the music itself ... " .

The music itself, and not only the "Fiery Angel", occupies the main place in the book. A prepared, even bewitched reader (the author's fascinating text is a little ornate in style, logical in thought, emotionally passionate) easily and with great interest enters the problems of the three editions of the opera "The Fiery Angel" (the 3rd edition means joint with S.Yu. Sudeikin, a project to adapt the opera for the failed production of the opera in the USA in 1930) and with unflagging interest, together with the author of the book, as an accomplice, follows the most detailed and accurate, like a surgeon's scalpel, analysis of changes in the libretto and music of the 1st and 2nd editions . “The two editions of the Fiery Angel differ significantly, while what is successfully found, as happens with Prokofiev, later becomes a style-forming property,” writes N.P. Savkin, denoting and expressing his point of view on one of the most important problems of Prokofiev's creativity - editorial problem. Together with the author of the book, the reader looks into Prokofiev's creative laboratory and observes the magic of the process of creation, the Artist's painful doubts and the struggle between his two principles. For the eternal global, but such a “Russian” theme of the painful ambivalence of creativity, the “alter ego”, the Double, in the interpretation of N.P. Savkina receives a new, "musical" interpretation.

The dedication of the author "In Memory of Svyatoslav Sergeevich Prokofiev" is deeply touching. In heartfelt words, sincerely and succinctly, N.P. Savkina thanks "a man of unprecedented modesty" - the eldest son of the composer for his active participation and assistance in creating the book. Svyatoslav Sergeevich Prokofiev left us in 2010. As rightly noted by N.P. Savkin for everyone who knew him and remembers “it was a channel of communication with his father, about whom he spoke “dad” until the end of his life” ...

And yet, to end the review on the "light-bearing third", as in the finale of "Angel", it is impossible to do without critical remarks of "nitpicking" about the book. Let us regard them as peculiar black dogs that appeared before Agrippa Nettesheim from the spectacular mise-en-scène invented by Prokofiev for the libretto of The Fiery Angel. First of all, there is some discomfort due to the lack of a field for doubt, due to the lack of alternative approaches, versions, opinions. A powerful masonry of scientific facts, a solid selection of sources by the researcher are pulled together to monolithic smoothness by the cement of a subjective attitude. The very “rags of truth” that give a living breath and an incentive to the development of any scientific concept disappear.

The complex organization of the book by N.P. Savkina, consisting of the "voices" of Prokofiev and his correspondents, coupled with the author's text, extensive footnotes and comments, creates an uneven text in terms of style, which can lead the reader away from main theme books. In N.P. Savkina regarding the "Fiery Angel" as a "universal", "interstellar" work of musical art somewhat exaggerates the role of Christian science and the philosophical and religious views of S.S. Prokofiev. Although the history of the influence of Christian Science on the composer's biography is described delicately and correctly, the philosophical landscape of Prokofiev's work as interpreted by N.P. Savkina is almost devoid of the socio-political context of the era.

Also controversial is the thesis of the "unreality of the hall" as the main argument for the return of Prokofiev to his homeland. The debatable moment of the book by N.P. Savkina is the interpretation of the emotional coloring of the two finals of the opera - the perception of music is deeply individual, and for each listener it is different.

It is certain, however, that the author of the book succeeded: with scientific thoroughness and creative inspiration, studying only one composition, to compile an extensive and truthful guide to the amazing, endless space of Sergei Prokofiev's work.

Elena KRIVTSOVA

Full text of the dissertation abstract on the topic "Stylistic and dramatic features of S.S. Prokofiev's opera "The Fiery Angel""

Manuscript

GAVRILOVA Vera Sergeevna

Stylistic and dramatic features of S.S. Prokofiev's opera "The Fiery Angel"

Specialty 17.00.02. - musical art

Moscow - 2004

The work was done at the State Institute of Art History

Scientific adviser doctor of art history,

Professor Aranovsky Mark Genrikhovich

Official opponents: Doctor of Arts,

Professor Selitsky Alexander Yakovlevich

Lead organization

Candidate of Art History, Associate Professor Topilina Irina Ivanovna

Moscow State Institute of Music named after A.G. Schnittke

The defense will take place "And" November 2004 at 16.00. at a meeting of the Dissertation Council K 210.016.01 at the Rostov State Conservatory named after S.V. Rachmaninov (344002, Rostov-on-Don, Prospekt Budenovsky - 23).

The dissertation can be found in the library of the Rostov State Conservatory named after SV. Rachmaninov.

Scientific secretary of the dissertation council - IL. Dabaeva

Candidate of Art History, Associate Professor

13691) pen "Fiery Angel" (1919 -1928) ^ an outstanding phenomenon of the musical theater of the XX

century and one of the pinnacles of the creative genius of Sergei Sergeevich Prokofiev. In this work, the wonderful theatrical talent of the composer-playwright, the master of depicting human characters, complex plot collisions, was fully revealed. "The Fiery Angel" occupied a special position in the evolution of the composer's style, becoming the culmination of the foreign period of his work; at the same time, it provides a great deal for understanding the paths along which the development of the language of European music proceeded in those years. The combination of all these properties makes the opera "Fiery Angel" one of those key works with which the destinies of the musical art of the 20th century are connected and which, because of this, are of particular interest to the researcher.

The opera "Fiery Angel" appeared in a particularly difficult period for the operatic genre, when crisis features clearly appeared in it, a period marked by deep, sometimes radical searches. Wagner's reforms have not yet lost their novelty. Europe has already recognized "Boris Godunov" by Mussorgsky, who opened up new horizons for operatic art. There were already Pelléas et Mélisande (1902) by Debussy, Lucky Hand (1913) and the monodrama Expectation (1909) by Schoenberg; the coeval of Prokofiev's opera turned out to be "Wozzeck" by A. Berg. It was not far before the premiere of Shostakovich's The Nose (1930) and the creation of Schoenberg's Moses and Aaron (1932) was nearing. "Fiery Angel", as we can see, appeared in a more than eloquent environment, deeply connected with innovative trends in the field musical language, and "Fiery Angel" was no exception in this regard. He belongs to the culminating position in the history of the musical and linguistic searches of Prokofiev - one of the most daring innovators of music of the 20th century. Despite the difficult stage fate, in the panorama of operatic creativity in the first third of the 20th century, "The Fiery Angel" occupied one of the key places.

For a long time, the opera was not available for study. Suffice it to say that so far its score has not been published in our country (at present it is available in only two copies)1. Her productions turned out to be rare and inaccessible.2 And yet, starting from the 60s of the XX century, the attention of researchers to the "Fiery Angel" gradually increased. In the books of M. Sabinina ("Semyon Kotko" and problems of Prokofiev's operatic dramaturgy, 1963), I. Nestyev ("The Life of Sergei Prokofiev", 1973), M. Tarakanov ("Prokofiev's Early Operas", 1996). ) there are special chapters and sections devoted to the study of the specific aspects of this work as a phenomenon of Prokofiev's musical theater. Features of the vocal style

1 One copy (Boosey&Hawkes, London) is in the library of the Mariinsky Theater in St. Petersburg, the other is in the library of the Bolshoi Theater in Moscow. According to the information of the author of this work, gleaned from private conversations, the rights to publish the score of the opera now belong to France.

2 In 1983 in Perm; in 1984 in Tashkent; in 1991 in St. Petersburg in 2004 (Bolshoi Theatre).

LIBRARY I

operas are studied in the third chapter of O. Devyatova's Ph.D. thesis "Prokofiev's Opera Works in 1910-1920" (1986); the same problem is touched upon in M. Aranovsky's article "On the Relationship between Speech and Music in S. Prokofiev's Operas" (1997). We also note the article by N. Rzhavinskaya "On the role of ostinato and some principles of shaping in the opera "The Fiery Angel""" (1972), devoted to the analysis of the style and design features of the opera, the article by L. Kirillina "The Fiery Angel": Bryusov's novel and Prokofiev's opera "( 1991), which is "at the junction" with literary problems; L. Nikitina's article "Prokofiev's Fiery Angel Opera as a Metaphor of Russian Eros" (1993) presents the dramaturgy of the opera in the halo of aesthetic and philosophical ideas about love by N. Berdyaev, P. Florensky, S. Bulgakov, I. Ilyin, F. Dostoevsky. M. Rakhmanova's article "Prokofiev and Cristian Science" (1997) is devoted to the long silent fact about Prokofiev's close ties with the American religious movement, which played a decisive role in the evolution of the composer's worldview.

Overall list existing work about the opera is still small, many important aspects of this complex and multifaceted work remain unexplored so far.

The proposed dissertation contains an attempt to consider the "Fiery Angel" as an integral dramatic and stylistic concept. This determines the novelty and scientific relevance of this study. The novel by V.Ya. Bryusov "The Fiery Angel" (1905-1907), which became the literary source of the opera. Despite the fact that a lot of special literary works are devoted to the study of the novel (as well as the mentioned article by L. Kirillina), we focus on such little-studied aspects as: archival materials made it possible to introduce a lot of new things into the analysis of the autobiographical basis of the novel.

Since Prokofiev himself undertook the transformation of the novel into an opera libretto, a copy of the novel, stored in the Prokofiev Archive at the RGALI, which became the material for this revision3, is being studied; this makes it possible to see the first stage of the transformation of the novel into a piece of music. The dissertation also provides for the first time a comparative textual analysis of the novel and the libretto (it is presented in the form of a table); this allows us to trace the moments of significant differences between the two concepts - the novel and the opera.

The music of the opera is explored in its main components. These are: 1) leitmotif system, 2) vocal style, 3) orchestra At the same time, we emphasize that if the vocal style of the opera was one way or another the subject of analysis in the works of musicologists, then the features of the organization of its leitmotif system and orchestral style have so far remained out of detailed consideration . It seems necessary to fill this gap, especially with regard to the orchestral style.

2. (RGALI, fund 1929 inventory 1, item 8).

"Fiery Angel", since, in our opinion, it is the part of the orchestra that plays the leading role in the opera (which subsequently allowed the composer to create the Third Symphony based on the material of the opera). Thus, the chapter on the orchestra is of an integrating nature: it also deals with the general dramaturgy of the opera.

The chosen perspective determined the goals and objectives of the dissertation: 1) to explore the novel by V. Bryusov "The Fiery Angel" as a historical and artistic concept and all the circumstances surrounding its creation; 2) to trace the transformation of the novel into a libretto, in which the composer provides opportunities for musical solutions, 3) to consider the musical dramaturgy and style of the opera in the unity of its components.

In addition to Bryusov’s novel (including the copy kept at the RGALI), the clavier and score of the opera4, a wide range of archival materials were involved in the work: Bryusov’s extensive correspondence with N. Petrovskaya (RGALI, fond 56, no. 57, op. 1, item 95; RSL, fund 386, car. 72, item 12), "Memoirs of Nina Petrovskaya about V.Ya. Bryusov and the symbolists of the early 20th century" (RGALI, fund 376, inventory No. 3), materials recording the stages of Bryusov's work on the novel (RSL, fund 386, no. 32, items: 1, 9, 10, I, 12); libretto of the opera "The Fiery Angel" (in English) and an excerpt from the libretto of the first scene of the second act (RGALI, fund 1929, inventory 1, item 9), Notebook Prokofiev, containing sketches of the musical themes of the opera and an excerpt from the libretto for the new edition (RGALI, fund 1929, inventory 1, item 7), an autograph sketch of the libretto of the opera (M.I. Glinka State Central Museum Museum, fund 33, No. 972) .

The structure and scope of the dissertation. The dissertation contains an Introduction, five chapters and a Conclusion; in addition, it contains musical examples and two appendices

Research methods. The objectives of the dissertation required the use of different research methods. The appeal to Prokofiev's manuscripts made their textual analysis necessary. Bryusov's novel, with its appeal to medieval literature, made it necessary to turn to philological and historical literature. Finally, the analysis of the dramaturgy of the opera was carried out using the methods inherent in theoretical musicology.

Approbation of work. The dissertation was discussed at the meetings of the department of contemporary problems of musical art of the State Institute of Art Studies on June 11, 2003, and also on October 29, 2003 and was recommended for defense. In addition to the publications indicated at the end of the abstract, the dissertation materials were reflected in the reports read at the following scientific conferences.

4 We express our gratitude to the administration of the Mariinsky Theater Library, represented by Maria Nikolaevna Shcherbakova and Irina Vladimirovna Taburetkina, for the opportunity to work on the score of The Fiery Angel.

1) "The category of "mystical horror" in the interaction of music, words and stage action in S. Prokofiev's opera" Fiery Angel"" // Keldyshev readings on the history of Russian music "Music and speech. Music as speech." June 5 - 6, 2002, Moscow;

2) "The Fiery Angel" - a novel by V. Bryusov and an opera by S. Prokofiev in the mirror of the problem of "one's own or someone else's" // annual conference-seminar of young scientists "Sciences of culture - a step into the 21st century". Institute of Cultural Studies, 23 - 24 December 2002, Moscow;

3) "S. Prokofiev's work on the libretto of the opera "Fiery Angel"" // Keldyshev readings on the history of Russian music "In memory of S. S. Prokofiev. To the 50th anniversary of the death of the composer." April 17-18, 2003, Moscow;

4) "The novel "The Fiery Angel" by V. Bryusov and the opera of the same name by S. Prokofiev, an experience of comparison" // "Domestic music of the 20th century: from modernism to postmodernism". The third creative meeting of young researchers, performers, teachers. October 16, 2003, Moscow.

The dissertation materials are almost completely reflected in scientific publications.

The Introduction discusses the history of the creation and production of "The Fiery Angel", its fate, while the emphasis is on the evolution of the composer's worldview taking place during the period of work on the opera under the influence of the American religious movement Christian Science. The introduction contains a summary of the general concept of the work, in connection with which a brief review of the existing literature is presented. It also outlines the rationale for the goals and objectives of the study, its relevance. The structure of the dissertation is also given.

Chapter I. Roman V.Ya. Bryusov "Fiery Angel".

The first chapter is entirely devoted to the literary source of the opera - the historical novel "The Fiery Angel" by V. Bryusov. As the literary basis of the opera, the novel is considered in several aspects.

First of all, such an important component of the composition as stylization, revealed in a complex of expressive techniques, is analyzed. Among them:

1) the main plot motif, namely, the situation of a miraculous vision of an earthly girl’s face from another world, which was encountered in the religious and didactic literary genres of the Middle Ages;

2) the inclusion in the novel as characters of real historical figures of the Reformation era: Agrippa of Nettesheim, Johann Weyer, Johann Faust;

3) the use of literary mystification (the novel is prefaced with a "Foreword by a Russian publisher", which describes the history of a "real" German manuscript of the 16th century, allegedly provided by a private individual for translation and printing in Russian);

4) the embodiment in the novel of a specific literary style of medieval texts, which is characterized by the presence of detailed comments, digressions, quotations, detailed descriptions, moralizing pathos, a large number of comparisons, allusions.

5) the presence in the text of various kinds of symbols (numbers, colors, names, geometric shapes).

In the study of the autobiographical basis of the novel, the main emphasis is placed on the key to Russian symbolism of the early 1900s. the problem of the mutual reversibility of real life and fiction. Bryusov, like A. Bely, Vyach. Ivanov, A. Blok, being the heir to the aesthetic views of Schiller and Nietzsche, defended the right of art to be an activity "aimed at creating<...>new forms of life" 5. While working on the novel, Bryusov "lived" its plot in reality, projecting it onto relations with Andrei Bely and Nina Petrovskaya, who became the prototypes of the images of Count Heinrich and Renata; the moment of self-identification of Petrovskaya with the main character of the novel is also indicative6.

Essential for the study of the concept of the novel is the question of the peculiarities of Bryusov's interpretation of the mystical plan in the novel. Passion for mysticism in the early 1900s. was a landmark phenomenon for the Russian intellectual elite. The mystical content as the most important component of the new literature was postulated by D. Merezhkovsky's famous manifesto "On the Causes of Decline and New Trends in Modern Russian Literature". Bryusov's "Fiery Angel" is a link in a long chain of works with mystical content, including novels by A. Amfiteatrov, dramas by M. Lokhvitskaya, dramas and stories by L. Andreev, the poem "The Devil Artist" by K. Balmont, historical works by D. Merezhkovsky, stories by F. Sollogub, A. Miropolsky, Z. Gippius and others.

Mysticism organically entered into Bryusov's private life in the form of communication with famous mediums and visits to seances; much of what is described in the novel could be the result of his personal impressions. Together with the mystical phenomena in the novel, they are given with a fair amount of skepticism, which generally reflected the life position of Bryusov, for whom skepticism was very characteristic. The moment of "scientific" study of mystical phenomena, including a kind of intellectual game with the reader in the novel, prevails over an emotional deepening into the other world. The essence of Bryusov's concept, it seems to us, is that throughout the story he offers a "choice" between two diametrically opposed views on the same situation. Was it or wasn't it? reality or

3 Asmus V. Aesthetics of Russian symbolism. // Asmus V. Questions of the theory and history of aesthetics. - M, 1968. - S. 549.

6 This is evidenced by her foreign correspondence with Bryusov.

appearance? - this is the key motif of the novel, which determines the features of the plot movement. The object of the writer's attention is not so much the mystical phenomena themselves, but the peculiarities of the human consciousness of the Middle Ages.

The plot outline of the novel is built as a consistent disclosure and analysis of the mystical consciousness of the main character Renata in a dialogue with her opposite, represented by the figure of the "author" - landsknecht Ruprecht. In the center of the plot is the motive of the heroine's search for her ideal. In this case, the question "who is he?" - the messenger of heaven or the spirit of darkness, who has come into temptation, is insoluble. The main principle of plot development is mystification, expressed both in the leading plot motifs of the novel (the motive for identifying Heinrich, heroes and otherworldly forces), and in the ambivalence of key images: Heinrich, Agrippa, Faust.

One of the mysteries of Bryusov's novel was the introduction of an intertextual line into it. The episode from the wanderings of Dr. Faust (XI - XIII chapters) temporarily interrupts the development of the story about the search for the Fiery Angel, translating the narrative into the space of a story already familiar to the reader. On the one hand, the traditional German schwanks about Faust of the 16th century give the story "historical authenticity", on the other hand, they sharpen the central question of the novel - about the possibility of being. underworld.

The ratio Faust / Mephistopheles, which arises according to the principle of Goethe's philosophical fraction "and is identical to the ratios Heinrich / Madiel, Agrippa the scientist / Agrippa the warlock, marks the culmination in the expression of the principle of ambivalence. Another idea embodied in the Faust episode is the idea of ​​elusive beauty, key to symbolism, which personifies the image of Helen of Greece.

In the novel "The Fiery Angel" the central aesthetic category of Russian symbolism was embodied - the category of the Dionysian Quality of the "Dionysian hero" (L. Hansen-Löwe) is projected onto the character and type of behavior of the main character. The image of Renata expresses such essential qualities of the Dionysian hero as: "overcoming the immaterial, rational, conscious"8, "decomposition of the I-consciousness in the "Other", in the "You", in the opposite", a craving for performativity. In general, the projection of the Dionysian started on female images indicative of Bryusov's creative thinking. In addition to Renata, the "Dionysian complex" marked the images of women in his poetic work: Astarte, Cleopatra, the Priestess of Fire.

7 "The sum of our being is never divided by the mind without a remainder, but some amazing fraction always remains." (Yakusheva G. Russian Faust of the 20th century and the crisis of the Enlightenment era. // Art of the 20th century, the outgoing era? -N. Novgorod, 1997. - P. 40)

8 Hansen-Löwe ​​A. Poetics of Horror and the Theory of "Great Art" in Russian Symbolism. // To the 70th anniversary of Professor Yu M. Lotman. - Tartu, 1992. - S. 324.

9"Ibid., p. 329.

Chapter II. Novel and libretto.

Prokofiev created the libretto for the opera "Fiery Angel" on his own. The "translation" of the plot of the novel into a libretto required a very special attitude to the literary text, to its components. The libretto should be created based on the musical embodiment of the literary text, on the specifics of music and its possibilities. This explains some of the fundamental differences between the two incarnations of the plot of the "Fiery Angel" - in the novel and in the opera. The construction of the libretto of the opera "The Fiery Angel" reflected the principles characteristic of Prokofiev the playwright: the semantic concentration of the word, replica, phrase; compression of stage time and space with maximum saturation of external and internal events; sharp contrast in the change of events; polyphonic dramaturgy of scenes as a manifestation of a tendency towards multidimensionality of what is happening on the stage; dramatic enlargement of key images.

Differences arise both in the structural and poetic organization and in the characterization of the characters; let's say more broadly: at the conceptual level. So, in comparison with the novel, such key episodes acquire a different semantic meaning in the opera, such as the scene of fortune-telling (I d.), the scene of the challenge to a duel (1 k. Sh d.), the scene at Agrippa (2 k. II d.) , scene with Faust and Mephistopheles (IV d.); in addition, Prokofiev turns out to be from the embodiment in the opera of the episode of the Sabbath, which is important in the concept of the novel. Differently than in Bryusov, Prokofiev also interprets such characters as Glock, Matvey, and the Inquisitor. In the dynamic development of the main conflict of the opera, one can clearly see the line of a steadily growing tragic crescendo, directed towards the final catastrophe. Thanks to this, the entire concept of the libretto built by the composer goes from the psychological drama of Renata to the universal tragedy of the crisis of faith, acquiring an emotionally universal scale.

Each of the subsequent sections of the Second Chapter has its own task. In the 1st - "Working with the plot: creating an opera libretto" - the formation of Prokofiev's original concept is studied; in the 2nd - "Dramaturgy of the libretto" - the transformation of the libretto into an integral literary work is considered.

Section I: Working with the plot: creating an opera libretto.

The already mentioned copy of Bryusov's novel (RGALI), on the margins of which the composer made notes reflecting his vision of the plot, can be considered the first version of the libretto for the opera The Fiery Angel. This archival source provides a unique opportunity to trace the formation of many dramatic ideas and textual solutions later embodied by Prokofiev in the final version of the opera.

First of all, the episodes associated with the image of Renata stand out for their detailed elaboration: the episode with the ghost (in the opera - a scene of hallucinations and the story-monologue of Renata about the Fiery Angel), as well as the episode with Agrippa (in the opera - a conflict dialogue-duel between Ruprecht and Agrippa ). Working on the text, Prokofiev removes memoir descriptiveness, brings to the fore the drama of what is happening "here - now"; in the center of his attention is the emotional aura surrounding Renata, her hallucinations, her speeches. We also note the crystallization of those techniques that will become characteristic of the libretto of the final version: the repetition of key words, phrases, the great role of exclamatory intonations as exponents of a wide range of exalted emotions. In the texts of Renata's part composed by the composer and written out on the margins of the book, syntactic signs of inner speech are noticeable.

The everyday layer of images in Prokofiev's interpretation becomes more prominent. It is worth noting the detailed development of the image of the Hostess of the Inn: all the lines composed for her by the composer and written out in the margins were subsequently included in the final version of the opera. As an addition to the image of the Mistress, the composer introduces the character of the Worker, which is absent in the novel.

Prokofiev's interpretation of the mystical principle in the opera is also different from Bryusov's. In this sense, the composer's note is indicative, explaining his fundamental refusal to stage the episode of Ruprecht's "flight" to the Sabbath - one of the most striking mystical episodes of the novel (Chapter IV): "This scene must be released. On stage, it will lose all mystical horror and turn into a mere spectacle." Thus, Prokofiev sees mysticism in the opera primarily as a special psychological state of the hero at the moment of the seeming presence of otherworldly forces next to him. The "psychological" interpretation of the mystical beginning led to the exclusion in the final version of the libretto of such vivid episodes of the novel as the magical experience of Ruprecht and Renata (Chapter V), Faust's spiritualistic séance with the evocation of the spirit of Helen of Greece (Chapter XII). On the contrary, the composer saw a powerful potential for a convincing demonstration of "mystical horror" in episodes with vivid psychological action: the already mentioned episode with a ghost formed the basis of the scene of Renata's hallucinations in act I and her dynamized reprise in the finale of the opera, the episode "with knocking demons" became the prototype scenes of "knocks" (1 k. II d.); this line is developed by scenes composed by Prokofiev, for example, the scene of Ruprecht's delirium after the duel (2 short sht.).

Noteworthy are the scenes that were planned at the beginning, but still were not included in the final edition. So, similar to the novel, the composer outlined the finale of the opera: the death of Renata in prison in the hands of Ruprecht; the corresponding remarks are written out on the margins of the book; Prokofiev also planned (unlike Bryusov) the presence in this scene of Faust and Mephistopheles, whose ironic comments are also contained in the margins. The

the version of the finale was subsequently destroyed by Prokofiev, according to him, due to the stage disadvantage and was replaced by a grandiose tragic climax.

Section P. Dramaturgy of the libretto.

Thus, the libretto of the final version of the opera "The Fiery Angel" is composed, on the one hand, from scenes drawn from the novel, and on the other, from episodes, the text of which was composed by the composer himself. The latter, in particular, include: Ruprecht's dialogue with the Mistress, all the remarks of the Mistress and the Worker, the texts of Renata's spells in the scene of hallucinations, the bargaining scene that precedes the fortune-telling scene, the text of the Fortune Teller's spells (1 day), a significant part of the replicas in the scenes with Glock, with Agrippa (II d.), text of Renata's arioso "Madiel", replicas by Matthew, the Healer, text of the scene of Ruprecht's delirium (Sh d.), "Chorus" of the Tavern Owner and guests (IV d.), replicas of the Mother Superior, many replicas of nuns in final.

A comparative analysis of the texts of the novel and the libretto made it possible to discover an important correction: while maintaining the main poetic motifs of the novel, Prokofiev significantly rethought its text. The main "units of measurement" of the style of Prokofiev's libretto were: a catchy laconic word that carries an emotional charge, a quintessential phrase of an image or stage situation. The text of the libretto, in comparison with the novel, is distinguished by brevity, lapidarity, exaggeration of the main semantic and emotional accents, which brings The Fiery Angel closer to the principles implemented by Prokofiev in the operas Maddalena and The Gambler. A number of general techniques lend dynamics to the text of the libretto and serve as a kind of dramatic "nerve". These include: the repetition of words, phrases, phrases, and whole sentences characteristic of the spell; frequent absence of a causal connection of words; a special role of exclamatory intonations, the spectrum of which includes a wide range of emotions - fear, horror, anger, order, delight, despair, etc. The concentration of these techniques accompanies the climaxes of drama, that is, those areas where a special intensity of emotions dominates: these are the apotheoses of the scenes of Renata's hallucinations, "knockings", Renata's confessions to the wounded Ruprecht, the exorcisms of the Inquisitor and the madness of the nuns. Of great importance in the text of the libretto is the reception of the refrain. As a rule, a key phrase acts as a refrain, concentrating in itself the main figurative and emotional meaning. So, in the text of the scene of Renata's hallucinations, the refrain is the phrase-exclamation "Get away from me!", in the fortune-telling scene - the word "blood", in the scene of the madness of the nuns - the phrase "Saint sister Renata!".

The differences between the concepts of Prokofiev and Bryusov are also obvious in the interpretation of the motivation for the behavior of the main character. Prokofiev emphasizes the splitting of Renata's mystical consciousness as the dominant of her character. He consistently deploys two intersecting lines of her image: "extraordinary behavior" and lyrical. At the same time, both lines receive their epithets and remarks. Compared with the novel, Prokofiev enhances the lyrical side of the image

Renata. In the scenes related to Renata's appeals to the object of her love, Madiel-Heinrich, enlightened prayerful epithets are accentuated: "heavenly", "the only one", "eternally inaccessible", "always beautiful", etc.; the same - at the level of remarks. The bright platonic side of Renata's love for the Fiery Angel is also emphasized in the finale of the opera, while in the novel there is a "witch's interrogation" typical of the Middle Ages.

Ruprecht, who is an alternative to the mystical Madiel, in the interpretation of Prokofiev personifies the earthly energy of practical action. The composer leads his hero along the steps of spiritual evolution - from an everyday character to gaining the qualities of a true hero through love for Renata. Numerous remarks are very important in the everyday characterization of Ruprecht (I d.), for example: “leans his shoulder on the door and breaks it down”, “stunned, not knowing what to do, remains motionless, like a pillar of salt”, etc. The culmination of the lyrical facet of the image of Ruprecht is an extended two-part aria (1 k. P d.), the literary text of which (composed by Prokofiev) emphasizes the readiness of a knight for a sacrificial feat in the name of love.

The key moments in the development of the central conflict of the opera reveal a number of significant differences from the novel. For example, Prokofiev psychologically motivates the episode when Renata orders Ruprecht, who has already challenged Heinrich to a duel, not to kill him, sacrificing his own life (Chapter VIII of the novel - 1st short of the opera). The challenge scene is arranged as a continuous series of successive psychological episodes, the episode of mystical vision becomes its semantic center. Renata sees Heinrich in the window of the house, and again "recognizes" in him the incarnation of the Fiery Angel (c 338).

In general, with the through development of the central conflict, the libretto clearly divides into large semantic zones, the development in which is carried out "under the sign" of the character, personifying one of the "faces of fate" of the main character. Such "faces of fate" and at the same time guides to the Otherworld in the opera are the Fortune Teller (I d.), Glock, Agrippa (II, d.), Heinrich (III d.), Faust and Mephistopheles (IV d.), Inquisitor (V d. .), forming an irrational layer of the plot. The appearance of these characters falls, as a rule, on the second phase of each act, corresponding to the climax zones. Prokofiev enlarges the images of representatives of the other world, eliminating all secondary images and lines.

Some of the characters are being reimagined. Thus, the operatic Agrippa is very far from the novel. Infernal traits are enhanced in its characteristics. The fatally irrational coloring of Agrippa's scene is emphasized by the inclusion of three skeletons in action, denouncing Agrippa with profane laughter. In contrast to the novel, where the dialogue between Ruprecht and Agrippa represents a situation of courteous conversation, in the libretto the scene between Ruprecht and Agrippa is constructed as an openly conflicting dialogue-duel, consisting of a chain of jerky, concise, figuratively vivid phrases that reflect the gradual intensity of the emotions of the participants.

The image of Matvey has a special semantic function in the opera. His appearance at the point of the golden section - a statuary deadening episode of stupor (beginning of the 2nd k. III d.) fixes the symbol of Ruprecht's sacrificial feat. Matvey's words composed by Prokofiev, addressed to Renata, concentrate the semantic subtext of this scene - the warning voice of Doom. With the advent of Matvey, the action of the opera gradually passes into the sphere of the parable as a zone of objectification of the subjective.

From the intertextual line associated with the appearance of Faust and Mephistopheles in the opera, Prokofiev singles out the scene in the tavern (IV e). Its dramatic “core” is the philosophical dispute between Faust and Mephistopheles about the meaning of human existence, in the course of which each of its participants designates his life credo. A farcical model is superimposed on the line of the dispute - the scene of Mephistopheles "eating" the Tiny Boy. It was solved by Prokofiev as stage pantomime.

Let's look at the two finals." The finale of Bryusov's novel, on the one hand, reproduces the model of the scene of the death of Margarita in Goethe's Faust, and on the other hand, it makes us recall the parable of the prodigal son: Ruprecht returns to his native land, and there he recalls the past. Lack of answers to many key questions, and in particular to main question about the existence of the other world, - is compensated by the principle of "historical authenticity" sustained to the end.

Building a model for the finale of the opera, Prokofiev abandoned the final scene "in the spirit of Goethe". The finale of Prokofiev's "Fiery Angel" reflected his inherent gift of objective display of events in all their multidimensionality. In the fate of an individual, Renata, the meaning of the tragic existence of the world, dependent on the play of unknown forces, is revealed. The tragic beginning is realized at the level of the structure of the act: it is built as a dialogue between Renata and Fate, personified by the nameless Inquisitor. In the stage remarks of the finale, the motif of the crucifixion is accentuated, evoking associations with baroque passionW^ Renata's scenes with the Mother Superior and the Inquisitor are resolved as allegories encoding the ritual motifs of "interrogation", "trial", "flagellation". Preserving for the most part the integrity of the authentic texts of the medieval exorcisms used by Bryusov in the scene of the nuns' madness, Prokofiev supplemented them with remarks characterizing the state of delirium, confused inner speech. An interesting stage (and conceptual) discovery of the composer was the semantic emphasis on the image of Mephistopheles: he appears in the climactic phase of the scene of the nuns' madness. In Prokofiev's interpretation, this image becomes the personification of world evil, which has taken on a visible form.

Chapter III. Leitmotif system of the opera "The Fiery Angel".

The leitmotif system of the opera "The Fiery Angel" is a vivid evidence of Prokofiev's theatrical thinking; leitmotifs are the most important carriers and components of dramaturgy. Their movement and interaction is a projection of the movement of ideas in the concept of the composition.

The leitmotif system of the opera "The Fiery Angel" is formed by about twenty themes, differentiated according to their semantic purpose.

1) Cross-cutting leitmotifs expressing the main dramatic ideas and their development: the leitmotif of Renata's idee fixe, Renata's Love for the Fiery Angel, the leitmotifs of Ruprecht the knight, Ruprecht the lover, "magic", the third leitmotif of Agrippa.

2) Local leitmotifs arising within the same action or extended scene: the leitmotif of the Hostess of the hotel (I d.), Glock, the first and second leitmotifs of Agrippa (P d.), the leitmotif of the duel; the leitmotif of Ruprecht's fate, as well as the leitmotifs of Matthew (Sh d.), Faust, Mephistopheles, Tiny Boy (IV d.), Monastery (V d.).

3) An intermediate position between the first and second types is occupied by leitmotifs that arise as semantic reminiscences through large intervals of musical stage action: the leitmotif of sleep (I d. - V d.), the leitmotif of "Mephistopheles' threat" (IV d, culmination of 5 d. ), the third leitmotif of Agrippa (II d., V d).

The forming principle for the system of leitmotifs in the opera is the principle of thematic connection. Its source is a gradual succession in the volume of a minor third, which combines leitmotifs that express the through development of the main psychological conflict: the leitmotif of Renata's idee fixe10, the leitmotif of Renata's Love for the Fiery Angel, the leitmotif of Ruprecht the Lover, the leitmotif of the Monastery. The close thematic connection determines the various correlations of these leitmotifs in the dramaturgy of the opera. The Renata-Madiel/Heinrich line at the level of intonational-thematic processes develops as an attraction (interpenetration - thematic germination, horizontal connection); Renat-Ruprecht line - as repulsion (thematic contrasting).

Being a reflection of the emotional life of the main characters of the opera, these leitmotifs are distinguished by the vocal nature of the thematics.

Leitmotifs embodying an irrational layer (the leitmotif of "sleep", magic, three leitmotifs of Agrippa, infernal-scherzo variants of the leitmotif of Renata's Love for the Fiery Angel in Acts III and V). for the most part, they are characterized by the predominance of the instrumental beginning, which in some cases is associated with the strengthening of the role of orchestral color.

this name was proposed by N. Rzhavinskaya.

The tertian support is preserved, but either undergoes significant semantic transformations, or is largely leveled. The thematic structure of such leitmotifs is marked by the formality of the melodic pattern, the sharpness of the rhythm, as well as the presence of an underlined accent.

A special group in the opera is made up of characteristic leitmotifs. For the most part, they are associated with the plasticity of physical action (the leitmotif of Ruprecht the Knight, the thematic characteristic of Glock, the leitmotif of the Tiny Boy); a special place among them is occupied by the leitmotif of "cooking"11, embodying the idea of ​​the voice of fate for Ruprecht. This leitmotif embodies the romantic rethinking of the voices of nature.

Embodying the generalized type of a person of the Middle Ages, Prokofiev introduces elements of similarity into the thematic structure of the leitmotifs of the Hostess of the hotel (I d.), Mother Superior of the monastery (V d.), Matvey, the Doctor (III d.). All of them are united by the indirect influence of monody, similar to the Gregorian chant.

The leitmotif system is important not only from the point of view of the realization of the composer's dramatic intention. The leitmotif is always a sign, a symbol, and symbolism was inherent in the human consciousness of the Middle Ages. Therefore, leitmotifs enter the style of the opera, reinforcing the semantic layer of its music. This applies not only to thematics, but also to the real sound sphere. Sounds outside world are also included in the system of meanings as leittimbres. As V. Sedov correctly wrote, the leittimbres form an area of ​​contact in the opera for different types of intonational dramaturgy12. Semantically important in the opera are such elements as the fanfare of the trumpet ("the sign" of the beginning and end of the path of the main character of the opera, the leitmotif of Ruprecht the Knight is also "entrusted" to the trumpet), the sound effects of percussion (for example, the image of mysterious "knocks").

As you can see, the semantic layer of the opera's thematics is carefully thought out by the composer both from the dramatic and stylistic points of view.

Chapter IV. The vocal style of the opera "Fiery Angel" as a means of dramaturgy.

The vocal style of "The Fiery Angel" is based on various forms of correlation between music and speech, which are generally characteristic of Prokofiev. They were developed in "Maddalena", "Player", in the opera "Love for Three Oranges", in vocal plays, and each time they corresponded to certain tasks that the composer set for himself in each case. Therefore, the forms of these relationships are flexible, changeable, and form a separate area of ​​​​research. But if you look for a common, integrating feature of the vocal style

111 name proposed by L. Kirillina

12 Sedov V Types of intonation dramaturgy in "Ring of the Nibelung" by R. Wagner. // Richard Wagner. Articles and materials. - M, 1988. - S. 47.

Prokofiev, then one should recognize the unconditional dependence of vocal melody on the word, speech intonation, various types and genres of speech. Hence the predominance of monologues, dialogues, scenes with a through structure. We find all this in the Fiery Angel. At the same time, the overall picture of the vocal style and operatic forms is much more complicated here than in any of the previous operas. This is due to the complexity of the psychological conflict, the difference in situations in which the characters find themselves, the need to create vocal forms that correspond to the genres of their speech, the types of their statements. Therefore, the world of the vocal melody of the "Fiery Angel" is extremely diverse. So, for example, due to the fact that, along with the image of Renata, the opera includes the theme of love in its extremely intense, ecstatic forms of emotional expression, then along with the most radical types of vocal speech, the composer also uses traditional opera forms that allow revealing feelings with special fullness. . With them we will begin the review of the types of vocal speech.

Traditional opera forms are more often used at the moments of the characters' climactic utterances, performing the function of an emotional "summary". This is how things stand, for example, in scene 1 of act III, where the clear signs of recitative and aria serve to achieve the completeness of Renata's lyrical characterization. In the 1st scene II of the action, the composer creates an extended two-part aria, synthesizing two central ideas for the image of Ruprecht - chivalry and love for Renata. As M. Druskin writes in his book on operatic dramaturgy, the signs of the traditional genre appear in those cases when the music must fix the presence of "already ripe, determined feelings of the protagonist" or "specific character traits"13. This is exactly what happens in these and other episodes of the "Fiery Angel". The moments of the highest manifestation of the hero's state, the need to create his integral musical portrait led to a very unusual for Prokofiev "return" to the experience of traditional operatic forms.

A feature of the vocal style of the "Fiery Angel" is the significant role of the cantilena beginning (M. Tarakanov, M. Aranovsky). In this sense, "Fiery Angel" differs sharply from "Player" and "Love for Three Oranges." The cantilena opening in the opera is primarily associated with Renata's feelings, evoked by the mysterious image of her lover. So, the leitmotif of Renata's Love for the Fiery Angel absorbed the intonations of Russian songwriting with its smooth step-by-step moves, the softness of third and sixth turns. It is symptomatic that the simultaneous sound of the leitmotif of Renata's Love for the Fiery Angel in Renata's vocal part and the orchestra marked the lyrical peaks of Renata's statements. This is a story-monologue (c.50), a litany (c. 115 - c. 117), final ariosos ("Father ...", c.501-503, "I am innocent of the sin that you named", c. 543).

13Druskin M. Questions of the musical dramaturgy of the opera. - M., 1952. - S. 156.

Elements of the cantilena are also present in Ruprecht's part. These are again lyrical episodes associated with declarations of love for Renata. Such, for example, is his song-romantic leitmotif, the intonational variants of which in the vocal part, as well as the simultaneous implementation of the leitmotif by voice and in the orchestra, reflect the highest points in Ruprecht's evolution as a lyrical hero. The culmination here is the second part of Ruprecht's aria "But for you, Renata ..." (c. 191-c. 196).

In all the examples cited, cantilena appears in its original functions - as "the inseparability of the aesthetic and ethical", as an ability, "bypassing specific meaning words, go back to the general meaning of the text, generalizing the thought-state of the hero "14. The lyrics in the opera oppose the demonic element of obsessions and ritual spells.

A special role in the formation of the vocal style of the opera "The Fiery Angel" is played by speech genres caused by one or another form of utterance. Each of them is associated with a certain meaning, purpose, and therefore has a certain emotional and speech modality. Ecstatic speech genres are extremely developed in "The Fiery Angel": incantation, prayer, supplication, which are especially characteristic of Renata's party. Others have a broader, situational meaning, but are also associated with stable types of speech, such as a courteous greeting, question, slander, gossip, etc.

The speech genre of the spell, dating back to the most ancient layers of human civilization, is updated in the scene of divination - the culmination of the first act of the opera. The combination of situations of inner speech, incantation and delirium is vividly depicted in the scene of Renata's hallucinations (day 1), as well as in her dynamized reprise at the end of the opera. The genre of the spell in its religious and cult incarnation is also realized in the exorcism of the Inquisitor in the finale.

The established etiquette formulas are found mainly in everyday episodes, where exposure prevails over development. In act I, etiquette formulas appear in the part of the Mistress. The thematic structure of the leitmotif of the Hostess reflects the established etiquette formula of courteous address. A cardinal change in the tone of speech in the story of the Mistress occurs when she decides to tell the guest the story of the "sinner" and "heretic" living in her hotel; then etiquette courtesy is replaced by excited and rude speech, translating the statement into the genre of gossip, slander.

Vocal speech performs coloristic and everyday descriptive functions in a picturesque scene in a tavern (IV d.). We observe a whole kaleidoscope of a kind of "intonational masks" that arise in the vocal characterization of Mephistopheles. In the first phase of the scene (before the episode of "eating" the servant) these are intonations of an order, a question, a threat (in the remarks addressed to the waiter).

14 Aranovsky M. Speech situation in the opera "Semyon Kotko". // S.S. Prokofiev. Articles and research. - M., 1972. - S. 65.

Then - tongue twisters, feigned flattery (in dialogues with Faust). Finally, in the second part, there is ironic courtesy, play, mockery directed at Ruprecht (v.3 ts 466 - ts.470), where Mephistopheles parodies traditional etiquette forms. The characterization of Mephistopheles is contrasted by the intonational "portrait" of Faust, where a different speech situation is presented - philosophizing, reflections. Hence the restraint of his remarks, their weight, roundness, emphasized by orchestral accompaniment (slow chords, low register).

A large place in the opera was occupied by the monologue form of speech, which clearly and in detail reveals the dynamics of the internal states of the characters. This is one of the most important - in terms of its place in dramaturgy and in its significance - the operatic genres of the "Fiery Angel". The vast majority of monologues belong to Renata. Such, for example, is a detailed story-monologue about the Fiery Angel (I d.). Each of its sections creates, at the level of vocal intonations, a panorama of the heroine's emotional life, her idee fixe. Renata's monologues occupy a certain "intermediate" position, being, as it were, "on the verge" of dialogue, they are, as it were, hidden dialogues, since they potentially contain an appeal to the object of her passion. "Answers" to these appeals sometimes appear in the orchestra in the form of conducting the leitmotif of Love to the Fiery Angel. We can say that Renata's monologues, like any inner speech, are fraught with internal dialogue. Such an internal dialogue is, for example, the monologue-appeal "Heinrich, come back!" from the III action, as well as a monologue into which the aria "Madiel" develops (ibid.). The composer subtly emphasizes the internal dialogism of Renata's monologue: the ecstatic calls of the heroine that arise at the end receive an "answer" in the orchestral episode "Visions of the Fiery Angel" (c. 338).

The dynamics of the relationship between the two characters - Renata and Ruprecht - naturally reveals itself in various forms of real dialogue. In the dramaturgy of the opera, dialogue is the dominant "duet" form of vocal utterance. Here Prokofiev largely develops the traditions of Dargomyzhsky and Mussorgsky. The verbal expressiveness of the intonations of the vocal parts, the brightness of the "melodic formulations", the contrasting change of emotional states, the different scale of the remarks - all this gives the dialogues a tense dynamic, creates the impression of the reality of what is happening. The structure of the dialogues in the opera is a chain of arioso - "a system of horizontal editing" (E. Dolinskaya's term).

The chain of dialogues illustrates the development of the Renat-Ruprecht line. At the same time, all of them are dialogue-fights, expressing the idea of ​​their emotional and spiritual incompatibility, which is central to the line of relations between the characters. Often, the situation of suggestion acts as an invariant in these dialogues: Renata encourages Ruprecht to take certain actions she needs, inspiring him with the idea of ​​their necessity (the scene at the house of Count Heinrich at the beginning of III e, the dialogue-duel of Renata with Ruprecht in the first scene IV d., c.400 - c.429).

Separately, it should be said about the dialogues between the main characters and other characters. First of all, this is a large-scale dialogue-duel between Ruprecht and Agrippa (2 k. P d). Situation

Ruprecht's psychological subordination to Agrippa is "given" in a similar type of speech intonation based on chanting formulas, with their rhythmic emphasis on key words. Indicative from the point of view of psychological submission is the penetration into Ruprecht's intonational characteristic of an alien element - an increased triad that characterizes Agrippa. Such a dialogue (transforming the definition of M. Druskin) can be called a dialogue of imaginary consent. This type of dialogue occurs at the end of the opera. So, the first dialogue between Renata and the Inquisitor is only outwardly presented as a duet of agreement, but as the emotional explosion grows, it begins to collapse, leading to a catastrophe, and the first replica of the insane nuns begins this process of translating an imaginary agreement into an acute conflict.

The features of a "complex dialogue" (M. Tarakanov's term) appear in scenes connected with the embodiment of extraordinary, "boundary" situations. This genre can be observed at the culmination of the scene of Ruprecht's injury (a phantasmagoric episode in which Ruprecht's delirium and Renata's love confessions are accompanied by mimicking remarks and the laughter of an invisible female choir, c.393 - c.398). He is also present at the climax of the scene at Agrilpa (the introduction of mocking replicas of skeletons); in the scene of a challenge to a duel (a parallel of two speech situations: Ruprecht's appeal to Heinrich and Renata's dialogue with the "angel"). A striking example here is the scene of the madness of the nuns at the end of the opera.

In a wide range of vocal intonations of the opera "The Fiery Angel" a special position belongs to the layer of cult intonation of the Middle Ages. .). The composer aspired here to the embodiment of a generalized type of man of the Middle Ages. Features of the Gregorian chant, with its inherent reliance on the clear transparency of a pure fifth, arcuate movement and subsequent return to the tone of the source, find their expression in Renata's arioso "Where the sacred is near ..." in the scene with the Mother Superior (v.3, 4 c.492) - this moment of spiritual enlightenment of the heroine.

As in previous operas, Prokofiev acts as the director of his own opera (M. Sabinina wrote about this), which is why the director's remarks play a special role in shaping the vocal style of "The Fiery Angel", accurately characterizing the speech of the characters, the peculiarities of vocal pronunciation. For example, such remarks emphasize the intensely mysterious atmosphere of magic, sorcery, the "presence" of the other world: "stroking the jug, almost in a whisper" (the beginning of the divination scene, v. 148), "in the ear", "mysteriously" (Glock in 1 k. II d.), "excitedly, in a whisper" (c. 217), "in a whisper" (c. 213, 215, 220, 221, 222, 224, 228 in the "knocking" scene). In the same way, remarks point to the meaning of other situations: "barely audible", "calms down" (the end of the scene of hallucinations, p. 34,35), "lowering the tone" (fortune-telling scene, p. 161).

There are contrasting remarks that control the stage behavior of Renata and Ruprecht, Faust and Mephistopheles, for example, Renata (in the litany scene): “opens the window and, kneeling, turns to the morning dawn, to the sky” (c. 115), “into space, into the night" (c. 117), Ruprecht (ibid.): "behind her, repeats reluctantly" (c. 116), "taking Renata by the leaks and smiling" (c. 121); Faust: "strictly" (c.437), "thoughtfully" (c.443), "trying to soften the impression and turn the conversation to more serious topics" (c.471); Mephistopheles: "cunningly and significantly" (c.477), "grimacing" (c.477).

Thus, vocal speech in the opera performs diverse functions associated with equally diverse plot, stage, drama, and semantic tasks. The main one is the disclosure of the psychological life of the characters in all its complexity. Through plastic-relief intonations (speech, everyday, cult), the listener gets the opportunity to penetrate into the energy of the "emotional messages" of the characters. In this sense, both the arioso included as semantic units in the general dramatic context of the dialogue, reflecting the stage of the formation of feelings, and solo constructions, representing the stage of crystallization of feelings, are indicative, according to their dramatic load, singled out in the structure of the whole. But besides this, vocal speech is involved in all situations, fixing the change of stage positions, the gradation of the characters' feelings, their reactions to what is happening, their participation in what is happening. The vocal speech of the "Fiery Angel" is a mobile, changeable, flexible and sensitive "seismogram", fixing the most complex processes occurring in the psyche of the characters.

Chapter V. Orchestra of the opera "The Fiery Angel".

In the musical dramaturgy of "The Fiery Angel" the leading role belongs to the orchestra. The transcendental conflict, which caused the predominance of ecstatic forms of mental states in the opera, gives rise to colossal, titanic sound energy. In fact, the composer creates in the "Fiery Angel" a new orchestral acoustics, in which he reaches the ultimate boundaries of sonority, surpassing everything that has existed in this area so far. The indisputable supremacy of symphonic principles plays an important role in solving dramatic problems.

The functions of the orchestra in the "Fiery Angel" are diverse and complex. The orchestra not only accompanies the action, the vocal layer of the opera; he constantly intervenes in the development of the plot, reveals the meaning of what is happening, comments and deciphers the meaning of certain words spoken or actions performed. Revealing the inner world of the characters, the orchestra fills the scenes and acts with contextual meaning, replaces the scenery, acting as a "theatrical playwright" (I. Nestyev). Fundamental in the formation of the musical dramaturgy of the work was for Prokofiev the avoidance of any kind of opera

The most important meaning-forming function of the "Fiery Angel" orchestra, which determines the originality of the opera, is the function of explication of the subconscious. Orchestral development gives rise to the "appearance effect" - the feeling of "presence" next to the heroes of some invisible force. The function of explication of the subconscious is vividly realized in the scene of Renata's hallucinations. The orchestra forms the mystical atmosphere of the supposedly ongoing action. Spacious orchestral strokes, piano dynamics create a "squeezed" space of a nightmare, emphasizing the psychiatric background of what is happening. The spectrum of intonational "events" reproduces the special energy of the space "filled" with invisible entities. The visualization of appearances reaches its apogee in Ruprecht's arioso "For my eyes there is nothing but a moonbeam" (v.3 v.20, v.21): as if refuting the words of the hero, in the part of the harp and violins in the measured movement of quarters, a variant of the idee fixe leitmotif sounds . The variable emphasis of the six-meter meter creates the effect of "spreading", the absorption of space, as if Someone invisible is at that moment next to the hero.

The function of the explication of the subconsciousness is carried out by the orchestra in the "knocking scene" (1 k. II d., from c. 209) - one of the most grandiose musical phantasmagories of the 20th century. The effect of the “presence” of the Otherworld creates a complex of exactly found means: the neutrality of thematism (general forms of movement: rehearsals, dissonant jumps, glissando, formulaicity), a monotonous timbre-dynamic background (strings pp), from time to time disturbed by the sonorous effects of the shock group, depicting mysterious " knocks." This type of textural design, almost unchanged, covers one hundred and ten measures of music. The fragmentary vocal remarks of the heroes, accompanied by remarks in a "whisper", are dissolved in the forceful flow of music, which gives reason to consider this episode primarily an orchestral one.

The function of "emotional scenery" (M. Aranovsky) is clearly manifested in the part of the orchestra accompanying the story-monologue of Renata (I d., ts.44 - ts.92), as well as in the scene in front of Henry's house (1 k. III d.) . Each of the sections in these stories-monologues reveals one of the stages of the dramatic super-idea: the subordination of the consciousness of the heroine to some mysterious force. The scene in front of Heinrich's house accentuates the maximum degree of splitting of the heroine's consciousness due to the sudden discovery of Heinrich's "earthly" nature. The dominance of the image of the Fiery Angel/Henry determines the analogies in the structure of both scenes: a sequence of contrasting thematic episodes, a “horizontal montage system”, where a dispersed variational cycle acts as a higher-order form, the theme of which is the leitmotif of Renata’s Love for the Fiery Angel. At the same time, the idea of ​​the duality of the "angel" is revealed in different ways: in the story-monologue - more indirectly, as a "sound

two-dimensionality"15 (contrast between diatonic melody and dissonant harmonic accompaniment); in the scene in front of Heinrich's house - as infernal-scherzo transformations of the leitmotif of Love for the Fiery Angel, forming a kaleidoscope of terrible "grimaces".

Moments of transition, switching of the dramatic functions of the orchestra are solved as orchestral episodes. Such, for example, are the climaxes of through scenes. Switching occurs in the exposition of the dramatic line of Renat-Ruprecht in the scene of hallucinations (n. 16); a reminiscence is given at the end of the first scene of act IV, symbolizing the collapse of the characters' relationship. Such episodes include the scene of "violence" (I d.), the episode of the "appearance" of the Fiery Angel (1st sh. D., c.337, c.338), the episode of "eating" the Tiny Boy by Mephistopheles (TV d.) .

All the listed episodes are united by a number of invariant features. These are: 1) a sharp contrast that arises with the previous development at the level of texture (realization of "dynamic monumentalism"), dynamics (double and triple forte), harmony (acute dissonances); 2) the similarity of the dramatic solution (stage pantomime); 3) the similarity of the timbre-textural solution (tutti, polyphonic texture based on the "collisions" of contrasting thematic elements, ostinato, releasing the element of rhythm).

The special semantic significance of the orchestra in the dramaturgy of the opera "The Fiery Angel" is revealed by independent orchestral episodes. The three major climaxes of the opera are presented in the form of extended orchestral intermissions - the intermission between the 1st and 2nd scenes of the II d., anticipating the scene at Agrippa, the intermission between the 1st and 2nd scenes of the III d. - "Ruprecht's duel with Count Heinrich ", and a detailed episode, which completes the first scene of the IV act, indicating the completion of the Renata-Ruprecht pinia. In all these cases, orchestral development, being isolated from vocal speech and heroes acting on the stage, orchestral development instantly transfers the action to a metaphysical level, becoming an arena for the collision of "pure" energies, freed from concrete-figurative meaning.

Along with the "knocking" scene, the intermission of the scene with Agrippa is another major culmination of the irrational layer in the opera. The context forms the musical development from the very first bars: in the powerful orchestral tutti fortissimo, an image of a formidable, overwhelming all living force arises. The development is built as a crescendo, based on the continuous timbre-textural enrichment of the background, forcing the tempo-rhythm. The form of the intermission is determined by the successive exposition of three sinister symbols of the Otherworld - three leitmotifs of Agrippa.

Just as grand symphonic picture unfolds in an intermission illustrating the duel between Ruprecht and Heinrich The colossal energy flow "transfers" the psychological conflict to a transcendental level: Ruprecht "<...>does not fight at all with Count Henry, whom he cannot defeat due to the ban, his

13 The term E. Dolinskaya.

the true and terrible adversary becomes the spirit of evil, which has taken on the guise of an angel of light"16. Paying tribute to the battle theme, the composer uses the possibilities of the percussion group in various ways: duets and trios of percussion are a through element of this episode. Knight, Renata's Love for the Fiery Angel, idee fixe.

Intermission - the completion of the line Renat a-Ruprecht represents the largest lyrical climax of the opera. The image of the protagonist's love loses its specific personal content as an expression of an individual feeling, becoming an expression of the Feeling of Love in the universal human sense. And again, the main role here is played by the orchestra with the help of a symphonic enlargement of Ruprecht's leitmotif of Love, the theme of which is the content of the intermission.

The illustrative function of the orchestra is realized in zones of withdrawal from dramatic tension, focused on the development of the everyday layer (I and IV acts). Since the dynamics of operatic action and the expressiveness of vocal speech come to the fore in scenes of this type, the sound atmosphere formed by the orchestra appears in a “lightened” form: the thematic development is carried out by solo instruments and small groups of instruments (two or three each) against the background accompanying strings or a general pause of the orchestra. The orchestra, thus, becomes a means of characterization, portraying the characters of everyday life.

The stage of combining all the functions of the orchestra is carried out in the finale of the opera. In accordance with the concept of the finale - the objectification of the subjective, "arches" are formed in its form between it and all the previous actions of the opera, denoting the most important stages of the tragedy. The first of them - a dynamized reprise of the code of the scene of Renata's hallucinations - occurs in the Inquisitor's arioso "Loving Brothers and Sisters", which opens the court scene (ts.497 - ts.500). As in act I, this is a polytonal ostinato episode, the thematic basis of which is the counterpoint of the idee fixe leitmotif (from the expositional tone "e") and the archaically detached vocal theme of the Inquisitor. The obscured sound of the low registers of violas and cellos, conducting the idee fixe leitmotif, the gloomy unison of double basses and bassoons duplicating the vocal line, the heavy quadruple meter - all this gives the music the character of a solemn and at the same time terrifying surreal action; its meaning is another funeral service for the main character.

The arch of this scene with the beginning of the scene of hallucinations is established by the choir of nuns, called to exorcise the unclean spirit (c.511 - c.516). The similarity of the means of musical expression of both episodes is noticeable in the stinginess of the orchestral texture, the monotonous timbre background (pizzicato strings), muffled dynamics and close logic of development.

16 Tarakanov M Prokofiev's early operas. - M.; Magnitogorsk, 1996. - S. 128

vocal part - the growth of its range from narrow-volume motives-formulas to wider moves - motives- "screams".

A number of semantic "arches" appear in the part of the orchestra at the moment when, according to Prokofiev's remark, "Renata, who has been standing motionless until now, begins a fit of obsession." The onset of the seizure and the chain reaction of the nuns following it is accompanied by a transformed implementation of the leitmotif "Mephistopheles' threat" (ts.556 -ts. 559); this is how the inner meaning of the action taking place on the metaphysical level is deciphered: behind the external events their source is revealed - the evil that manifested itself in Renata's fit and the madness of the nuns.

The episode of the demonic dance (ts.563 - ts.571) is based on the infernal-scherzo transformation of the leitmotif of the Monastery, carried out in the vocal part of the nuns. In the orchestral tutti, chords of pop arpeggiare sound ominously dry as harps, horns, tubas and trombones play a leaping theme against the backdrop of formulaic passages of wood. The mechanistic dimension of danse macabre evokes associations with numerous episodes of the "march of evil" in the music of the 20th century - by I. Stravinsky, B. Bartok, A. Honegger, D. Shostakovich. The maximum concentration of negative energy leads to the materialization of evil: at the climax of the chorus of the slaying of the devil, Mephistopheles appears on stage (v. 571), accompanied by shrieking passages of piccolo, flutes and harmonica. The true essence of his ambiguous speech, sounding against the backdrop of the hysterical agony of the nuns, is the accusation of Renata.

The final stage of the tragedy - the accomplishment of the catastrophe of human souls - occurs at the moment when the nuns and Renata accuse the Inquisitor (c. 575). Vocal and orchestral development creates a gigantic image - a monstrous vision of world chaos. At the top of this musical stage Apocalypse, the image of the sorcerer and warlock Agrippa arises: a reminiscence of Agrippa's third leitmotif sounds in an orchestral tutti on three forte and is accompanied by bells (from ts 575). The meaning of this return of Agrippa is evidence of the catastrophe of human delusion.

The end of the opera is sudden and symbolic: the musical space is cut through by a fanfare of trumpets in radiant D-dur. Author's note: "..A bright ray of sun falls through the open door into the dungeon..." (c.586). The sun in the artistic world of Sergei Prokofiev often symbolizes pure Light, the energy of renewal. The variant-sequential performances of Renata's idee fixe leitmotif in the orchestra are gradually transformed into the final consonance - the major third "des-f". the fermata of the orchestra "fixes" the consonant sound in the listener's mind.The nightmare is not forgotten, but a ray of light brought the long-awaited hope of liberation from delusions, that, having crossed the cherished verge of another world, the heroine will find rebirth.

So, Prokofiev's interpretation of the orchestra in the opera "The Fiery Angel" reveals the most important properties of his artistic thinking - theatricality and dynamism. Theatricality is realized in different aspects: in the characteristic of the everyday layer, in the tense dynamics of the psychological and irrational layers. With the help of symphonic means, the orchestra draws various, often contrasting, stage situations. The tense dynamics of the development of the orchestral part creates a chain of climaxes of various, sometimes the highest level of tension. The titanism of sound volumes, exceeding everything that was known in the field of orchestral dynamics at the time of the creation of "Fiery Angel", is comparable in strength of expression with the creations of flaming gothic. The music of the opera creates a powerful force field that leaves the most daring futuristic quests far behind. early period Prokofiev's works, including the "Scythian Suite" (1915) and the Second Symphony (1924). "The Fiery Angel" became, among other things, the discovery of a new concept of the opera orchestra, which crossed the boundaries of the theater itself and joined the symphonic thinking of a new level, which was demonstrated by the composer by creating the Third Symphony based on the materials of the opera.

In the Conclusion of the dissertation, the artistic features of the opera "The Fiery Angel" are summarized.

The opera "The Fiery Angel" became the only work by Prokofiev, which embodied the problem of the existence of the other world, inaccessible to understanding and comprehension, next to the existence of a person. Based on the plot of the novel, the composer created a concept in which the multiplicity of different planes of being, the mutual transition of the existing and the apparent, is brought to principle covering all levels of the artistic whole. This principle can be conventionally designated as the duality of the real and the metaphysical.

The quintessence of the principle of dualism at the level of the artistic-reverse system is the main character of the opera. The conflict of Renata's consciousness is of a transcendental nature. The center of the artistic-figurative system - the "triangle" traditional for the lyrical-psychological genre - is filled with representatives of parallel semantic dimensions. On the one hand, the mystical Fiery angel Madiel and his "earthly" inversion - Heinrich, on the other hand - the real person Ruprecht. Madiel and Ruprecht symbolize the worlds to which they belong. Hence the resulting "multi-vector" artistic-figurative system of the opera: everyday characters coexist here with images, the nature of which is not completely clear. Splitting becomes the leading principle of organizing this "boundary reality" - the emanation of Renata's consciousness. Each of the three figurative layers is internally ambivalent: in addition to the ratio already considered: "Renata-Madiel / Heinrich - Renata-Ruprecht", there is

splitting of the irrational layer ("visible" - "invisible" images), as well as the everyday layer ("master-servant", "female-male").

This splitting of the artistic and figurative system, given by the image of the main character, also gives rise to the peculiarities of dramatic logic in the opera - the principle of a rondo-like sequence of events noted by N. Rzhavinskaya, "<...> <...>and situations-episodes consistently compromise this point of view"17. M. Aranovsky characterizes this principle as balancing on the verge of alternatives18.

The "vertical" dimension of the principle of dualism at the level of scenography appears in the opera as stage polyphony. The contrast of different points of view on the same situation is represented by the scenes of Renata's hallucinations, divination (I d.), the episode of the "appearance" of the Fiery Angel to Renata (1 k. III d.), the scene of Renata's confessions (2 k. Sh d.), scene of the nuns' madness at the end.

At the genre-forming level, the principle of dualism of the real and the metaphysical is expressed in the opera by the ratio: "theatre-symphony". The action that takes place on the stage and the action that takes place in the orchestra form two independent, but, of course, intersecting semantic series. tan of dramaturgy, while the inner plan is "under the control" of the orchestra. All this corresponds to the principled rejection of the theatrical and stage specification of the irrational beginning in the opera, proclaimed by Prokofiev back in 1919. The orchestra of the "Fiery Angel" is the embodiment of different planes of being: their switching is carried out instantly, revealing the contrast of specific techniques. At the same time, the theatrical principle in the opera is so strong that its principles also affect the logic of symphonic development. The "characters" of the symphonic action are the leitmotifs. It is the leitmotifs that take on the function of explaining the meaning of what is happening when leveling the external action.

At the same time, the leitmotif system of the opera is also to a large extent connected with the expression of the principle of dualism. This is served by the division according to structural and semantic features of leitmotifs, denoting in the broadest sense the sphere of human existence (including through leitmotifs - exponents of the psychological life of the characters, as well as characteristic leitmotifs associated with the plasticity of physical action), and leitmotifs, denoting a circle of irrational images.

Significant in the implementation of the principle of dualism are the methods used by Prokofiev for the development of leitmotifs. First of all, we note the numerous rethinking of the leitmotif of Love

17 Rzhavinskaya N "Fiery Angel" and the Third Symphony: montage and concept // Soviet music, 1974, No. 4.-S. 116.

Renata to the Fiery Angel, as well as the leitmotif of the Monastery in the finale of the opera: in both cases, the initially harmonious thematic structure turns into its opposite through a series of transformations.

The principle of dualism is also realized at the level of organization of thematism as "sound duality" (E. Dolinskaya).

Despite the fact that the vocal style of the "Fiery Angel" as a whole concentrates the external plane of being, where the intonation appears in its original quality - as the quintessence of the hero's emotion, his gesture, plasticity - the principle of dualism is manifested here as well. The spell, inextricably linked with the archaic culture of mankind, and therefore with the elements of magical rituals, in the opera acts in its original function as a means of contributing to the transformation of a person’s psychic energy, the release of his subconscious.

Thus, the principle of dualism of the real and the metaphysical in the opera "Fiery Angel" organizes the structure of the artistic-figurative system, plot logic, features of the leitmotif system, vocal and orchestral styles, their correlation with each other. At the same time, this principle is nothing more than one of the options for implementing the idea of ​​theatricality fundamental to Prokofiev’s work, realized in this case as a plurality of pictures of being, a system of alternative points of view on the same situations.

Publications on the topic of the dissertation:

1. Opera S.S. Prokofiev "Fiery Angel" and stylistic searches of the modern era. // Russian music in the context of world artistic culture (Proceedings of a scientific conference within the framework of the III International Competition for Young Pianists named after P.A. Serebryakov). - Volgograd - Saratov, April 12-13, 2002 - 0.4 sq.

2. The category of "mystical horror" in S. Prokofiev's opera "The Fiery Angel".// Musical art and problems of modern humanitarian thinking (materials of Serebryakov scientific readings). Book I. - Rostov-on-Don: publishing house of the RGC im. ST. Rachmaninov, 2004 - 0.4 sq.

3. S. Prokofiev's opera "The Fiery Angel": dramatic and stylistic features. -M.: "Talents of the XXI century", 2003 - 3.8 pp.

"Aranovsky M. Split integrity. // Russian music and the XX century. - M., 1997. - S. 838.

GAVRILOVA Vera Sergeevna

Stylistic and dramatic features of the opera by S.S. Prokofiev "Fiery Angel"

dissertations for the degree of candidate of art history

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Chapter 1. Roman V.Ya. Bryusov "Fiery Angel".

Chapter 2. Novel and libretto.

2. 1. Work on the libretto.

2. 2. Dramaturgy of the libretto.

Chapter 3. Leitmotif system of the opera "The Fiery Angel".

Chapter 4. The vocal style of the opera "The Fiery Angel" as a means of drama.

Chapter 5

Dissertation Introduction 2004, abstract on art criticism, Gavrilova, Vera Sergeevna

The opera "Fiery Angel" is an outstanding phenomenon of the musical theater of the 20th century and one of the pinnacles of the creative genius of Sergei Sergeevich Prokofiev. In this work, the wonderful theatrical talent of the composer-playwright, the master of depicting human characters, sharp plot conflicts, was fully revealed. "The Fiery Angel" occupied a special position in the evolution of Prokofiev's style, becoming the culmination of the foreign period of his work; at the same time, this opera provides a great deal for understanding the paths along which the development of the language of European music proceeded in those years. The combination of all these properties makes "The Fiery Angel" one of those works with which the fate of the musical art of the 20th century is connected and which, for this reason, are of particular interest to the researcher. The uniqueness of the opera "The Fiery Angel" is determined by the most complex philosophical and ethical problems that affect the most acute questions of life, the collision of the real and the supersensible in human consciousness. In fact, this work opened up a new Prokofiev to the world, by the very fact of its existence refuting the long-held myth about the so-called "religious indifference" of the composer.

In the panorama of operatic creativity in the first third of the 20th century, The Fiery Angel occupies one of the key places. This work appeared in a particularly difficult period for the operatic genre, when crisis features clearly appeared in it, a period marked by deep, sometimes radical changes. Wagner's reforms have not yet lost their novelty; At the same time, Europe has already recognized Mussorgsky's Boris Godunov, who opened up new horizons for operatic art. There were already Pelléas et Mélisande (1902) by Debussy, Lucky Hand (1913) and the monodrama Expectation (1909) by Schoenberg; the same age as the "Fiery Angel" turned out to be "Wozzeck" by Berg; not far from the premiere of the opera "The Nose" by Shostakovich (1930), the creation of

Moses and Aaron" Schoenberg (1932). As we can see, Prokofiev's opera appeared in a more than eloquent environment, deeply connected with innovative trends in the field of musical language, and was no exception in this respect. "The Fiery Angel" took a special, almost culminating position in the evolution of the musical language of Prokofiev himself - as you know, one of the most daring innovators of music of the 20th century.

The main purpose of this study is to reveal the specifics of this unique and extremely complex composition. At the same time, we will try to justify the independence of Prokofiev's idea in relation to the literary primary source - the one-shift novel by Valery Bryusov.

The opera "Fiery Angel" is one of the works with its own "biography". In general, the process of its creation took a time period equal to nine years - from 1919 to 1928. But even later, until 1930, Sergei Sergeevich repeatedly returned to his work, making some adjustments to it1. Thus, in one form or another, the work lasted about twelve years, which is an unprecedentedly long period for Prokofiev, testifying to the special significance of this work in the composer's creative biography.

The plot basis that determined the formation of the concept of the opera "The Fiery Angel" was the novel of the same name by V. Bryusov, which caused the composer's passion for the medieval theme. The main material of the opera was created in 1922 - 1923, in the town of Ettal (Bavaria), which Prokofiev associated with unique atmosphere of German antiquity.

2 3 are evidenced by his statements, as well as the memoirs of Lina Lubera.

Beginning in the spring of 1924, the "fate" of the opera "The Fiery Angel" turned out to be closely connected with the spiritual evolution of the composer. It was at this time, when the main part of the work was created, that he became interested in the ideas of Christian Science, which determined many features of his worldview for years to come. During the entire period abroad, Prokofiev maintained the closest spiritual connection with representatives of this American religious movement, regularly attending its meetings and lectures. On the margins of the "Diary", especially for 1924, there are many curious arguments that give an idea of ​​how deeply the composer was interested in issues related in one way or another to the field of religion and philosophical problems during the period of work on the opera. Among them: the problem of the existence of God, the qualities of the Divine; problems of immortality, the origin of world evil, the "devilish" nature of fear and death, the relationship between the spiritual and physical states of a person4.

Gradually, as Prokofiev "immersed" himself in the ideological foundations of Christian Science, the composer increasingly felt the contradiction between the principles of this teaching and the conceptual field of "The Fiery Angel". At the peak of these contradictions, Prokofiev was even close to destroying what had already been written for "The Fiery Angel": "Today, during the 4th walk," he wrote in his "Diary" dated September 28, 1926, "I asked myself a direct question: I am working on" Fiery Angel", but this plot is definitely nasty to Christian Science. In that case, why am I doing this work? There is some kind of thoughtlessness or dishonesty: either I take Christian Science lightly, or I should not devote all my thoughts to what is against I tried to think it through to the end and reached a high degree of boiling. Solution? Throw "The Fiery Angel" into the stove. And wasn't Gogol so great that he dared to throw the second part of "Dead Souls" into the fire.<.>" .

Prokofiev did not commit a fatal act for the opera and continued to work. This was facilitated by Lina Lyobera, who believed that it was necessary to complete the work that had taken Prokofiev so much time and effort. Nevertheless, the negative attitude towards the "dark plot"5 remained with the composer for quite a long time.

The stage "biography" of Prokofiev's fourth opera was also not easy to develop. The mystical story about the search for the Fiery Angel at that time did not bode well for staged success either in post-revolutionary Soviet Russia or in the West: "<.>Starting a big job with no prospects for it was frivolous<.>". It is known that the composer negotiated the production of "The Fiery Angel" with the Metropolitan-opera (New York), Staatsoper (Berlin), headed by Bruno Walter, with the team French opera and conductor Albert Wolf. All these projects ended in nothing. Only on June 14, 1928, in the last Parisian season of Sergei Koussevitzky, did a clipped fragment of the second act sound with 11 Koshyts as Renata. This performance was the only one in the life of the composer. After his death, in November 1953, the "Fiery Angel" was staged at the Champs-Elysées Theater by French radio and television, then, in 1955 - at the Venice Festival, in 1963 - at the Prague Spring, and in 1965 in Berlin . In Russia, for obvious reasons, staging an opera in those years was out of the question.

The awakening of the interest of domestic musicians in opera occurred later - only in the early eighties. So, in 1983, the first production of The Fiery Angel took place at the Perm Opera Theatre*. A production at the Tashkent Opera Theater followed in 1984**; a television play was created on its basis, the premiere of which took place on the night of May 11, 1993. In 1991, the opera was staged by the Mariinsky Theatre.

The study of the "Fiery Angel" required the involvement of literature of a very different kind. First of all, the object of attention was the work, directed by E. Pasynkov, conductor - A. Anisimov, choirmaster - V. Vasiliev. Director - F. Safarov, conductor - D. Abd> Rakhmanova. Director - D. Freeman, conductor - V. Gergiev, Renata's part - G. Gorchakov. To some extent related to the theme of Prokofiev and musical theater, as well as literature dedicated directly to this opera. Unfortunately, the number of research papers on the opera is relatively small, and many problems associated with it are waiting to be solved.

One of the first among the works devoted to Prokofiev's opera house was the research of M. Sabinina. Let us single out the first and fifth chapters of the monograph "Semyon Kotko" and the problems of Prokofiev's operatic dramaturgy "(1963). So, essential in the first chapter of the monograph ("Creative Formation and Epoch") was important for understanding the specifics of the "Fiery Angel" definition of its differences from expressionist "opera of horrors" (p. 53), as well as raising the question of the implementation of "romantic emotion" in the opera... Defining the genre of opera as "lyrical-romantic drama" (p. 50), the researcher emphasizes the differences in the vocal style of "The Gambler " and "The Fiery Angel". Noteworthy in this regard is the remark about "a partial amnesty in the second opera form (p. 50); Sabinina quite rightly considers the image of Renata as "a huge leap in Prokofiev's lyrics" (p. 54).

Of particular value to us is another work by M. Sabinina - the article "On Prokofiev's Opera Style" (in the collection "Sergei Prokofiev. Articles and Materials", Moscow, 1965), where she gives a multifaceted description of the main features of Prokofiev's opera aesthetics: objectivity, characteristic, theatricality, stylistic synthesis. All of them received a specific refraction in the "Fiery Angel", which we will also try to pay attention to.

The problems of Prokofiev's operatic dramaturgy are carefully considered in I. Nestyev's fundamental monograph "The Life of Sergei Prokofiev" (1973). Nestiev rightly writes about the "mixed" genre of "The Fiery Angel", about its transitional character, combining the features of a chamber-lyrical narration about Ruprecht's unhappy love for Renata and a genuine social tragedy (p. 230). Unlike Sabinina, Nestiev focuses on the analogies between "The Fiery Angel" and "The Gambler", draws a parallel: Polina - Renata ("nervous brokenness, inexplicable variability of feelings", p. 232), and also notes compositional similarities: "a motley change dialogic and monologue scenes", "the principle of growth" to the finale of the fifth act - "mass-choral culmination" (p. 231). In the dramatic analysis of the opera, Nestiev also singled out the great role of the orchestra, the methods of symphonization, and the musical and dramatic significance of the choir (p. 234). The parallels between Mussorgsky and Prokofiev are interesting in connection with the embodiment of the irrational (p. 229), as well as with a number of phenomena of the 20th century ("Bernau-erin" by K. Orff, the "Harmony of the World" symphony by P. Hindemith, "The Witches of Salem" by A. Miller, opera "The Devils from Laudan" by K. Penderecki).

Of fundamental importance for us is another work by Nestyev - the article "Classic of the XX century" (in the collection "Sergei Prokofiev. Articles and Materials.", M., 1965). The author cites significant differences between the "Fiery Angel" and the aesthetics of expressionism: " Not all expressiveness, emotional exacerbation means a conscious appeal to Expressionism as the established aesthetic system of the 20th century. In fact, not a single honest artist who lived in the era of world wars and gigantic class battles could pass by the terrible and tragic aspects of modern life. The whole question in HOW he evaluates these phenomena and what is the METHOD of his art.Expressionism is characterized by the expression of insane fear and despair, complete helplessness little man before the irresistible forces of evil. Hence the corresponding artistic form - extremely restless, screaming. In the art of this trend, deliberate deformation is manifested, a fundamental rejection of the depiction of real nature, its replacement by an arbitrary and painfully sophisticated fiction of an individualist artist. Is it worth proving that such principles were never characteristic of Prokofiev, even in his most "leftist"

Blueing<.>". One can only join these words. The power of expression of the "Fiery Angel" has a different mental genesis, and we will also pay attention to this issue. However, the expressionist interpretation of the "Fiery Angel" has its supporters, in particular, it is defended by S. Goncharenko M. Aranovsky, JI Kirillina, E. Dolinskaya adhere to the opposite point of view.

A new stage in the study of Prokofiev's operatic work was M. Tarakanov's monograph "Prokofiev's Early Operas" (1996). It presents a multifaceted analysis of the dramatic features of "The Fiery Angel" in combination with an understanding of the socio-cultural context of the era. Going from the plot logic to the specifics of the musical solution of the opera, Tarakanov notes a curious similarity between the stage situation of its finale and Penderetsky's opera The Devils from Loudun, as well as with some semantic motifs from Dostoevsky's The Brothers Karamazov. which, however, in his opinion, "is on the verge of destruction" (p. 137). Among other features of the style of the opera, Tarakanov draws attention to the primacy of song intonation, which acts as the basis of the vocal style, he also notes the role of symmetry in the composition of the opera whole, sees some similarities with Wagnerian Bogenforme. The researcher also emphasized such important characteristics of the content of the opera as: mythological nature, ritual, signs of an apocalyptic concept.

In the article "Prokofiev: The Diversity of Artistic Consciousness" Tarakanov touches upon the important question of the connection between the "Fiery Angel" and symbolism. The author writes: "In the Fiery Angel, the previously hidden, carefully encrypted connection with symbolism suddenly appeared so clearly and distinctly that it created

4 one gets the impression that it is on public display". ° .

In these works, despite the difference in the approaches demonstrated in them, the high assessment of the "Fiery Angel" as an outstanding work by Prokofiev is clearly expressed. But there were others. So, for example, B. Yarustovsky's monograph "Opera Dramaturgy of the 20th Century" (1978) stands out with a sharply negative attitude towards it. An objective approach requires that the arguments of this author also be mentioned, although it is difficult to agree with them: "<.>Prokofiev's second opera of the 1920s is very vulnerable in terms of its dramaturgy, "untamed" expression, variegation of diverse episodes, deliberately everyday grotesque,<.>obvious lengths" (p. 83).

Let us note the works in which certain aspects of the "Fiery Angel" are investigated. First of all, I would like to name here the article by JL Kirillina "The Fiery Angel": Bryusov's novel and Prokofiev's opera" (Moscow Musicologist Yearbook, issue 2, 1991). This article is perhaps the only one where the key problem is posed: the relationship between the opera and its literary source. The article is written "at the intersection" of musicological and literary problems, it presents a multidimensional comparative analysis of Bryusov's novel and Prokofiev's opera. The main motive of the novel - the appearance of the face of the invisible world - is considered by the author from a historical perspective, from " ancient myths about love between gods and mortals" (p. 137), through Christian myth, Manichaeism, Zoroastrianism, to medieval "plots about phenomena". Genre features of the novel are considered as a separate aspect, among which there are connections both with the novel genre proper (historical novel , gothic novel "secrets and horrors", novel-confession, chivalric novel), and with other genres (medieval short story, memoir literature, life, parable, fairy tale). Of great interest are the analogies traced between the novel "Fiery Angel", with on the one hand, and Milton's Paradise Lost (1667), Byron's work, early editions of Lermontov's The Demon, on the other. Also of interest are Prokofiev's considerations about the ideal nature of the Fiery Angel, and much more.

An interesting perspective is presented in L. Nikitina's article "Prokofiev's Opera Fiery Angel as a Metaphor for Russian Eros" (collection "National Musical Culture of the 20th Century. Towards Results and Prospects." M., 1993). Here an attempt is made to present the themes of the opera in the halo of aesthetic and philosophical ideas about love by N. Berdyaev, P. Florensky, S. Bulgakov, I. Ilyin, F. Dostoevsky. Proceeding from this, the idea of ​​the identity of the Fiery Angel and Renata becomes central in the article - the idea, from our point of view, is quite controversial.

Of undoubted interest is the article by E. Dolinskaya "Once again about the theatricality of Prokofiev" (in the collection "From the Past and Present of Russian Musical Culture", 1993). The concepts of "dynamic monumentalism" and "sonic two-dimensionality" proposed in this paper, in our opinion, are apt and accurate.

A number of works explore certain aspects of the opera - composition, vocal style, the relationship between speech and music. We note right away that there are relatively few of them. Among them, there are two studies by S. Goncharenko on symmetry in music ("Mirror Symmetry in Music", 1993, "Principles of Symmetry in Russian Music", 1998), devoted to special compositional patterns. Nevertheless, the chosen unusual perspective allowed the author to reveal some of the compositional features of the opera as a mystery text. 4

A specific perspective in the study of the opera "The Fiery Angel" appears in the article by N. Rzhavinskaya "On the role of ostinato and some principles of formation in the opera "The Fiery Angel" (in the collection of articles "Prokofiev. Articles and Research", 1972). The object of analysis here becomes "the dramatic role of the ostinato and the principles of the formation of forms approaching the rondo" (p. 97).The researcher considers these principles to be decisive in the composition of the opera, noting Prokofiev's closeness to the tendencies of the musical culture of the 20th century, among which the growing role of the ostinato, "the penetration of instrumental forms into opera" (p. 97).

The problem of the interaction of speech and music, as is known, is directly related to the specifics of Prokofiev's vocal style. Moreover, in each opera the composer found a special, unique version of his interpretation of the unity of speech and music. "The Fiery Angel" from this point of view could not fail to attract the attention of researchers, although the originality of the vocal style of this opera is such that one could expect a much larger number of works. Let us mention in this connection two articles by M. Aranovsky: "The Speech Situation in the Drama of the Opera Semyon Kotko" (1972) and "On the Relationship between Speech and Music in S. Prokofiev's Operas" (1999). In the first article, the concept of intonation-speech genre is put forward, which works well in the study of the interaction of speech and music. The second reveals the mechanisms of the intonation-speech genre (spell, order, prayer, request, etc.) in the formation of a vocal melody of a monological and dialogic warehouse.

The vocal specificity of the "Fiery Angel" is entirely devoted to the third chapter of O. Devyatova's dissertation "Prokofiev's Opera Works of 1910-1920" (1986)*. The objects of study here are the vocal parts of Renata, Ruprecht, the Inquisitor, Faust, Mephistopheles, the features of the interpretation of the choir in the finale of the opera. Devyatova emphasizes the huge role of the "emotional-psychological type" of intonation in revealing the inner world of the two main characters and the predominance of this form of vocal expression over the "conversational-situational type", which acts as a characteristic of the characters of the second plan. According to the author of the dissertation In addition to "The Fiery Angel", separate chapters of Devyatova's research are devoted to the analysis of the peculiarities of the vocal style in the operas "The Love for Three Oranges" and "The Gambler". tion, the first type has a connection with the art of experiencing, and the second - with the art of representation. Devyatova correctly notes the "explosive" nature of Renata's melodies, as well as the increased role of chant in the opera as a whole.

Paying tribute to the authors of the mentioned works, at the same time, 4 one cannot but pay attention to the fact that so far only relatively few aspects of the style of this great opera have become the subject of research analysis. So, for example, the orchestra of the "Fiery Angel", which plays a leading role in the dramaturgy of the opera, has so far remained aloof from the attention of researchers. Separate aspects of her orchestral style were reflected only in those works that deal with the Third Symphony, created, as you know, on the material of the opera. The relationship that arises between the "Fiery Angel" and the Third Symphony, the first in national musicology touched S. Slonimsky ("Prokofiev's Symphonies", 1964); M. Tarakanov wrote about them in more detail ("The style of Prokofiev's symphonies", 1968). The works of G. Ogurtsova (the article "Peculiarities of Thematism and Formation in Prokofiev's Third Symphony" in the collection "Prokofiev. Articles and Research", 1972), M. Aranovsky (the article "Symphony and Time" in the book "Russian Music and XX century", 1997), N. Rzhavinskaya (article "Fiery Angel" and the Third Symphony: montage and concept" // "Soviet Music", 1976, No. 4), P. Zeyfas (article "Symphony" Fiery Angel "" // "Soviet Music", 1991, No. 4). And yet, even the most detailed analyzes of the Third Symphony cannot replace research on the orchestra of the "Fiery Angel", which - and this is the peculiarity of this opera - assumes the main functions in the implementation of dramatic tasks. No matter how brilliant the score of the Third Symphony is, much of its semantics remains, so to speak, "behind the scenes", since it was brought to life by specific events and the fates of the opera's characters. Further, this will be the subject of a special chapter of our dissertation.

Among the materials that saw the light already at the beginning of the 21st century, three volumes of Prokofiev's Diary, published in Paris in 2002, should be specially noted. For the first time, the years of the composer's stay abroad are covered in it. Much in the "Diary" forces us to radically reconsider the traditional ideas about Prokofiev, in particular, to take a fresh look at his spiritual artistic searches of the mid and late 1920s. In addition, the Diary makes it possible to "see" the moment of the formation of the Concepts of the works created during this period, as the author himself saw it.

Since one of the problems studied here was the relationship between Bryusov's novel and Prokofiev's opera, it was natural to turn to a number of literary works. Let's name some of those that turned out to be useful to us. These are, first of all, studies devoted to the aesthetics and philosophy of symbolism: "Aesthetics of Russian Symbolism" (1968), "Philosophy and Aesthetics of Russian Symbolism (1969) by V. Asmus, "Essays on Ancient Symbolism and Mythology" (1993) by A. Losev, " The Poetics of Horror and the Theory of Great Art in Russian Symbolism" (1992) by A. Hansen-Löwe, "The Theory and Figurative World of Russian Symbolism" (1989) by E. Ermilova. Also in this connection, aesthetic manifestos of the luminaries of Russian Symbolism arise: "Native and Universal" Viacheslav Ivanova, "Symbolism as a Worldview" by A. Bely.

Another aspect of the study of the problems of the novel was associated with the study of literature devoted to the cultural analysis of the Middle Ages. In this regard, we single out the works of A. Gurevich ("Categories of Medieval Culture" 1984, "Culture and Society of Medieval Europe through the Eyes of Contemporaries" 1989), J. Duby ("Europe in the Middle Ages" 1994), E. Rotenberg ("The Art of the Gothic Era" 2001), M. Bakhtin ("The Works of Francois Rabelais and folk culture Middle Ages and Renaissance" 1990), P. Bitsilli ("Elements of Medieval Culture" 1995).

A separate line is the literature devoted to the Faustian theme. These are: the works of V. Zhirmunsky ("History of the legend of Dr. Faust"

1958, "Essays on the history of classical German literature" 1972), G. Yakusheva ("Russian Faust of the 20th century and the crisis of the enlightenment era" 1997), B. Purisheva ("Goethe's Faust" translated by V. Bryusov " 1963).

Since Bryusov's novel is to a certain extent autobiographical, it was impossible to bypass the works specially devoted to the history of his appearance. These include articles by V. Khodasevich ("The End of Renata"), S. Grechishkin, A. Lavrov ("On the work of Bryusov on the novel "The Fiery Angel", 1973), 3. Mintz ("Count Heinrich von Otterheim and " Moscow Renaissance": symbolist Andrey Bely in Bryusov's "Fiery Angel" 1988), M. Mirza-Avokyan ("The Image of Nina Petrovskaya in the creative life of Bryusov" 1985).

At the same time, it is obvious that Bryusov's novel is an integral artistic phenomenon, the significance of which goes far beyond the limits of the autobiographical motives that gave rise to it, to which Prokofiev's opera is an undoubted and essential proof.

The presented bibliographic material, of course, was taken into account by the author when analyzing the opera "The Fiery Angel" and its literary basis. At the same time, it is obvious that the opera "The Fiery Angel" as an artistic whole in the unity of its constituent components has not yet become the object of a separate study. Such significant specific aspects of the opera as correlation with the literary basis, features of the leitmotif system, vocal style, features of orchestral development in the works of musicologists are partially affected, in most cases in connection with some other issue. As an object of research "Fiery Angel" still remains hot topic. To study the "Fiery Angel" as an artistic whole, a monographic work was required. It is the monographic aspect chosen in the proposed dissertation.

The task of the dissertation was a multilateral study of the opera "Fiery Angel" as an integral musical and dramatic concept. In accordance with this, the following are consistently considered: the novel by V.

Bryusov (Chapter I), the relationship between the novel and the libretto created by the composer (Chapter II), the system of leitmotifs as a carrier of the main semantic principles (Chapter III), the vocal style of the opera, taken in the unity of music and words (Chapter IV) and, finally, the orchestra operas as a carrier of the most important, unifying dramatic functions (Chapter V). Thus, the logic of the study is based on the movement from the extra-musical origins of the opera to the actual musical forms of the embodiment of its complex ideological and philosophical concept.

The dissertation ends with a Conclusion summarizing the results of the study.

Introduction Notes:

1 Appendix 1 contains excerpts from the "Diary" of the composer, published in Paris, which clearly trace the dynamics and milestones of the creation of the opera.

2 An entry in Prokofiev's Diary dated March 3, 1923, left during his stay in Antwerp, is indicative: "In the afternoon, one of the directors took me to see the house-museum of Plantin, one of the founders of printing, who lived in the sixteenth century. This is really a museum of ancient books , manuscripts, drawings - all in the atmosphere of the time when Ruprecht lived, and since Ruprecht, because of Renata, rummaged through books all the time, this house amazingly accurately gave the atmosphere in which the "Fiery Angel" takes place. someday my opera will be staged, I recommend him to visit this house. It has been carefully preserved since the sixteenth century. Faust and Agrippa of Nettesheim probably worked in such an environment. " .

3 "Life in Ettal, where the main part of the opera was written, left an undoubted imprint on it. During our walks, Sergei Sergeevich showed me the places where certain events of the story" took place. reminds me of the environment that surrounded us in Ettal, and influenced the composer, helping him to penetrate the spirit of the era." (Sergei Prokofiev. Articles and materials. - M., 1965. - P. 180).

4 To illustrate this point, here are excerpts from the Diary and phrases noted by Prokofiev in Edward A. Kimbell's Lectures and Papers on Christian Science (1921):

Diary": "I read and pondered Christian Science.<.>Curious thought (if I understood it correctly)

It slips several times - that people are divided into the sons of God and the sons of Adam. The idea had already occurred to me earlier that people who believe in immortality are immortal, and those who do not believe are mortal, those who hesitate must be born again. This last category probably includes those who do not believe in immortality, but whose spiritual life exceeds matter. "(July 16, 1924, p. 273);"<.>in order for a person to be not a shadow, but to exist rational and individual, he was given free will; the manifestation of this will led in some cases to errors; materialized errors are the material world, which is unreal because it is erroneous." (August 13, 1924, p. 277); "<.„>The Romans, when the first Christians preached the immortality of the soul, objected that once a person is born, he cannot but die, for a thing, finite on the one hand, cannot be infinite. As if answering this, Christian Science says that a person (soul) was never born and will never die, but if I was never born, that is, I always existed, but I don’t remember this past existence, then why should I consider this existence mine, and not the existence of some other being?<.>But on the other hand, it is easier to imagine the existence of God as a creator than complete godlessness in nature. Hence the most natural understanding of the world for man is: God exists, but man is mortal<.>(August 22, 1924, p. 278).

Edward A. Kimball Lectures and Articles on Christian Science. Indiana. now. 1921: "fear is devil"; "Death of Satan, not of God": "Nl&ddii Td Na6Mu, a Td k\Sh\ "disease curable when you know its cause"; "Low of sufficiency was created with the man": "The law of sufficiency was created with man"; "knowing this low you lost fear": "knowing this law, you lose fear"; "qualities of God": "qualities of God"; "origin of evil": " the origin of evil"; "Christ-an object (lessons) for daily living": "Christ is a lesson for daily living".

5 Prokofiev also included The Gambler among the "dark" subjects.

6 The scene with the Glock and the scene of "knocks" were billed.

7 The question of the complex relationship between the opera "The Fiery Angel" and romanticism, in our opinion, requires close attention and study.

8 The opposite point of view is held by JI. Kirillin, expressing the idea of ​​the fundamental alienation of the aesthetics of Prokofiev's opera from this cultural paradigm.

Conclusion of scientific work dissertation on the topic "Stylistic and dramatic features of S.S. Prokofiev's opera "The Fiery Angel""

CONCLUSION.

In conclusion, let us consider the question of the theatrical and symphonic nature of the "Fiery Angel". It is relevant in two respects. Firstly, due to the specifics of this work, in which theatrical and symphonic intertwined into a single artistic complex. Secondly, as is known, the Third Symphony was created on the basis of the music of the "Fiery Angel", which gained the status of an independent opus, which means that there were serious grounds for this in the music of the opera itself. Consequently, in the "Fiery Angel" the theater and the symphony were combined. How did this synthesis come about, what is its source and what are the consequences at the level of dramaturgy? These are the questions that we will try to answer in a short form, the only one possible in the Conclusion.

From our point of view, the source of the synthesis of theater and symphony lies in the ideological concept of the opera, which determined the features of its style and dramaturgy.

The opera "Fiery Angel" is the only work by Prokofiev, in "the center of the ideological and artistic system of which was the problem of the duality of the world, the idea of ​​the possibility of existence next to the real being of some other being. The composer was prompted to do this by Bryusov's novel. But it would be erroneous to assume that the composer only obeyed the plot that captured him. He became its co-author and introduced a lot of creative initiative. The music was supposed to recreate the imaginary binary world generated by the split consciousness of the main character. Recreate it as if existing in all its contrast, illogicality and drama of the conflicts caused by Renata's mystical consciousness. Although the world recreated by the opera is, in fact, a projection of the split consciousness of the heroine, it had to convince, impress, shake, as if everything that happens in Renata's mind was not a figment of her imagination, but a reality.Music materialized the mystical consciousness, turning it into a quasi-reality, while we observe in the opera there is a constant mutual transition from the real to the mystical, causing duality of interpretations and conclusions. Unlike Bryusov, for Prokofiev this is not a game, not a stylization of medieval thinking (no matter how masterfully it was embodied), but a serious ideological problem that he must solve fully armed with the musical means available to him. In fact, the dualism of the real and the unreal as a metaphysical problem becomes the core of the opera concept.

In this process of materialization of mystical consciousness, there had to be a real hero, whose fate was to be both its witness and its victim. Ruprecht, constantly drawn into the world of Renata's mystical consciousness, undergoes the torments of spiritual evolution, constantly oscillating from disbelief to faith and back. The presence of this hero constantly poses the same question to the listener-spectator: is this second world imaginary, apparent, or does it really exist? It is precisely for the answer to this question that Ruprecht goes to Agrippa Nethesheim and does not receive it, remaining, as before, between two alternatives. Before Ruprecht there is a wall separating him from "that" world. The problem remains unresolved. It remains so until the very end of the opera, where the very split of consciousness turns into a tragedy, symbolizing a universal catastrophe.

Such a concept entails serious changes in the interpretation of operatic situations and relationships. The traditional "triangle" is filled with representatives of parallel semantic dimensions. On the one hand, this is the imaginary Fiery angel Madiel and his "earthly" inversion - Count Heinrich; on the other hand, a real person, the knight Ruprecht. Madiel and Ruprecht find themselves in different worlds, in different measurement systems. Hence the "different vector" of the artistic-figurative system of the opera. So, real, everyday characters coexist here with images, the nature of which is not completely clear. On the one hand, this is Ruprecht, the Mistress, the Worker, and on the other, Count Heinrich, Agrippa, Mephistopheles, the Inquisitor. Who are these last ones? Do they really exist or only for a brief moment take on a visible form in the name of fulfilling the fate of the main character? There is no direct answer to this question. Prokofiev exacerbates the "reality-appearance" contradiction as much as possible, bringing into play new situations and images that are not in the novel: skeletons come to life in the scene of Ruprecht with Agrippa (2 k. II d.), invisible to the eye "choirs" in the scene of Renata's confessions and delirium Ruprecht (2 k. III d.), mystical "knocks" illustrated by the orchestra (II and V acts).

In addition, the opera presents images whose characteristics are at the intersection of the surreal and everyday: this is mainly the Fortune Teller, partly Glock. The source of the existence of a certain "border region" is the same splitting of medieval consciousness, the embodiment of which is Renata. Thanks to this, each of the three figurative layers 4 of the opera turns out to be internally ambivalent. In general, the characters of the opera and the relationships that arise between them constitute a three-level structure, in the center of which is the psychological conflict of two real people- Renata and Ruprecht; the lower level is represented by the everyday layer, and the upper one is made up of images of the unreal world (Fiery angel, talking skeletons, "knocks", a choir of invisible spirits). However, the mediastinum between them is the sphere of the "border world", represented by the Fortune Teller and Glock, Mephistopheles and the Inquisitor, whose images are initially ambivalent. Thanks to this, the knot of conflicting psychological relations between Renata and Ruprecht is drawn into the context of complex metaphysical problems.

What are the consequences of this conflict between the real and the unreal at the level of dramaturgy?

The splitting of the artistic and figurative system, given by the image of the main character, gives rise to the peculiarities of dramatic logic in the opera - the principle of the rondo-like sequence of events noted by N. Rzhavinskaya, "<.>where situations-refrains demonstrate a "serious" point of view on the psychological conflict of the heroine of the opera,<.>and situations-episodes consistently compromise this point of view.” [N. Rzhavinskaya, 111, p. 116]. This, relatively speaking, is the horizontal aspect of dramaturgy.

Another, vertical dimension of the principle of dualism at the level of scenography appears in the opera as stage polyphony. The contrast of different points of view on the same situation is represented by the scene of Renata's hallucinations, divination (I d.), the episode of the "appearance" of the Fiery Angel to Renata (1 k. III d.), the scene of Renata's confessions (2 k. III d.) , the scene of madness of the nuns in the finale.

At the genre-forming level, the principle of dualism of the real and the metaphysical is expressed in the opera by the ratio: "theatre-symphony". In other words, the action that takes place on the stage and the action that takes place in the orchestra form two parallel semantic series: external and internal. The external plan is expressed in the stage movement of the plot, mise-en-scenes, in the verbal layer of the characters' vocal part, marked by the capacity of speech units, in plastic-relief vocal intonations, in the behavior of the characters reflected in the composer's remarks. The inner plan is in charge of the orchestra. It is the part of the orchestra, which is distinguished by a pronounced symphonic development, that reveals the meaning of what is happening from the point of view of mystical consciousness, deciphering certain actions of the characters or their speech. Such an interpretation of the orchestra corresponds to Prokofiev's principled rejection of the theatrical and scenic specification of the irrational beginning in the opera, which, in his opinion, would have turned the opera into an entertaining spectacle, proclaimed by Prokofiev back in 1919. Therefore, the irrational plan is completely transferred to the orchestra, which is both the "decoration" of what is happening and the bearer of its meaning. Hence the differences in the interpretation of the orchestra. Thus, everyday episodes are characterized by a relatively lighter sonority, a sparse orchestral texture with the priority of solo instruments. In episodes where 4 otherworldly, irrational forces operate, we find two types of solutions. In some cases (orchestral development at the beginning of the opera, including the introduction of the leitmotif "sleep", the episode of the "magic dream" in the story-monologue, the introduction to 1 k. II, to the scene of "knocking", the episode "He is coming" in V e.), harmonic unsteadiness, muffled dynamics prevail, the timbres of wooden and stringed instruments dominate in the high register, the timbre of the harp is widely used. In others, marked by increased exaltation, drama, catastrophicity, tutti sonority reaches the ultimate acoustic heights, is explosive; such episodes are often associated with the transformation of leitmotifs (among them stand out: the episode of the vision of the Cross in acts I and IV, the intermission that precedes the scene with Agrippa in act II, the episode of "eating" in the fourth act and, of course, the catastrophe scene in the finale).

Symphonism in opera is closely intertwined with the theatrical principle. The symphonic development is based on the leitmotifs of the opera, and the latter are interpreted by the author as musical characters parallel to the characters acting on the stage. It is the leitmotifs that take on the function of explaining the meaning of what is happening when leveling the external action. The leitmotif system of the opera plays a significant role in embodying the principle of dualism of the real and the unreal. This is served by the division of leitmotifs on the basis of their semantic features; some of them (including cross-cutting leitmotifs that express the processes of the psychological life of the characters, leitmotifs-characteristics, often associated with the plasticity of physical action) designate the sphere of human existence (in the broad sense of the word); others denote a circle of irrational images. The fundamental alienation of the latter is clearly indicated in the invariance of their thematic structures, the deck coloring of the melody.

Significant in the implementation of the principle of dualism are the methods used by Prokofiev for the development of leitmotifs. First of all, let us note here the numerous rethinkings of the leitmotif of Renata's Love for the Fiery Angel, revealing the ability of this theme to turn into its opposite. Harmonious in exposition, its thematic structure undergoes a number of semantic transformations, symbolizing different facets of the conflict in the mind of the heroine. As a result, the leitmotif acquires the structural qualities inherent in infernal thematism. Such transformations occur at the moments of the highest climaxes of the central conflict, when the consciousness of the heroine is most exposed to the influence of the irrational. Thus, the exposure of Heinrich by Renata is symbolized by: a variant of the leitmotif of Love for the Fiery Angel in circulation, in stereophonic conduct (II d.); melodic, rhythmic and structural "truncation" of the leitmotif of Renata's Love for the Fiery Angel in act III.

The leitmotif of the Monastery in the finale of the opera is also marked by the ability to shape-shift: the symbol of the renewed inner world of Renata at the beginning, it is then subjected to infernal profanation in the demonic dance of the nuns.

The principle of dualism is also realized at the level of organization of thematism as "sound duality" (E. Dolinskaya). Thus, in the contradictory unity of the cantilena melody and the dissonant harmonic accompaniment, the first passage of the leitmotif of Renata's Love for the Fiery Angel appears, projecting the ambiguity of the image of the mystical "herald" in the dramaturgy of the opera.

The vocal style of the "Fiery Angel" as a whole concentrates the external plane of being (the world of feelings and emotions of the heroes, where the intonation appears in its original quality - as the quintessence of the hero's emotions, his gesture, plasticity), but the principle of dualism is manifested here too. There is a huge layer of incantations in the opera, which act in close connection with the energy of the corresponding characteristic verbal series*. Being inextricably linked with the archaic culture of mankind, with the elements of magical rituals, the spell genre represents the mystical, irrational principle in the opera. It is in this capacity that the spell appears in the speeches of Renata, addressed either to the Fiery Angel, or to Ruprecht; this also includes magic formulas * pronounced by the Fortune Teller and plunging her into a mystical trance, spells of the Inquisitor and nuns aimed at expelling an evil spirit.

Thus, the principle of dualism of the real and the unreal organizes the structure of the artistic and figurative system of the opera, its plot logic, the features of the leitmotif system, vocal and orchestral styles in their correlation with each other.

A special theme that arises in connection with the opera "The Fiery Angel" is the problem of its connections with the composer's previous works. The reflection in the "Fiery Angel" of the aesthetic and stylistic paradigms of the early period of Prokofiev's work aims at a number of comparisons. At the same time, the range of comparisons includes not only musical and theatrical opuses proper - the operas "Maddalena" (1911 - 1913), "The Gambler" (1915 -1919, 1927), ballets "Jester" (1915) and "The Prodigal Son" (1928), but also compositions that are far from the musical theater genre. The piano cycle "Sarcasms" (1914), "Scythian Suite" (1914 - 1923 - 24), "Seven of them" (1917), the Second Symphony (1924) outline and develop the main line in the composer's work "strong emotions", the logical conclusion of which is connected, first of all, with the "Fiery Angel".

On the other hand, the opera "Fiery Angel", focusing in itself many innovative features, opened the way to the world of a new creative reality. In most of the incantatory episodes of the opera, the Latin text is used.

In general, the aspect of considering the "Fiery Angel" in its relationship with the past and future is an independent and promising topic which is certainly beyond the scope of this work.

Concluding our study, I would like to emphasize that the opera "The Fiery Angel" represents the culminating point in the evolution of Prokofiev's artistic world, which is determined primarily by the depth and scale of the problems raised in it. Being, as I. Nestyev rightly remarked, a work ahead of its time, "Fiery Angel" rightfully occupies one of the leading places among the masterpieces of musical culture of the 20th century. In this sense, our study is a tribute to the great genius of music, which was and remains Sergei Sergeevich Prokofiev.

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Chapter 1. Roman V.Ya. Bryusov "Fiery Angel".

Chapter 2. Novel and libretto.

2. 1. Work on the libretto.

2. 2. Dramaturgy of the libretto.

Chapter 3. Leitmotif system of the opera "The Fiery Angel".

Chapter 4. The vocal style of the opera "The Fiery Angel" as a means of drama.

Chapter 5

Introduction to the thesis (part of the abstract) on the topic “Stylistic and Dramatic Features of the Opera by S.S. Prokofiev "Fiery Angel"»

The opera "Fiery Angel" is an outstanding phenomenon of the musical theater of the 20th century and one of the pinnacles of the creative genius of Sergei Sergeevich Prokofiev. In this work, the wonderful theatrical talent of the composer-playwright, the master of depicting human characters, sharp plot conflicts, was fully revealed. "The Fiery Angel" occupied a special position in the evolution of Prokofiev's style, becoming the culmination of the foreign period of his work; at the same time, this opera provides a great deal for understanding the paths along which the development of the language of European music proceeded in those years. The combination of all these properties makes "The Fiery Angel" one of those works with which the fate of the musical art of the 20th century is connected and which, for this reason, are of particular interest to the researcher. The uniqueness of the opera "The Fiery Angel" is determined by the most complex philosophical and ethical problems that affect the most acute questions of life, the collision of the real and the supersensible in human consciousness. In fact, this work opened up a new Prokofiev to the world, by the very fact of its existence refuting the long-held myth about the so-called "religious indifference" of the composer.

In the panorama of operatic creativity in the first third of the 20th century, The Fiery Angel occupies one of the key places. This work appeared in a particularly difficult period for the operatic genre, when crisis features clearly appeared in it, a period marked by deep, sometimes radical changes. Wagner's reforms have not yet lost their novelty; At the same time, Europe has already recognized Mussorgsky's Boris Godunov, who opened up new horizons for operatic art. There were already Pelléas et Mélisande (1902) by Debussy, Lucky Hand (1913) and the monodrama Expectation (1909) by Schoenberg; the same age as the "Fiery Angel" turned out to be "Wozzeck" by Berg; not far from the premiere of the opera "The Nose" by Shostakovich (1930), the creation of

Moses and Aaron" Schoenberg (1932). As we can see, Prokofiev's opera appeared in a more than eloquent environment, deeply connected with innovative trends in the field of musical language, and was no exception in this respect. "The Fiery Angel" took a special, almost culminating position in the evolution of the musical language of Prokofiev himself - as you know, one of the most daring innovators of music of the 20th century.

The main purpose of this study is to reveal the specifics of this unique and extremely complex composition. At the same time, we will try to justify the independence of Prokofiev's idea in relation to the literary primary source - the one-shift novel by Valery Bryusov.

The opera "Fiery Angel" is one of the works with its own "biography". In general, the process of its creation took a time period equal to nine years - from 1919 to 1928. But even later, until 1930, Sergei Sergeevich repeatedly returned to his work, making some adjustments to it1. Thus, in one form or another, the work lasted about twelve years, which is an unprecedentedly long period for Prokofiev, testifying to the special significance of this work in the composer's creative biography.

The plot basis that determined the formation of the concept of the opera "The Fiery Angel" was the novel of the same name by V. Bryusov, which caused the composer's passion for the medieval theme. The main material of the opera was created in 1922 - 1923, in the town of Ettal (Bavaria), which Prokofiev associated with unique atmosphere of German antiquity.

2 3 are evidenced by his statements, as well as the memoirs of Lina Lubera.

Beginning in the spring of 1924, the "fate" of the opera "The Fiery Angel" turned out to be closely connected with the spiritual evolution of the composer. It was at this time, when the main part of the work was created, that he became interested in the ideas of Christian Science, which determined many features of his worldview for years to come. During the entire period abroad, Prokofiev maintained the closest spiritual connection with representatives of this American religious movement, regularly attending its meetings and lectures. On the margins of the "Diary", especially for 1924, there are many curious arguments that give an idea of ​​how deeply the composer was interested in issues related in one way or another to the field of religion and philosophical problems during the period of work on the opera. Among them: the problem of the existence of God, the qualities of the Divine; problems of immortality, the origin of world evil, the "devilish" nature of fear and death, the relationship between the spiritual and physical states of a person4.

Gradually, as Prokofiev "immersed" himself in the ideological foundations of Christian Science, the composer increasingly felt the contradiction between the principles of this teaching and the conceptual field of "The Fiery Angel". At the peak of these contradictions, Prokofiev was even close to destroying what had already been written for "The Fiery Angel": "Today, during the 4th walk," he wrote in his "Diary" dated September 28, 1926, "I asked myself a direct question: I am working on" Fiery Angel", but this plot is definitely nasty to Christian Science. In that case, why am I doing this work? There is some kind of thoughtlessness or dishonesty: either I take Christian Science lightly, or I should not devote all my thoughts to what is against I tried to think it through to the end and reached a high degree of boiling. Solution? Throw "The Fiery Angel" into the stove. And wasn't Gogol so great that he dared to throw the second part of "Dead Souls" into the fire.<.>" .

Prokofiev did not commit a fatal act for the opera and continued to work. This was facilitated by Lina Lyobera, who believed that it was necessary to complete the work that had taken Prokofiev so much time and effort. Nevertheless, the negative attitude towards the "dark plot"5 remained with the composer for quite a long time.

The stage "biography" of Prokofiev's fourth opera was also not easy to develop. The mystical story about the search for the Fiery Angel at that time did not bode well for staged success either in post-revolutionary Soviet Russia or in the West: "<.>Starting a big job with no prospects for it was frivolous<.>". It is known that the composer negotiated the production of "Fiery Angel" with the Metropolitan-opera (New York), Staatsoper (Berlin), headed by Bruno Walter, with the French opera team and conductor Albert Wolff. All these projects ended in nothing Only on June 14, 1928, in the last Parisian season of Sergei Koussevitzky, a cropped fragment of the second act6 with 11 Koshyts as Renata was performed. This performance became the only one in the composer's life. Already after his death, in November 1953, "The Fiery Angel" was staged in the theater Champs Elysees by French radio and television, then, in 1955, at the Venice Festival, in 1963, at the Prague Spring, and in Berlin in 1965. In Russia, for obvious reasons, there was no question of staging an opera in those years could.

The awakening of the interest of domestic musicians in opera occurred later - only in the early eighties. So, in 1983, the first production of The Fiery Angel took place at the Perm Opera Theatre*. A production at the Tashkent Opera Theater followed in 1984**; a television play was created on its basis, the premiere of which took place on the night of May 11, 1993. In 1991, the opera was staged by the Mariinsky Theatre.

The study of the "Fiery Angel" required the involvement of literature of a very different kind. First of all, the object of attention was the work, directed by E. Pasynkov, conductor - A. Anisimov, choirmaster - V. Vasiliev. Director - F. Safarov, conductor - D. Abd> Rakhmanova. Director - D. Freeman, conductor - V. Gergiev, Renata's part - G. Gorchakov. To some extent related to the theme of Prokofiev and musical theater, as well as literature dedicated directly to this opera. Unfortunately, the number of research papers on the opera is relatively small, and many problems associated with it are waiting to be solved.

One of the first among the works devoted to Prokofiev's opera house was the research of M. Sabinina. Let us single out the first and fifth chapters of the monograph "Semyon Kotko" and the problems of Prokofiev's operatic dramaturgy "(1963). So, essential in the first chapter of the monograph ("Creative Formation and Epoch") was important for understanding the specifics of the "Fiery Angel" definition of its differences from expressionist "opera of horrors" (p. 53), as well as raising the question of the implementation of "romantic emotion" in the opera... Defining the genre of opera as "lyrical-romantic drama" (p. 50), the researcher emphasizes the differences in the vocal style of "The Gambler " and "The Fiery Angel". Noteworthy in this regard is the remark about "a partial amnesty in the second opera form (p. 50); Sabinina quite rightly considers the image of Renata as "a huge leap in Prokofiev's lyrics" (p. 54).

Of particular value to us is another work by M. Sabinina - the article "On Prokofiev's Opera Style" (in the collection "Sergei Prokofiev. Articles and Materials", Moscow, 1965), where she gives a multifaceted description of the main features of Prokofiev's opera aesthetics: objectivity, characteristic, theatricality, stylistic synthesis. All of them received a specific refraction in the "Fiery Angel", which we will also try to pay attention to.

The problems of Prokofiev's operatic dramaturgy are carefully considered in I. Nestyev's fundamental monograph "The Life of Sergei Prokofiev" (1973). Nestiev rightly writes about the "mixed" genre of "The Fiery Angel", about its transitional character, combining the features of a chamber-lyrical narration about Ruprecht's unhappy love for Renata and a genuine social tragedy (p. 230). Unlike Sabinina, Nestiev focuses on the analogies between "The Fiery Angel" and "The Gambler", draws a parallel: Polina - Renata ("nervous brokenness, inexplicable variability of feelings", p. 232), and also notes compositional similarities: "a motley change dialogic and monologue scenes", "the principle of growth" to the finale of the fifth act - "mass-choral culmination" (p. 231). In the dramatic analysis of the opera, Nestiev also singled out the great role of the orchestra, the methods of symphonization, and the musical and dramatic significance of the choir (p. 234). The parallels between Mussorgsky and Prokofiev are interesting in connection with the embodiment of the irrational (p. 229), as well as with a number of phenomena of the 20th century ("Bernau-erin" by K. Orff, the "Harmony of the World" symphony by P. Hindemith, "The Witches of Salem" by A. Miller, opera "The Devils from Laudan" by K. Penderecki).

Of fundamental importance for us is another work by Nestyev - the article "Classic of the XX century" (in the collection "Sergei Prokofiev. Articles and Materials.", M., 1965). The author cites significant differences between the "Fiery Angel" and the aesthetics of expressionism: " Not all expressiveness, emotional exacerbation means a conscious appeal to Expressionism as the established aesthetic system of the 20th century. In fact, not a single honest artist who lived in the era of world wars and gigantic class battles could pass by the terrible and tragic aspects of modern life. The whole question in HOW he evaluates these phenomena and what is the METHOD of his art. Expressionism is characterized by the expression of insane fear and despair, the complete helplessness of a small person in front of the irresistible forces of evil. Hence the corresponding art form - "extremely restless, screaming. In the art of this direction intentional deformation is manifested, a fundamental rejection of the image of real nature, replacing it with arbitrary and painfully sophisticated fiction of an individualist artist. Is it worth proving that such principles were never characteristic of Prokofiev, even in his most "leftist"

Blueing<.>". One can only join these words. The power of expression of the "Fiery Angel" has a different mental genesis, and we will also pay attention to this issue. However, the expressionist interpretation of the "Fiery Angel" has its supporters, in particular, it is defended by S. Goncharenko M. Aranovsky, JI Kirillina, E. Dolinskaya adhere to the opposite point of view.

A new stage in the study of Prokofiev's operatic work was M. Tarakanov's monograph "Prokofiev's Early Operas" (1996). It presents a multifaceted analysis of the dramatic features of "The Fiery Angel" in combination with an understanding of the socio-cultural context of the era. Going from the plot logic to the specifics of the musical solution of the opera, Tarakanov notes a curious similarity between the stage situation of its finale and Penderetsky's opera The Devils from Loudun, as well as with some semantic motifs from Dostoevsky's The Brothers Karamazov. which, however, in his opinion, "is on the verge of destruction" (p. 137). Among other features of the style of the opera, Tarakanov draws attention to the primacy of song intonation, which acts as the basis of the vocal style, he also notes the role of symmetry in the composition of the opera whole, sees some similarities with Wagnerian Bogenforme. The researcher also emphasized such important characteristics of the content of the opera as: mythological nature, ritual, signs of an apocalyptic concept.

In the article "Prokofiev: The Diversity of Artistic Consciousness" Tarakanov touches upon the important question of the connection between the "Fiery Angel" and symbolism. The author writes: "In the Fiery Angel, the previously hidden, carefully encrypted connection with symbolism suddenly appeared so clearly and distinctly that it created

4 one gets the impression that it is on public display". ° .

In these works, despite the difference in the approaches demonstrated in them, the high assessment of the "Fiery Angel" as an outstanding work by Prokofiev is clearly expressed. But there were others. So, for example, B. Yarustovsky's monograph "Opera Dramaturgy of the 20th Century" (1978) stands out with a sharply negative attitude towards it. An objective approach requires that the arguments of this author also be mentioned, although it is difficult to agree with them: "<.>Prokofiev's second opera of the 1920s is very vulnerable in terms of its dramaturgy, "untamed" expression, variegation of diverse episodes, deliberately everyday grotesque,<.>obvious lengths" (p. 83).

Let us note the works in which certain aspects of the "Fiery Angel" are investigated. First of all, I would like to name here the article by JL Kirillina "The Fiery Angel": Bryusov's novel and Prokofiev's opera" (Moscow Musicologist Yearbook, issue 2, 1991). This article is perhaps the only one where the key problem is posed: the relationship between the opera and its literary source. The article is written "at the intersection" of musicological and literary problems, it presents a multidimensional comparative analysis of Bryusov's novel and Prokofiev's opera. The main motive of the novel - the appearance of the face of the invisible world - is considered by the author from a historical perspective, from "the most ancient myths about love between gods and mortals" (p. 137), through the Christian myth, Manichaeism, Zoroastrianism, to medieval "plots about phenomena." As a separate aspect, the genre features of the novel are considered, among which there are connections both with the novel genre itself (historical novel, Gothic novel of "mysteries and horrors", confessional novel, chivalric novel), and with other genres (medieval short story, memoir literature, life, parable, fairy tale). Of great interest are the analogies traced between the novel The Fiery Angel, on the one hand, and Milton's Paradise Lost (1667), Byron's work, early editions of Lermontov's The Demon, on the other. The problem of stylization is studied in detail and deeply by the author; the author believes that Bryusov and Prokofiev have different approaches to its solution. Considerations about the ideal nature of the Fiery Angel in Prokofiev are also interesting, and much more.

An interesting perspective is presented in L. Nikitina's article "Prokofiev's Opera Fiery Angel as a Metaphor for Russian Eros" (collection "National Musical Culture of the 20th Century. Towards Results and Prospects." M., 1993). Here an attempt is made to present the themes of the opera in the halo of aesthetic and philosophical ideas about love by N. Berdyaev, P. Florensky, S. Bulgakov, I. Ilyin, F. Dostoevsky. Proceeding from this, the idea of ​​the identity of the Fiery Angel and Renata becomes central in the article - the idea, from our point of view, is quite controversial.

Of undoubted interest is the article by E. Dolinskaya "Once again about the theatricality of Prokofiev" (in the collection "From the Past and Present of Russian Musical Culture", 1993). The concepts of "dynamic monumentalism" and "sonic two-dimensionality" proposed in this paper, in our opinion, are apt and accurate.

A number of works explore certain aspects of the opera - composition, vocal style, the relationship between speech and music. We note right away that there are relatively few of them. Among them, there are two studies by S. Goncharenko on symmetry in music ("Mirror Symmetry in Music", 1993, "Principles of Symmetry in Russian Music", 1998), devoted to special compositional patterns. Nevertheless, the chosen unusual perspective allowed the author to reveal some of the compositional features of the opera as a mystery text. 4

A specific perspective in the study of the opera "The Fiery Angel" appears in the article by N. Rzhavinskaya "On the role of ostinato and some principles of formation in the opera "The Fiery Angel" (in the collection of articles "Prokofiev. Articles and Research", 1972). The object of analysis here becomes "the dramatic role of the ostinato and the principles of the formation of forms approaching the rondo" (p. 97).The researcher considers these principles to be decisive in the composition of the opera, noting Prokofiev's closeness to the tendencies of the musical culture of the 20th century, among which the growing role of the ostinato, "the penetration of instrumental forms into opera" (p. 97).

The problem of the interaction of speech and music, as is known, is directly related to the specifics of Prokofiev's vocal style. Moreover, in each opera the composer found a special, unique version of his interpretation of the unity of speech and music. "The Fiery Angel" from this point of view could not fail to attract the attention of researchers, although the originality of the vocal style of this opera is such that one could expect a much larger number of works. Let us mention in this connection two articles by M. Aranovsky: "The Speech Situation in the Drama of the Opera Semyon Kotko" (1972) and "On the Relationship between Speech and Music in S. Prokofiev's Operas" (1999). In the first article, the concept of intonation-speech genre is put forward, which works well in the study of the interaction of speech and music. The second reveals the mechanisms of the intonation-speech genre (spell, order, prayer, request, etc.) in the formation of a vocal melody of a monological and dialogic warehouse.

The vocal specificity of the "Fiery Angel" is entirely devoted to the third chapter of O. Devyatova's dissertation "Prokofiev's Opera Works of 1910-1920" (1986)*. The objects of study here are the vocal parts of Renata, Ruprecht, the Inquisitor, Faust, Mephistopheles, the features of the interpretation of the choir in the finale of the opera. Devyatova emphasizes the huge role of the "emotional-psychological type" of intonation in revealing the inner world of the two main characters and the predominance of this form of vocal expression over the "conversational-situational type", which acts as a characteristic of the characters of the second plan. According to the author of the dissertation In addition to "The Fiery Angel", separate chapters of Devyatova's research are devoted to the analysis of the peculiarities of the vocal style in the operas "The Love for Three Oranges" and "The Gambler". tion, the first type has a connection with the art of experiencing, and the second - with the art of representation. Devyatova correctly notes the "explosive" nature of Renata's melodies, as well as the increased role of chant in the opera as a whole.

Paying tribute to the authors of the mentioned works, at the same time, 4 one cannot but pay attention to the fact that so far only relatively few aspects of the style of this great opera have become the subject of research analysis. So, for example, the orchestra of the "Fiery Angel", which plays a leading role in the dramaturgy of the opera, has so far remained aloof from the attention of researchers. Separate aspects of her orchestral style were reflected only in those works that deal with the Third Symphony, created, as you know, on the material of the opera. The interrelationships that arise between the "Fiery Angel" and the Third Symphony were the first in Russian musicology to be touched upon by S. Slonimsky ("Prokofiev's Symphonies", 1964); M. Tarakanov wrote about them in more detail ("The style of Prokofiev's symphonies", 1968). The works of G. Ogurtsova (the article "Peculiarities of Thematism and Formation in Prokofiev's Third Symphony" in the collection "Prokofiev. Articles and Research", 1972), M. Aranovsky (the article "Symphony and Time" in the book "Russian Music and XX century", 1997), N. Rzhavinskaya (article "Fiery Angel" and the Third Symphony: montage and concept" // "Soviet Music", 1976, No. 4), P. Zeyfas (article "Symphony" Fiery Angel "" // "Soviet Music", 1991, No. 4). And yet, even the most detailed analyzes of the Third Symphony cannot replace research on the orchestra of the "Fiery Angel", which - and this is the peculiarity of this opera - assumes the main functions in the implementation of dramatic tasks. No matter how brilliant the score of the Third Symphony is, much of its semantics remains, so to speak, "behind the scenes", since it was brought to life by specific events and the fates of the opera's characters. Further, this will be the subject of a special chapter of our dissertation.

Among the materials that saw the light already at the beginning of the 21st century, three volumes of Prokofiev's Diary, published in Paris in 2002, should be specially noted. For the first time, the years of the composer's stay abroad are covered in it. Much in the "Diary" forces us to radically reconsider the traditional ideas about Prokofiev, in particular, to take a fresh look at his spiritual artistic searches of the mid and late 1920s. In addition, the Diary makes it possible to "see" the moment of the formation of the Concepts of the works created during this period, as the author himself saw it.

Since one of the problems studied here was the relationship between Bryusov's novel and Prokofiev's opera, it was natural to turn to a number of literary works. Let's name some of those that turned out to be useful to us. These are, first of all, studies devoted to the aesthetics and philosophy of symbolism: "Aesthetics of Russian Symbolism" (1968), "Philosophy and Aesthetics of Russian Symbolism (1969) by V. Asmus, "Essays on Ancient Symbolism and Mythology" (1993) by A. Losev, " The Poetics of Horror and the Theory of Great Art in Russian Symbolism" (1992) by A. Hansen-Löwe, "The Theory and Figurative World of Russian Symbolism" (1989) by E. Ermilova. Also in this connection, aesthetic manifestos of the luminaries of Russian Symbolism arise: "Native and Universal" Viacheslav Ivanova, "Symbolism as a Worldview" by A. Bely.

Another aspect of the study of the problems of the novel was associated with the study of literature devoted to the cultural analysis of the Middle Ages. In this regard, we single out the works of A. Gurevich ("Categories of Medieval Culture" 1984, "Culture and Society of Medieval Europe through the Eyes of Contemporaries" 1989), J. Duby ("Europe in the Middle Ages" 1994), E. Rotenberg ("The Art of the Gothic Era" 2001), M. Bakhtin ("The Creativity of Francois Rabelais and the Folk Culture of the Middle Ages and the Renaissance" 1990), P. Bitsilli ("Elements of Medieval Culture" 1995).

A separate line is the literature devoted to the Faustian theme. These are: the works of V. Zhirmunsky ("History of the legend of Dr. Faust"

1958, "Essays on the history of classical German literature" 1972), G. Yakusheva ("Russian Faust of the 20th century and the crisis of the enlightenment era" 1997), B. Purisheva ("Goethe's Faust" translated by V. Bryusov " 1963).

Since Bryusov's novel is to a certain extent autobiographical, it was impossible to bypass the works specially devoted to the history of his appearance. These include articles by V. Khodasevich ("The End of Renata"), S. Grechishkin, A. Lavrov ("On the work of Bryusov on the novel "The Fiery Angel", 1973), 3. Mintz ("Count Heinrich von Otterheim and " Moscow Renaissance": symbolist Andrey Bely in Bryusov's "Fiery Angel" 1988), M. Mirza-Avokyan ("The Image of Nina Petrovskaya in the creative life of Bryusov" 1985).

At the same time, it is obvious that Bryusov's novel is an integral artistic phenomenon, the significance of which goes far beyond the limits of the autobiographical motives that gave rise to it, to which Prokofiev's opera is an undoubted and essential proof.

The presented bibliographic material, of course, was taken into account by the author when analyzing the opera "The Fiery Angel" and its literary basis. At the same time, it is obvious that the opera "The Fiery Angel" as an artistic whole in the unity of its constituent components has not yet become the object of a separate study. Such significant specific aspects of the opera as correlation with the literary basis, features of the leitmotif system, vocal style, features of orchestral development in the works of musicologists are partially affected, in most cases in connection with some other issue. As an object of study, the "Fiery Angel" is still a hot topic. To study the "Fiery Angel" as an artistic whole, a monographic work was required. It is the monographic aspect chosen in the proposed dissertation.

The task of the dissertation was a multilateral study of the opera "Fiery Angel" as an integral musical and dramatic concept. In accordance with this, the following are consistently considered: the novel by V.

Bryusov (Chapter I), the relationship between the novel and the libretto created by the composer (Chapter II), the system of leitmotifs as a carrier of the main semantic principles (Chapter III), the vocal style of the opera, taken in the unity of music and words (Chapter IV) and, finally, the orchestra operas as a carrier of the most important, unifying dramatic functions (Chapter V). Thus, the logic of the study is based on the movement from the extra-musical origins of the opera to the actual musical forms of the embodiment of its complex ideological and philosophical concept.

The dissertation ends with a Conclusion summarizing the results of the study.

Introduction Notes:

1 Appendix 1 contains excerpts from the "Diary" of the composer, published in Paris, which clearly trace the dynamics and milestones of the creation of the opera.

2 An entry in Prokofiev's Diary dated March 3, 1923, left during his stay in Antwerp, is indicative: "In the afternoon, one of the directors took me to see the house-museum of Plantin, one of the founders of printing, who lived in the sixteenth century. This is really a museum of ancient books , manuscripts, drawings - all in the atmosphere of the time when Ruprecht lived, and since Ruprecht, because of Renata, rummaged through books all the time, this house amazingly accurately gave the atmosphere in which the "Fiery Angel" takes place. someday my opera will be staged, I recommend him to visit this house. It has been carefully preserved since the sixteenth century. Faust and Agrippa of Nettesheim probably worked in such an environment. " .

3 "Life in Ettal, where the main part of the opera was written, left an undoubted imprint on it. During our walks, Sergei Sergeevich showed me the places where certain events of the story" took place. reminds me of the environment that surrounded us in Ettal, and influenced the composer, helping him to penetrate the spirit of the era." (Sergei Prokofiev. Articles and materials. - M., 1965. - P. 180).

4 To illustrate this point, here are excerpts from the Diary and phrases noted by Prokofiev in Edward A. Kimbell's Lectures and Papers on Christian Science (1921):

Diary": "I read and pondered Christian Science.<.>Curious thought (if I understood it correctly)

It slips several times - that people are divided into the sons of God and the sons of Adam. The idea had already occurred to me earlier that people who believe in immortality are immortal, and those who do not believe are mortal, those who hesitate must be born again. This last category probably includes those who do not believe in immortality, but whose spiritual life exceeds matter. "(July 16, 1924, p. 273);"<.>in order for a person to be not a shadow, but to exist rational and individual, he was given free will; the manifestation of this will led in some cases to errors; materialized errors are the material world, which is unreal because it is erroneous." (August 13, 1924, p. 277); "<.„>The Romans, when the first Christians preached the immortality of the soul, objected that once a person is born, he cannot but die, for a thing, finite on the one hand, cannot be infinite. As if answering this, Christian Science says that a person (soul) was never born and will never die, but if I was never born, that is, I always existed, but I don’t remember this past existence, then why should I consider this existence mine, and not the existence of some other being?<.>But on the other hand, it is easier to imagine the existence of God as a creator than complete godlessness in nature. Hence the most natural understanding of the world for man is: God exists, but man is mortal<.>(August 22, 1924, p. 278).

Edward A. Kimball Lectures and Articles on Christian Science. Indiana. now. 1921: "fear is devil"; "Death of Satan, not of God": "Nl&ddii Td Na6Mu, a Td k\Sh\ "disease curable when you know its cause"; "Low of sufficiency was created with the man": "The law of sufficiency was created with man"; "knowing this low you lost fear": "knowing this law, you lose fear"; "qualities of God": "qualities of God"; "origin of evil": " the origin of evil"; "Christ-an object (lessons) for daily living": "Christ is a lesson for daily living".

5 Prokofiev also included The Gambler among the "dark" subjects.

6 The scene with the Glock and the scene of "knocks" were billed.

7 The question of the complex relationship between the opera "The Fiery Angel" and romanticism, in our opinion, requires close attention and study.

8 The opposite point of view is held by JI. Kirillin, expressing the idea of ​​the fundamental alienation of the aesthetics of Prokofiev's opera from this cultural paradigm.

Dissertation conclusion on the topic "Musical Art", Gavrilova, Vera Sergeevna

CONCLUSION.

In conclusion, let us consider the question of the theatrical and symphonic nature of the "Fiery Angel". It is relevant in two respects. Firstly, due to the specifics of this work, in which theatrical and symphonic intertwined into a single artistic complex. Secondly, as is known, the Third Symphony was created on the basis of the music of the "Fiery Angel", which gained the status of an independent opus, which means that there were serious grounds for this in the music of the opera itself. Consequently, in the "Fiery Angel" the theater and the symphony were combined. How did this synthesis come about, what is its source and what are the consequences at the level of dramaturgy? These are the questions that we will try to answer in a short form, the only one possible in the Conclusion.

From our point of view, the source of the synthesis of theater and symphony lies in the ideological concept of the opera, which determined the features of its style and dramaturgy.

The opera "Fiery Angel" is the only work by Prokofiev, in "the center of the ideological and artistic system of which was the problem of the duality of the world, the idea of ​​the possibility of existence next to the real being of some other being. The composer was prompted to do this by Bryusov's novel. But it would be erroneous to assume that the composer only obeyed the plot that captured him. He became its co-author and introduced a lot of creative initiative. The music was supposed to recreate the imaginary binary world generated by the split consciousness of the main character. Recreate it as if existing in all its contrast, illogicality and drama of the conflicts caused by Renata's mystical consciousness. Although the world recreated by the opera is, in fact, a projection of the split consciousness of the heroine, it had to convince, impress, shake, as if everything that happens in Renata's mind was not a figment of her imagination, but a reality.Music materialized the mystical consciousness, turning it into a quasi-reality, while we observe in the opera there is a constant mutual transition from the real to the mystical, causing duality of interpretations and conclusions. Unlike Bryusov, for Prokofiev this is not a game, not a stylization of medieval thinking (no matter how masterfully it was embodied), but a serious ideological problem that he must solve fully armed with the musical means available to him. In fact, the dualism of the real and the unreal as a metaphysical problem becomes the core of the opera concept.

In this process of materialization of mystical consciousness, there had to be a real hero, whose fate was to be both its witness and its victim. Ruprecht, constantly drawn into the world of Renata's mystical consciousness, undergoes the torments of spiritual evolution, constantly oscillating from disbelief to faith and back. The presence of this hero constantly poses the same question to the listener-spectator: is this second world imaginary, apparent, or does it really exist? It is precisely for the answer to this question that Ruprecht goes to Agrippa Nethesheim and does not receive it, remaining, as before, between two alternatives. Before Ruprecht there is a wall separating him from "that" world. The problem remains unresolved. It remains so until the very end of the opera, where the very split of consciousness turns into a tragedy, symbolizing a universal catastrophe.

Such a concept entails serious changes in the interpretation of operatic situations and relationships. The traditional "triangle" is filled with representatives of parallel semantic dimensions. On the one hand, this is the imaginary Fiery angel Madiel and his "earthly" inversion - Count Heinrich; on the other hand, a real person, the knight Ruprecht. Madiel and Ruprecht find themselves in different worlds, in different measurement systems. Hence the "different vector" of the artistic-figurative system of the opera. So, real, everyday characters coexist here with images, the nature of which is not completely clear. On the one hand, this is Ruprecht, the Mistress, the Worker, and on the other, Count Heinrich, Agrippa, Mephistopheles, the Inquisitor. Who are these last ones? Do they really exist or only for a brief moment take on a visible form in the name of fulfilling the fate of the main character? There is no direct answer to this question. Prokofiev exacerbates the "reality-appearance" contradiction as much as possible, bringing into play new situations and images that are not in the novel: skeletons come to life in the scene of Ruprecht with Agrippa (2 k. II d.), invisible to the eye "choirs" in the scene of Renata's confessions and delirium Ruprecht (2 k. III d.), mystical "knocks" illustrated by the orchestra (II and V acts).

In addition, the opera presents images whose characteristics are at the intersection of the surreal and everyday: this is mainly the Fortune Teller, partly Glock. The source of the existence of a certain "border region" is the same splitting of medieval consciousness, the embodiment of which is Renata. Thanks to this, each of the three figurative layers 4 of the opera turns out to be internally ambivalent. In general, the characters of the opera and the relationships that arise between them constitute a three-level structure, in the center of which is the psychological conflict of two real people - Renata and Ruprecht; the lower level is represented by the everyday layer, and the upper one is made up of images of the unreal world (Fiery angel, talking skeletons, "knocks", a choir of invisible spirits). However, the mediastinum between them is the sphere of the "border world", represented by the Fortune Teller and Glock, Mephistopheles and the Inquisitor, whose images are initially ambivalent. Thanks to this, the knot of conflicting psychological relations between Renata and Ruprecht is drawn into the context of complex metaphysical problems.

What are the consequences of this conflict between the real and the unreal at the level of dramaturgy?

The splitting of the artistic and figurative system, given by the image of the main character, gives rise to the peculiarities of dramatic logic in the opera - the principle of the rondo-like sequence of events noted by N. Rzhavinskaya, "<.>where situations-refrains demonstrate a "serious" point of view on the psychological conflict of the heroine of the opera,<.>and situations-episodes consistently compromise this point of view.” [N. Rzhavinskaya, 111, p. 116]. This, relatively speaking, is the horizontal aspect of dramaturgy.

Another, vertical dimension of the principle of dualism at the level of scenography appears in the opera as stage polyphony. The contrast of different points of view on the same situation is represented by the scene of Renata's hallucinations, divination (I d.), the episode of the "appearance" of the Fiery Angel to Renata (1 k. III d.), the scene of Renata's confessions (2 k. III d.) , the scene of madness of the nuns in the finale.

At the genre-forming level, the principle of dualism of the real and the metaphysical is expressed in the opera by the ratio: "theatre-symphony". In other words, the action that takes place on the stage and the action that takes place in the orchestra form two parallel semantic series: external and internal. The external plan is expressed in the stage movement of the plot, mise-en-scenes, in the verbal layer of the characters' vocal part, marked by the capacity of speech units, in plastic-relief vocal intonations, in the behavior of the characters reflected in the composer's remarks. The inner plan is in charge of the orchestra. It is the part of the orchestra, which is distinguished by a pronounced symphonic development, that reveals the meaning of what is happening from the point of view of mystical consciousness, deciphering certain actions of the characters or their speech. Such an interpretation of the orchestra corresponds to Prokofiev's principled rejection of the theatrical and scenic specification of the irrational beginning in the opera, which, in his opinion, would have turned the opera into an entertaining spectacle, proclaimed by Prokofiev back in 1919. Therefore, the irrational plan is completely transferred to the orchestra, which is both the "decoration" of what is happening and the bearer of its meaning. Hence the differences in the interpretation of the orchestra. Thus, everyday episodes are characterized by a relatively lighter sonority, a sparse orchestral texture with the priority of solo instruments. In episodes where 4 otherworldly, irrational forces operate, we find two types of solutions. In some cases (orchestral development at the beginning of the opera, including the introduction of the leitmotif "sleep", the episode of the "magic dream" in the story-monologue, the introduction to 1 k. II, to the scene of "knocking", the episode "He is coming" in V e.), harmonic unsteadiness, muffled dynamics prevail, the timbres of wooden and stringed instruments dominate in the high register, the timbre of the harp is widely used. In others, marked by increased exaltation, drama, catastrophicity, tutti sonority reaches the ultimate acoustic heights, is explosive; such episodes are often associated with the transformation of leitmotifs (among them stand out: the episode of the vision of the Cross in acts I and IV, the intermission that precedes the scene with Agrippa in act II, the episode of "eating" in the fourth act and, of course, the catastrophe scene in the finale).

Symphonism in opera is closely intertwined with the theatrical principle. The symphonic development is based on the leitmotifs of the opera, and the latter are interpreted by the author as musical characters parallel to the characters acting on the stage. It is the leitmotifs that take on the function of explaining the meaning of what is happening when leveling the external action. The leitmotif system of the opera plays a significant role in embodying the principle of dualism of the real and the unreal. This is served by the division of leitmotifs on the basis of their semantic features; some of them (including cross-cutting leitmotifs that express the processes of the psychological life of the characters, leitmotifs-characteristics, often associated with the plasticity of physical action) designate the sphere of human existence (in the broad sense of the word); others denote a circle of irrational images. The fundamental alienation of the latter is clearly indicated in the invariance of their thematic structures, the deck coloring of the melody.

Significant in the implementation of the principle of dualism are the methods used by Prokofiev for the development of leitmotifs. First of all, let us note here the numerous rethinkings of the leitmotif of Renata's Love for the Fiery Angel, revealing the ability of this theme to turn into its opposite. Harmonious in exposition, its thematic structure undergoes a number of semantic transformations, symbolizing different facets of the conflict in the mind of the heroine. As a result, the leitmotif acquires the structural qualities inherent in infernal thematism. Such transformations occur at the moments of the highest climaxes of the central conflict, when the consciousness of the heroine is most exposed to the influence of the irrational. Thus, the exposure of Heinrich by Renata is symbolized by: a variant of the leitmotif of Love for the Fiery Angel in circulation, in stereophonic conduct (II d.); melodic, rhythmic and structural "truncation" of the leitmotif of Renata's Love for the Fiery Angel in act III.

The leitmotif of the Monastery in the finale of the opera is also marked by the ability to shape-shift: the symbol of the renewed inner world of Renata at the beginning, it is then subjected to infernal profanation in the demonic dance of the nuns.

The principle of dualism is also realized at the level of organization of thematism as "sound duality" (E. Dolinskaya). Thus, in the contradictory unity of the cantilena melody and the dissonant harmonic accompaniment, the first passage of the leitmotif of Renata's Love for the Fiery Angel appears, projecting the ambiguity of the image of the mystical "herald" in the dramaturgy of the opera.

The vocal style of the "Fiery Angel" as a whole concentrates the external plane of being (the world of feelings and emotions of the heroes, where the intonation appears in its original quality - as the quintessence of the hero's emotions, his gesture, plasticity), but the principle of dualism is manifested here too. There is a huge layer of incantations in the opera, which act in close connection with the energy of the corresponding characteristic verbal series*. Being inextricably linked with the archaic culture of mankind, with the elements of magical rituals, the spell genre represents the mystical, irrational principle in the opera. It is in this capacity that the spell appears in the speeches of Renata, addressed either to the Fiery Angel, or to Ruprecht; this also includes magic formulas * pronounced by the Fortune Teller and plunging her into a mystical trance, spells of the Inquisitor and nuns aimed at expelling an evil spirit.

Thus, the principle of dualism of the real and the unreal organizes the structure of the artistic and figurative system of the opera, its plot logic, the features of the leitmotif system, vocal and orchestral styles in their correlation with each other.

A special theme that arises in connection with the opera "The Fiery Angel" is the problem of its connections with the composer's previous works. The reflection in the "Fiery Angel" of the aesthetic and stylistic paradigms of the early period of Prokofiev's work aims at a number of comparisons. At the same time, the range of comparisons includes not only musical and theatrical opuses proper - the operas "Maddalena" (1911 - 1913), "The Gambler" (1915 -1919, 1927), ballets "Jester" (1915) and "The Prodigal Son" (1928), but also compositions that are far from the musical theater genre. The piano cycle "Sarcasms" (1914), "Scythian Suite" (1914 - 1923 - 24), "Seven of them" (1917), the Second Symphony (1924) outline and develop the main line in the composer's work "strong emotions", the logical conclusion of which is connected, first of all, with the "Fiery Angel".

On the other hand, the opera "Fiery Angel", focusing in itself many innovative features, opened the way to the world of a new creative reality. In most of the incantatory episodes of the opera, the Latin text is used.

In general, the aspect of considering the "Fiery Angel" in its relationship with the past and future is an independent and promising topic, which certainly goes beyond the scope of this work.

Concluding our study, I would like to emphasize that the opera "The Fiery Angel" represents the culminating point in the evolution of Prokofiev's artistic world, which is determined primarily by the depth and scale of the problems raised in it. Being, as I. Nestyev rightly remarked, a work ahead of its time, "Fiery Angel" rightfully occupies one of the leading places among the masterpieces of musical culture of the 20th century. In this sense, our study is a tribute to the great genius of music, which was and remains Sergei Sergeevich Prokofiev.

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Please note that the scientific texts presented above are posted for review and obtained through original dissertation text recognition (OCR). In this connection, they may contain errors related to the imperfection of recognition algorithms. There are no such errors in the PDF files of dissertations and abstracts that we deliver.

Opera in five acts (seven scenes); libretto by the composer based on the novel of the same name by V. Bryusov.
The opera was created in 1919-1927. The first full concert performance took place in Paris on November 25, 1954, the stage premiere took place in 1955 in Venice, in the USSR the opera was first staged in 1984 in Perm and Tashkent.

Characters:

Ruprecht, knight (baritone), Renata, his beloved (dramatic soprano), Hostess of a roadside hotel (mezzo-soprano), Fortune teller (mezzo-soprano), Agrippa of Nepesheim ( high tenor), Nohann Faust, Doctor of Philosophy and Medicine (bass), Mephistopheles (tenor), Mother Superior (mezzo-soprano), Inquisitor (bass), Jacob Glock, bookseller (tenor), Matvei Wissenmann, Ruprecht's university friend (baritone), Physician (tenor), Worker (baritone), Innkeeper (baritone), Count Heinrich (no singing), Tiny Boy (no singing).
Three skeletons, three neighbors, two young nuns, six nuns, the retinue of the inquisitor, a choir of nuns, a female and male choirs offstage.

The action takes place in Germany in the 16th century.

Act one

The knight Ruprecht, who has returned to Germany from South America, arrives at a rundown roadside hotel at night. Having escorted the talkative hostess out, he wants to fall asleep, but a woman's voice is heard from behind the door of the adjacent room, repeating the words of the spell in horror. Ruprecht wants to come to the aid of a stranger and knocks down the door. To calm the woman, he draws a cross in the air with a sword and reads the first prayer that came to mind - the funeral “Deliver me”. The glamor dissipates. The stranger who came to her senses reveals to Ruprecht that her name is Renata, and talks about her strange fate. When she was a girl, a fiery angel named Madiel appeared to her and announced to her that she would be a saint. But, becoming a girl, Renata fell in love with him with an earthly love. The angel was angry and disappeared, but then he took pity on her and promised to return in the form of a man. Count Heinrich seemed to Renate such a person. They were happy, but Genikh suddenly abandoned his castle and left her, and she went in search.

Alarmed by the noise from the guests, the hostess comes with a lantern and a worker with a pitchfork. Ruprecht wants to know who Renata is. The hostess calls her a heretic and a witch, an accomplice of the devil. After the departure of the mistress and worker, Ruprecht decides that the devil is not afraid of him, and Renata is pretty. He starts chasing her. Driven to despair, she sits down and puts her head on her knees. Ashamed, Ruprecht asks her forgiveness and vows to be her faithful protector. Renata offers to go to Cologne to look for Heinrich. All you have to do is pay the landlord. The hostess brings with her a worker and a fortune-teller. Ruprecht does not want divination, but Renata insists. The fortune-teller predicts "blood" to her.

Action two

Picture one. Ruprecht and Renata in Cologne. The search for Heinrich was unsuccessful, and Renata wants to resort to the help of otherworldly forces. Bookseller Jacob Glock supplies Ruprep and Renata with treatises on Mary and promises to bring one rare edition later. Ruprecht is ready for anything for Renata: he passionately loves her and dreams of being at least a little loved. She indignantly rejects him, uttering cruel words, and again plunges into reading the tomes. There is a mysterious knock on the wall. Renata is sure that these are the spirits caused by her spells. The spirits answer all the questions of Ruprep and Renata with the agreed number of blows. Renata is convinced that Heinrich is here, that he is already outside the door. She opens the door - there is no one there. Consoling Renata, Ruprecht promises her to penetrate the secrets of magic and force the demons to obey. The returned Yakov Glock offers to introduce him to the famous scientist and magician Agrippa Nettheisheim. They leave, leaving Renata alone.

Picture two. Ruprecht in the whimsical dwelling of Agrippa of Nettesheim: piles of books, instruments, stuffed birds, three large black dogs and three human skeletons. However, Agrippa denies that he is engaged in witchcraft - he is primarily a scientist and philosopher. In his opinion, a true magician must be a sage and a prophet. He furiously refutes rumors that he keeps demons in the form of dogs with him and experiments on human skulls. Skeletons, invisible to Ruprecht, each time exclaim: "You are lying!" Ruprecht wants to know what magic is - delusion or science? Agrippa replies that magic is the science of sciences.

Action three

Picture one. Renata found Count Heinrich in Cologne and is standing in front of the locked door of his house. Ruprecht returns from Agrippa along the same street. Renata tells him how she fell on her knees in front of Heinrich and how he pushed her away, severely insulting her. Now she sees that Heinrich is an ordinary person; she is ashamed that she mistook him for a fiery angel. Ruprecht again offers her his hand. Renata agrees to be with him if he avenges her and kills Heinrich. The knight decides to challenge the opponent to a duel and enters his house. Renata prays to the Fiery Angel. Suddenly, Heinrich appears in the window, and it seems to the shocked Renata that the Fiery Angel is really him. She kneels down and asks for his forgiveness. When Ruprecht comes out, she demands that he not dare to raise his hand against Heinrich. The orchestral intermission depicts a disastrous duel for Ruprecht.

Picture two. The seriously wounded Ruprecht lies on a cliff above the Rhine. Matvey, Ruprecht's school friend, leaves for the doctor. Renata bends over her knight and swears that if he dies, she will go to a monastery. Embracing ero, she passionately repeats: "I love you, Ruprecht!" She is echoed by the invisible female choir. The wounded man imagines the red-skinned savages with whom he fought in America; he drops them away. Matthew appears with the doctor: When asked if Ruprecht can be saved, the doctor proudly declares that in the sixteenth century there is nothing impossible for medicine.

act four

Ruprecht and Renata live in Cologne in a house near a tavern with a garden. The knight has not yet fully recovered from his wound, but Renata already wants to leave him and go to the monastery. He dissuades her by offering a quiet life with his parents or in America. These words seem to Renate a demonic temptation. Overwhelmed by the desire to torture the flesh, Renata wounds herself with a garden knife that has turned up, throws the knife at Ruprecht and runs away. Ruprecht follows her.

In the garden of the tavern, the wandering Faust and Mephistopheles are sitting at a table. They are served by the owner's assistant, a little boy. His dullness angers Mephistopheles. Ruprecht, who never caught up with Renata, witnesses how Mephistopheles grabs the child and swallows him whole. The owner of the tavern begs to return his assistant. Mephistopheles points to the dustbin, from where the owner takes the trembling boy and hastily takes him to the tavern. Mephistopheles draws Faust's attention to Ruprecht's "pulled-out face," whom his beloved has abandoned. Travelers invite Ruprecht to go with them, and he agrees. He is not embarrassed even by the remark of the owner of the tavern and neighbors to the departed Mephistopheles: “Let this magician ... let him kiss the cross!”

Act Five

Renata took refuge in the monastery, but with her arrival strange things began to happen there: knocking on the walls, visions, seizures among the nuns. The abbess, sympathizing with Renate, nevertheless invites the inquisitor to the monastery to expel demons from her. Renata assures the inquisitor that the one who appears to her day and night speaks only to her about God and goodness. Here, ominous blows are heard on the wall and on the floor. Two young nuns go into hysterics. The Inquisitor begins the rite of exorcism - the exorcism of demons. Renata still denies her guilt. This time, her words are echoed not only by rumors, but also by devilish laughter. The nuns are in turmoil: the two youngest are having a fit, some accuse Renata of intercourse with Satan, some scream that Renata is a saint. Renata fails to keep calm. Having fallen into a possession, she begins to repeat spells that drive away demons. A group of nuns start an unbridled dance and worship the devil.

At this moment, Mephistopheles, Faust and Ruprecht, who came to the monastery as travelers, appear on the gallery under the arches. Mephistopheles points Ruprecht to Renata, but the knight remains silent: he is powerless to help her. Renata, leading the raging nuns, accuses the inquisitor of having sold his soul to Satan, for he is hypocritical, spiteful and curses. "You are a devil with a tail and covered in hair!" she exclaims, urging the sisters to rip off his clothes and trample him. The guards of the inquisitor manage to push the distraught women away from the inquisitor. The enraged inquisitor pins Renata to the floor with a staff and sentences her to torture and burning at the stake.

This opera by Prokofiev was written in the early 1920s, but the premiere took place only 30 years later posthumously (fragments were performed in a concert version in Paris in 1928). The musical language of the opera is declamatory in nature. The orchestral episodes are remarkable, a number of which the composer then used in the third symphony. In the famous Venetian premiere, Panerai sang the role of Ruprecht (conductor Sanzogno, staged by Strehler). The Russian premiere took place in 1984 in Perm. We also note the joint production of the Mariinsky Theater and Covent Garden (1992).

Discography: CD - Philips. Conductor Gergiev, Ruprecht (Leiferkus), Renata (Gorchakova).