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Symphony and opera in the era of romanticism. Program symphonies by Berlioz

Wagner's contribution to world culture is determined, first of all, by his operatic reform, without which it is impossible to imagine the future fate of opera genre. In carrying it out, Wagner sought to:

to the embodiment of global, universal content based on the legends and myths of the German-Scandinavian epic;

to the unity of music and drama;

to continuous musical and dramatic action.

This led him:

to the predominant use of recitative style;

to the symphonization of opera based on leitmotifs;

to the rejection of traditional operatic forms (arias, ensembles).

In his work, Wagner never turned to modern themes, to the image Everyday life(exception - "Nuremberg Meistersingers"). He considered the only worthy literary source of the opera mythology . The composer constantly emphasized the universal significance of the myth, which "remains true at all times." Wagner's departure from more or less passive following is characteristic. alone mythological source: as a rule, in one opera he synthesizes several legends creating your own epic narrative. Actualization of the myth - a principle that runs through all Wagnerian work.

Rethinking the myth in the spirit of modernity, Wagner tried to give a picture of the modern capitalist world on its basis. For example, in "Lohengrin" he talks about the hostility modern society towards true artist, in the "Ring of the Nibelung" in allegorical form denounces the thirst for world power.

The central idea of the Wagnerian reform is synthesis of the arts . He was convinced that music, poetry, theatrical play could create an all-encompassing picture of life only in joint action. Like Gluck, Wagner assigned the leading role in operatic synthesis to poetry, and therefore paid great attention to libretto. He never started composing music until the text was finally polished.

The desire for a complete synthesis of music and drama, for an accurate and truthful transmission of the poetic word led the composer to rely on declamatory style .

In Wagner's musical drama, music flows in a continuous, continuous stream, not interrupted by dry recitatives or conversational inserts. This musical flow is constantly updated, changed and does not return to the stage already passed. That is why the composer abandoned traditional opera arias and ensembles with their isolation, isolation from each other and reprise symmetry. In contrast to the opera number, the principle is put forward free stage , which is built on constantly updated material and includes melodious and recitative episodes, solo and ensemble. So the free stage combines features of various operatic forms. It can be purely solo, ensemble, mass, mixed (for example, solo with the inclusion of a choir).

Wagner replaces traditional arias with monologues and stories; duets - dialogues in which not joint, but alternate singing prevails. The main thing in these free scenes is the internal, psychological action (the struggle of passions, mood swings). The external, eventful side is reduced to a minimum. From here - preponderance of the narrative above the scenically effective, than the operas of Wagner sharply differ from the operas of Verdi, Bizet.

The unifying role in Wagnerian free forms is played by orchestra , the value of which increases sharply. It is in the orchestral part that the most important musical images(leitmotifs). Wagner extends the principles of symphonic development to the part of the orchestra: the main themes are developed, opposed to each other, transformed, acquiring a new look, combined polyphonically, etc. Like a choir in an ancient tragedy, the Wagner orchestra comments on what is happening, explains the meaning of events through cross-cutting themes - keynotes.

Any mature Wagner opera contains 10–20 leitmotifs endowed with a specific program content. Wagner's leitmotif is not just a bright musical theme, but the most important tool that helps the listener to understand the very essence of phenomena. It is the leitmotif that evokes the necessary associations when the characters are silent or talk about something completely different.

Tetralogy "Ring of the Nibelungen"

Wagner rightly considered the creation of the tetralogy "Ring of the Nibelungen" to be the main work of his life. Indeed, both the composer's worldview and the principles of his reform received their complete embodiment here.

This is not only the most gigantic creation of Wagner in scale, but also the most grandiose work in the entire history of musical theater.

As in his other works, in the tetralogy the composer synthesized several mythological sources. The oldest is the Scandinavian cycle of heroic tales "Elder Edda" (IX-XI centuries), which tells about the gods of the ancient Germans, about the emergence and death of the world, about the exploits of heroes (primarily about Sigurd-Siegfried). Dep. Wagner took plot motifs and German variants of names from the Nibelungenlied (XIII century) - the German version of the legend of Siegfried.

It was the "radiant" Siegfried, the most beloved image of the legend, which was included in many German " folk books”, first of all attracted the attention of Wagner. The composer modernized it. He emphasized the heroic principle in Siegfried and called him "the passionately awaited man of the future", "the socialist-redeemer".

But The Ring did not remain a Siegfried drama: originally conceived as a single drama glorifying free humanity (Siegfried's Death), Wagner's plan grew more and more. At the same time, Siegfried gave way to the first place to the god Wotan. The Wotan type is the expression of an ideal diametrically opposed to Siegfried. The ruler of the world, the embodiment of unlimited power, he is seized with doubts, acts contrary to own desire(dooms his son to death, breaks up with his beloved daughter Brunhilde). At the same time, Wagner outlined both characters with obvious sympathy, equally passionate about both the radiant hero and the suffering, obedient god.

It is impossible to express in one formula " general idea» Rings of the Nibelung. In this grandiose work, Wagner speaks of the fate of the whole world. Everything is here.

1 – lust for power and wealth . In the article "Know thyself" Wagner revealed the symbolism of the tetralogy. He writes about Alberich as the image of the "terrible ruler of the world - the capitalist." He emphasizes that only the one who refuses love can forge the ring of power. Only the ugly and rejected Alberich can do this. Power and love are incompatible concepts.

2 - condemnation of the power of customs, all kinds of treaties and laws. Wagner takes the side of Sigmund and Sieglinde, their incestuous love, against the goddess of "custom" and legal marriages Fricka. The realm of law - Valhalla - is collapsing in flames.

3 – Christian idea of redemption through love. It is love that comes into conflict with the overwhelming force of selfishness. She embodies the highest beauty of human relationships. Sigmund sacrifices his life to protect love; Sieglinde, dying, gives life to the radiant Siegfried; Siegfried dies as a result of an involuntary betrayal of love. In the denouement of the tetralogy, Brunnhilde accomplishes the work of liberating the whole world from the kingdom of evil. Thus the idea of salvation and redemption acquires truly cosmic dimensions in the tetralogy.

Each of the musical dramas that make up the tetralogy has its own genre features.

"Gold of the Rhine" belongs to the genre of fairy-tale-epic, "Valkyrie" - lyrical drama "Siegfried" - heroic epic "Sunset of the Gods" - tragedy.

Through all parts of the tetralogy passes the development of a branched leitmotif systems . Leitmotifs are endowed not only characters, their feelings, but also philosophical concepts (curse, fate, death), elements of nature (water, fire, rainbow, forest), objects (sword, helmet, spear).

The highest development in the tetralogy is achieved by the Wagner orchestra. Its composition is huge (mainly quadruple). The copper group is especially grandiose. It consists of 8 horns, of which 4 can be replaced by Wagner tubas (with horn mouthpieces). In addition - 3 trumpets and a bass trumpet, 4 trombones (3 tenor and 1 bass), double bass tuba), a huge number of harps (6). The composition of drums has also been expanded.

Wagner leitmotif system

http://www.classic-music.ru/4zm019.html

The Rhine Gold is a fabulously epic opera with a leisurely unfolding action and a few external events. It is based on the juxtaposition of four colorful paintings that go on without a break; each has its own color.

The first picture depicts the serene world of the daughters of the Rhine. The orchestral introduction conveys the majestic flow of the river. The light musical themes of the mermaids emphasize moods of peace and joy; the central orchestral episode, which conveys the radiance of the golden treasure under the rays of the sun, dazzles with the brilliance of sound, the splendor of colors. The contrast brings the conclusion of the first picture - more stormy and disturbing.

The second picture opens with the solemn, majestic theme of Wotan. She is contrasted by Frika's small lyrical arioso "Ah, trembling for your loyalty." Heavy, "clumsy" chords depict giants. The musical characterization of the god of fire Loge is widely developed: the orchestral sound recording of the flaring flame is replaced by a large story “Where life blows and flies”, full of alluring charm; mocking remarks accompany the scene of the sudden decrepitude of the gods.

The third picture is endowed with a gloomy color - in the kingdom of the Nibelungs. The monotonous rhythm of forging sounds incessantly (Wagner introduces 18 anvils into the orchestra), slowly, as if with difficulty, a groaning theme rises up. The same rhythm accompanies Mime's short plaintive song "Before, we carelessly forged a thin dress for our wives in sparkles." The gloomy strength and grandeur of Alberich are revealed in his scene with Wotan and Loge.

At the beginning of the fourth picture, the same mood prevails. The scene of the procession of the Nibelungs carrying the golden treasure is tragic. Alberich's monologue "You were born with a curse - be damned, my ring" - the culmination of the opera; his formidable, hard-sounding theme will appear more than once in the dramatic moments of the tetralogy. A different character, stern and impassive, is the prophecy of the goddess of fate Erda about future troubles (arioso “I know everything that has passed”). Landscape images complete the opera: against the backdrop of stormy movement in the orchestra, an energetic call of the god of thunder is heard; it is picked up, calling to one another, by various instruments; then the musical picture of a thunderstorm is replaced by a calm, serene theme at string instruments and six harps.

Wagner's contribution to world culture is determined, first of all, by his operatic reform, without which it is impossible to imagine further fate opera genre. In carrying it out, Wagner sought to:

to the embodiment of global, universal content based on the legends and myths of the German-Scandinavian epic;
to the unity of music and drama;
to continuous musical and dramatic action.

This led him:

to the predominant use of recitative style;
to the symphonization of opera based on leitmotifs;
to the rejection of traditional operatic forms (arias, ensembles).

In his work, Wagner never turned to contemporary themes, to the depiction of everyday life (the exception is the Nuremberg Meistersingers). He considered the only worthy literary source of the opera mythology . The composer constantly emphasized the universal significance of the myth, which "remains true at all times." Wagner's departure from more or less passive following is characteristic. alone mythological source: as a rule, in one opera he synthesizes several legends creating your own epic narrative. Actualization of the myth - a principle that runs through all Wagnerian work.

Rethinking the myth in the spirit of modernity, Wagner tried to give a picture of the modern capitalist world on its basis. For example, in "Lohengrin" he talks about the hostility of modern society towards a true artist, in "Ring of the Nibelung" in allegorical form he denounces the thirst for world power.

The central idea of the Wagnerian reform is synthesis of the arts . He was convinced that music, poetry, theatrical play could create an all-encompassing picture of life only in joint action. Like Gluck, Wagner assigned the leading role in operatic synthesis to poetry, and therefore paid great attention to libretto. He never started composing music until the text was finally polished.

The desire for a complete synthesis of music and drama, for an accurate and truthful transmission of the poetic word led the composer to rely on declamatory style .

In Wagner's musical drama, music flows in a continuous, continuous stream, not interrupted by dry recitatives or conversational inserts. This musical flow is constantly updated, changed and does not return to the stage already passed. That is why the composer abandoned traditional opera arias and ensembles with their isolation, isolation from each other and reprise symmetry. In contrast to the opera number, the principle is put forward free stage , which is built on constantly updated material and includes melodious and recitative episodes, solo and ensemble. So the free stage combines features of various operatic forms. It can be purely solo, ensemble, mass, mixed (for example, solo with the inclusion of a choir).

Wagner replaces traditional arias with monologues and stories; duets - dialogues in which not joint, but alternate singing prevails. The main thing in these free scenes is the internal, psychological action (struggle of passions, mood swings). The external, eventful side is reduced to a minimum. From here - preponderance of the narrative above the scenically effective, than the operas of Wagner sharply differ from the operas of Verdi, Bizet.

The unifying role in Wagnerian free forms is played by orchestra , the value of which increases sharply. It is in the orchestral part that the most important musical images (leitmotifs) are concentrated. Wagner extends the principles of symphonic development to the part of the orchestra: the main themes are developed, opposed to each other, transformed, acquiring a new look, combined polyphonically, etc. Like a choir in an ancient tragedy, the Wagner orchestra comments on what is happening, explains the meaning of events through cross-cutting themes - keynotes.

Any mature Wagner opera contains 10-20 leitmotifs endowed with a specific program content. Wagner's leitmotif is not just a bright musical theme, but the most important tool that helps the listener to understand the very essence of phenomena. It is the leitmotif that evokes the necessary associations when the characters are silent or talk about something completely different.

Tetralogy "Ring of the Nibelungen"

This is not only the most gigantic creation of Wagner in scale, but also the most grandiose work in the entire history of musical theater.

It was the "radiant" Siegfried, the most beloved image of the legend, included in many German "folk books", that first of all attracted the attention of Wagner. The composer modernized it. He emphasized the heroic principle in Siegfried and called him "the passionately awaited man of the future", "the socialist-redeemer".

But The Ring did not remain a Siegfried drama: originally conceived as a single drama glorifying free humanity (Siegfried's Death), Wagner's plan grew more and more. At the same time, Siegfried gave way to the first place to the god Wotan. The Wotan type is the expression of an ideal diametrically opposed to Siegfried. The ruler of the world, the embodiment of unlimited power, he is seized with doubts, acts contrary to his own desire (dooms his son to death, breaks up with his beloved daughter Brunnhilde). At the same time, Wagner outlined both characters with obvious sympathy, equally passionate about both the radiant hero and the suffering, obedient god.

It is impossible to express in one formula the "general idea" of the Ring of the Nibelungen. In this grandiose work, Wagner speaks of the fate of the whole world. Everything is here.

1 - lust for power and wealth . In the article "Know thyself" Wagner revealed the symbolism of the tetralogy. He writes about Alberich as the image of "the terrible ruler of the world - the capitalist." He emphasizes that only the one who refuses love can forge the ring of power. Only the ugly and rejected Alberich can do this. Power and love are incompatible concepts.

2 - condemnation of the power of customs, all kinds of treaties and laws. Wagner takes the side of Sigmund and Sieglinde, their incestuous love, against the goddess of "custom" and legal marriages Fricka. The realm of law - Valhalla - is collapsing in flames.

3 - Christian idea of redemption through love. It is love that comes into conflict with the overwhelming force of selfishness. She embodies the highest beauty of human relationships. Sigmund sacrifices his life to protect love; Sieglinde, dying, gives life to the radiant Siegfried; Siegfried dies as a result of an involuntary betrayal of love. In the denouement of the tetralogy, Brunnhilde accomplishes the work of liberating the whole world from the kingdom of evil. Thus the idea of salvation and redemption acquires truly cosmic dimensions in the tetralogy.

Each of the musical dramas that make up the tetralogy has its own genre features.

"Gold of the Rhine" belongs to the genre of fairy-tale-epic, "Valkyrie" - lyrical drama "Siegfried" - heroic-epic, "Sunset of the Gods" - tragedy.

Through all parts of the tetralogy passes the development of a branched leitmotif systems . Leitmotifs are endowed not only with the characters, their feelings, but also with philosophical concepts (curse, fate, death), the elements of nature (water, fire, rainbow, forest), objects (sword, helmet, spear).

As you know, the basis of the content of the art of the era of romanticism was Lyrics, that is, the expression of the inner world of a person in all the richness of his feelings. Therefore, vocal and instrumental music became the leading genres of romantic music. miniatures: i.e. songs and piano pieces . Miniatures could capture changeable, "volatile" spiritual movements instantly, right at the moment of their occurrence.

How did things stand in the era of romanticism with such large, large-scale genres as the symphony and opera? Both of these genres continue to develop successfully in the work of romantic composers. However, they are undergoing major changes both in terms of content and form. The general direction of the changes is as follows:

1) Changes in content: both the symphony and the opera acquire a lyrical character in the era of romanticism. Despite their considerable scale, they, like miniatures, can serve lyric author, "confession of the soul" (as Tchaikovsky called his symphonies). The motive for their creation is often autobiographical - it is no longer an order from a rich nobleman or court theater (as in the 18th century), but a desire to express oneself and one's attitude to the world.

The significance of the scale and the traditional seriousness (since the time of classicism) of the content of symphonies and operas contributed to the fact that the lyrical statement grew in them to the degree philosophical generalizations. Life and death, good and evil, ideal and real, personality and society, love, creativity - all these eternal themes embodied in romantic music in symphonies and operas, as well as in the literature of the 19th century. they were embodied in poems and novels.

2) Changes in the shape of: the lyrical nature of the work of the romantics led them to the idea of freedom of creative expression and, consequently, freedom of form. Meanwhile, the forms of the symphony, and the opera in the previous era (classicism) acquired classical certainty (for example, a symphony is obligatory in 4 parts, in an opera it is an obligatory alternation of recitatives and arias). Romantics boldly violated traditional canons, creating individual variants of forms.

Symphony in the era of romanticism developed in two ways and is represented, respectively, by two types: 1) non-program symphonies - in the work of Schubert, Brahms; 2) program symphonies - in the work of Berlioz, Liszt

Non-program symphonies outwardly did not differ from classical symphonies. They were also written in 4 parts with a contrast of tempos (sonata allegro, slow part, scherzo, fast finale). But the changes came from within, they concerned the content and essential features of the style.

The first romantic symphony, which is a lyrical statement, was written by Schubert in 1822 (this is Symphony No. 8, which went down in history as "Unfinished", because the composer completed only the first 2 parts, 1822). What was new was that Schubert used in it song thematics. Melodies that develop in all parts of the symphony (in particular Main party and Side part of part 1) resemble songs, romances, arias, recitatives, sung not by voice, but by instruments. This does not deprive the symphony of seriousness, depth, drama. On the contrary, the drama inherent in the symphony since the time of Beethoven is still enhanced by Schubert and gravitates towards tragedy. But the song-romantic style of music makes it possible to understand the nature of these conflicts: they take place in inner world hero and arise when his ideal ideas collide with the surrounding reality.

The same features will be inherent in the symphonies of Brahms. In his last, 4th symphony (1885), for the first time in the history of the genre, he made the final, final movement frankly tragic. The song-romance nature of most of the symphony's melodies testifies to the subjective nature of the experience. However, the conceptual nature of the symphony genre itself contributes to the understanding that the author's tragic sense of the world is of a generalizing, philosophical nature.

Software symphonies have pronounced external differences. They are called software programs because, being instrumental works, have a verbal explanation (program) of their content. This verbal explanation is contained at least in the title of the work (not just Symphony No. 5 or 8, but the symphony "Harold in Italy" - by Berlioz, "Faust" and "Dante" - by Liszt). Most often, this name refers to a well-known public literary work, but the author could write and publish the literary program himself.

Music programming is essential aesthetic idea Romantic composers, one of the manifestations of their concept of art synthesis. In their desire to express their thoughts and feelings as strongly and vividly as possible and to awaken the reciprocal emotions of listeners, the romantics were not limited to the means of one type of art, they boldly mixed the expressive possibilities of music and literature (especially since many young people of the romantic era also tried their hand at composing music, and in writing literary texts). For instrumental music the introduction of a literary program was especially important. Since the era of classicism, the majority of the public has been accustomed to seeing refined entertainment in symphonies and sonatas, nothing more. Romantic composers, who put deeply felt thoughts about man and the world into their symphonies, confirmed literary programs or references to literary masterpieces, that music, no less than literature, is capable of expressing philosophical ideas.

Program content brought about a significant update forms. The form of the program symphony now focused not only on traditional canons, but also on logic. literary plot. First of all, the number of parts could change: in Liszt’s symphony “Faust” there are not 4, but 3 parts (“Faust”, “Margarita”, “Mephistopheles”), in the symphony “Dante” (based on the “Divine Comedy”) - 2 parts ( "Hell" and "Purgatory"). Programming significantly influenced not only the form, but the renewal of the entire musical language.

One of the most daring and daring innovators of romantic music (generally rich in discoveries) was French composer Hector Berlioz (1803-1869. In 1829 he wrote "Fantastic Symphony" - the first program symphony of the era of romanticism. Its program is author's. It is based on an autobiographical story of disappointment in a beloved, which grows into a total disappointment in life, ideally, in God (The hero decides to commit suicide, poisons himself with opium. In drug intoxication, his beloved appears to him, as an obsession. He sees the first meeting at the ball, remembers the betrayal, it seems to him that they killed his beloved and they will execute him, he sees himself in hell, where the beloved turns into a witch.) Personal experience thus turns out to be consonant with the mood of the era - romanticism began with the disappointment of a whole generation of young people in the ideals of the past.

The main innovations in the "Fantastic Symphony":

1) Freedom of form: 5 parts, each of which resembles a theatrical scene with its own scene of action (2 hours - "Ball", 3 hours - "Scene in the fields", 4 hours - "Procession to the execution", 5 hours - "The Scene on the Night of the Sabbath").

2) Use (for the first time in music!) keynote. This is a recognizable melody, which is repeated in different versions in all five movements. The leitmotif symbolizes the Beloved, which, as an "obsession", appears in the hero's visions in different situations.

3) Using the melody church hymns Dies irae in a parodic vein ("The Devil celebrates Mass" at 5 o'clock) - caused displeasure of the church. After Berlioz, this melody in music began to be used as a symbol of death.

4) Various innovations in the orchestra, especially at 5 o'clock - for example, bells striking midnight, a shrill piccolo clarinet depicting the Beloved in the guise of a witch, etc.

The following symphonies by Berlioz were the development of his innovations. Their programs refer to literary works beloved by romantics: the symphony "Harold in Italy" (after Byron) at 4 o'clock, but with a solo viola (as the voice of Harold), the dramatic symphony "Romeo and Julia" (according to Shakespeare) at 7 o'clock, with singing (soloists and choir), etc.

Under the influence of Berlioz, Liszt not only wrote his program symphonies Faust (3 hours) and Dante (2 hours), but also invented new genre – symphonic poem. This is a program work for orchestra in 1 o'clock (a symphony, compressed to one movement). Image in the center of content romantic hero, exceptional personality. Programs - from classical literature ("Hamlet", "Prometheus", "Orpheus", "Tasso").

Opera in the Romantic era also developed in two ways - through the development and renewal of traditions (Verdi in Italy, Bizet in France) and through reform (Wagner in Germany):

Operas by Verdi and Bizet summed up the best achievements of Italian and French opera, significantly updating them content. The main thing is new heroes. These are not mythological characters and historical figures, and ordinary people, often - "humiliated and insulted." A jester in Rigoletto, a courtesan in Verdi's La Traviata, a tobacco factory worker and a soldier in Bizet's Carmen. But it is their life stories that become the basis of the plot, it is their feelings and passions that the listener empathizes with. At the same time, the characters of the characters are revealed in acutely dramatic, even tragic conditions.

Everything new in the music of Verdi and Bizet arises from the need to reveal these characters. This is primarily an application free forms: solo scenes are built individually, based on the personality of the hero (Carmen is characterized not by arias, but by songs in the Spanish spirit - habanera, seguidilla), from the logic of this particular situation (the aria of Rigoletto, trying to take his daughter from the rapist-Duke, slows down and calms down towards the end, because the hero is exhausted and crying). Duets are rarely singing together, mostly duets-fights with alternating contrasting lines of characters (the scene of Violetta and Germont, her lover's father, where the heroine finally agrees to give up her love for Alfred for the sake of the family's reputation).

Operas by Verdi and Bizet are examples of psychological lyrics in music, and combine the features of romantic and realistic art.

Wagner is the greatest figure in the history of 19th century music. His personality and work caused heated discussions that continue almost to this day.

opera reform Wagner. Wagner was a composer and conductor, playwright and poet, philosopher and thinker, author of the theory of musical drama. His whole life was focused on one thing - the creation of what he himself called " A work of art of the future».

"A work of art of the future" was supposed to express a certain philosophical idea - important for the author and relevant to society. For this, not a philosophical treatise was written (which affects only the mind), but piece of art(which affects both the mind and the senses). This work was supposed to be synthetic, that is, to combine the power of all types of art - literature, theater, painting, plastic movement, music. The purpose of such a synthesis is to influence a person as much as possible, to contribute to his spiritual improvement.

Wagner understood that his idea was utopian, not because he could not implement it (he was confident in himself), but because the public was not ready to accept it (the public expected entertainment from art). Therefore, the composer called his idea "A work of art Future." This did not prevent him from consistently implementing his ideas, achieving impressive results along the way. The results were: the implementation of the opera reform and the creation of a new type of opera - "Wagner's musical drama").

Principles of Wagner's operatic reform(formulated by him in numerous theoretical works, for example, Opera and Drama):

1) The process of composition begins with the formulation of an artistic idea.

2) Composer and playwright are one person. He owns the idea, he writes both the text and the music of his opera. This is entirely his work.

3) The plot is based on myths and legends. It is in them that one can find eternal ideas that have passed the centuries-old test of time, which means that they are always relevant ideas.

4) The composer works out musical language, which would become a "sensual expression of thought." The listener not only enjoys the beautiful harmonies, but reads the music like a text. For this, it is used leitmotif system. A leitmotif (i.e., a recurring theme) can symbolize a feeling (love, suffering), a concept (temptation, fate, death,), an object (a magic sword, a ring of power), a natural phenomenon (storm). By arranging these leitmotifs in various sequences, repeating and changing them, the composer directs the listener's thought.

It is interesting that each of Wagner's reformist operas, for all the generality of the mythological content and the universal significance of philosophical ideas, is brought to life by deeply personal experiences, i.e., is based on autobiographical motives. And this betrays in him a typical romantic artist.

Examples: the idea of the first reformist opera "The Flying Dutchman", 1842 (about the captain of a ghost ship) - "through the storms of life - longing for peace." Written during Wagner's wanderings around Europe in search of work.

The opera "Tannhäuser", 1845 (a knightly legend from the time of the struggle between Christianity and paganism) poses the problem of choice life path in particular, the choice between spiritual and material values. Wagner wrote it, becoming the leader opera house in Dresden, when choosing between the success that traditional operas provided him, and the misunderstanding that threatened him as a reformer.

The opera Lohengrin, 1848 (the legend of the savior knight from the brotherhood of the Holy Grail) poses the problem of the Artist and the Society. Lohengrin comes to the inhabitants of the kingdom of Brabant to help them at a dramatic moment (the struggle for the royal throne). In return, he asks for only one thing - trust. People shouldn't ask where he came from or what his name is. But even the brightest souls (Princess Elsa saved by him from execution) begin to doubt him and ask a fatal question, as a result of which Lohengrin is forced to leave. This is a tragedy for him and for people who really need help. Wagner likened himself to Lohengrin, and the public, who did not understand him, to the inhabitants of the kingdom of Brabant. The opera was written in Dresden, on the eve of the revolutionary uprising, in which Wagner took an active part.

The opera "Tristan and Isolde" (a medieval legend about the love of a knight for his king's wife) was written during the years of Swiss exile. Wagner was in love with Countess Mathilde Wesendonck, the wife of his patron and patron. The love was mutual, but the lovers did not allow themselves to be together out of respect for the count. Wagner was very upset by separation and thought about death. The opera is known for its unusual musical reception- endless melody. The melody develops, relying on unstable chords and painfully long without coming to an end, which symbolizes the impossibility of the characters to connect with each other. The resolution of tension occurs at the very end, when the heroes are united by death. (The introduction to the opera became the soundtrack to L. von Trier's film "Melancholia").

Wagner's most grandiose project is the opera tetralogy Der Ring des Nibelungen (combines 4 operas - Rhine Gold, Valkyrie, Siegfried, Doom of the Gods). A plot from medieval Germanic and Scandinavian myths (later they were also used by Tolkien in The Lord of the Rings). The grandiose epic paints a picture of the universe, which is ruled by two forces - Love and Gold, which gives power over the world by renouncing love. Main character tries to save the world from the power of gold, but, in the end, he himself perishes along with the imperfect world. The opera has more than 100 leitmotifs.

Wagner wrote these articles in Switzerland. In these articles, he develops the idea of a synthesis of the arts, which will be embodied in the work of the future. This is a musical drama. Wagner will be its creator.

1. Wagner criticized contemporary Italian and French opera. He criticized the Italian opera for its excesses. Rossini especially got it in his articles. Wagner was vehemently opposed to French opera (especially against Aubert and Meyerbeer). “The empty flower of a rotten social system”, “candied boredom” - this is how Wagner put it about French opera. French opera he criticized for excessive pomp. He believed that a new musical drama should be created that embodies all the arts.

2. Choice of subjects. Opera must reveal eternal problems, eternal ideas of life. There should be nothing passing in these stories. Everyday plots and stories are not suitable, since they are only suitable for the time in which they were written.

3. Wagner believed that music and drama should merge together. Development must be continuous - as in life. Therefore, separate numbers should be absent, because. they share the movement. Wagner denied arias, ensembles, choruses as unnatural forms. Therefore, instead of arias - monologues, instead of ensembles - dialogues. There are no choirs. Monologues and dialogues are parts of cross-cutting scenes.

4. From Wagner's point of view, the leading role in the drama is played not by the voice, but by the orchestra. A word cannot express the full depth and meaning of inner experiences. This function is performed by the orchestra. Wagner's orchestra is like an ancient choir that comments on what is happening and conveys the meaning. All this happens with the help of a system of leitmotifs. Each leitmotif means something. The musical fabric is made up of weaves and changes in leitmotifs. Leitmotifs can express objects - a ring, a spear, ideas - a leit. Prohibition, fate. Symphonic continuous development forms an endless Wagnerian melody. Vocal parts become one of the instruments of the general texture. Melodies are very individual. Wagner rejects reliance on established elements.

The reform was not implemented immediately. Some of its elements were embodied in the operas of the 40s - The Flying Dutchman, Tannhäuser, Lohengrin. The most complete reform was embodied in "Tristan and Isolde" and "Ring of the Nibelung".

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Wagner's contribution to world culture is determined, first of all, by his opera reform, without which it is impossible to imagine the future fate of the opera genre. In carrying it out, Wagner sought to:

To the embodiment of a global, universal content based on the legends and myths of the German-Scandinavian epic;

To the unity of music and drama;

To continuous musical and dramatic action.

This led him:

To the predominant use of recitative style;

To the symphonization of opera based on leitmotifs;

To the rejection of traditional operatic forms (arias, ensembles).

In his work, Wagner never turned to contemporary themes, to the depiction of everyday life (the exception is the Nuremberg Meistersingers). He considered mythology the only worthy literary source of the opera. The composer constantly emphasized the general significance of the myth. Wagner's departure from more or less passive adherence to one mythological source is characteristic: as a rule, in one opera he synthesizes several legends.

The central idea of the Wagnerian reform is synthesis of the arts . He was convinced that music, poetry, theatrical play could create an all-encompassing picture of life only in joint action. Wagner assigned the leading role in operatic synthesis to poetry and therefore paid great attention to the libretto. He never started composing music until the text was finally polished.

In Wagner's musical drama, music flows in a continuous, continuous stream, not interrupted by dry recitatives or conversational inserts. This musical flow is constantly updated, changed and does not return to the stage already passed. That is why the composer abandoned traditional opera arias and ensembles with their isolation, isolation from each other and reprise symmetry. In contrast to the opera number, the principle of a free stage is put forward, which is built on constantly updated material and includes melodious and recitative episodes, solo and ensemble. Thus, the free stage combines the features of various operatic forms. It can be purely solo, ensemble, mass, mixed (for example, solo with the inclusion of a choir).

Wagner replaces traditional arias with monologues and stories; duets - dialogues in which not joint, but alternate singing prevails. The main thing in these free scenes is the internal, psychological action (the struggle of passions, mood swings). The external, eventful side is reduced to a minimum. Hence, the predominance of the narrative principle over the scenically effective, which is why Wagner's operas sharply differ from the operas of Verdi and Bizet.

The unifying role in Wagner's free forms is played by the orchestra, the importance of which is growing sharply. It is in the orchestral part that the most important musical images (leitmotifs) are concentrated. Wagner extends the principles of symphonic development to the part of the orchestra: the main themes are developed, opposed to each other, transformed, acquiring a new look, combined polyphonically, etc. Like a choir in an ancient tragedy, the Wagner orchestra comments on what is happening, explains the meaning of events through cross-cutting themes - leitmotifs.

Major operas composing different stages Wagner's reforms are " Flying Dutchman”, “Lohengrin”, “Tristan and Isolde”, “Ring of the Nibelungen ».

LOENGRIN

PLOT. On the banks of the Scheldt, near Antwerp, the king Heinrich Birder gathered the knights, asking them for help: the enemy again threatens his possessions. Count Friedrich Telramund calls for royal justice. dying Duke of Brabant entrusted his children to him - Elsa and little Gottfried . One day Gottfried mysteriously disappeared. Friedrich accuses Elsa of fratricide and demands her trial. As a witness, he names his wife Ortrud. The king orders to bring Elsa. Everyone is amazed at her dreamy appearance and strange enthusiastic speeches. Elsa says that in a dream a beautiful knight appeared to her, who promised her help and protection. Listening to Elsa's ingenuous story, the king cannot believe in her guilt. Friedrich is ready to prove his case in a duel with those who stand up for Elsa's honor. The cry of the herald is far away, but there is no answer. Friedrich is already triumphant. Suddenly, on the waves of the Scheldt, a swan appears, drawing a rook; in it, leaning on a sword, stands an unknown knight in shining armor. Coming ashore, he affectionately says goodbye to the swan, and he slowly swims away. Lohengrin declares himself Elsa's protector: he is ready to fight for her honor and call her his wife. But she must never ask the name of the deliverer. In a fit of love and gratitude, Elsa swears eternal fidelity. The duel begins. Friedrich falls, struck down by Lohengrin; the knight generously grants him life, but exile awaits him for slander.

That same night, Friedrich decides to leave the city. He angrily reproaches his wife: it was she who whispered false accusations against Elsa and awakened in him ambitious dreams of power. Ortrud mercilessly ridicules her husband's cowardice. She will not back down until she has avenged herself, and the weapons in her fight will be pretense and deceit. Not the Christian god, in whom Frederick blindly believes, but the ancient vengeful pagan gods will help her. Elsa must be forced to break her oath and ask the fatal question. It is not difficult to sneak into Elsa's confidence: seeing a humble, poorly dressed woman instead of the former arrogant and proud Ortrud, Elsa forgives her former anger and hatred and calls to share her joy. Ortrud begins an insidious game: she humbly thanks Elsa for her kindness and warns her against trouble with feigned concern - the stranger did not reveal Elsa's name or family, he may suddenly leave her. But the girl's heart is free from suspicion. Morning comes. People gather in the square. The wedding procession begins. Suddenly, Elsa's path is blocked by Ortrud. She threw off the mask of humility and now openly mocks Elsa, not knowing the name your future spouse. Ortrud's words cause general confusion. It intensifies when Friedrich publicly accuses unknown knight in sorcery. But Lohengrin is not afraid of the malice of enemies - only Elsa can reveal his secret, and he is sure of her love. Elsa stands in embarrassment, struggling with internal doubts - the poison of Ortrud has already poisoned her soul.

The wedding ceremony is over. Elsa and Lohengrnn are left alone. Nothing disturbs their happiness. Only a light cloud overshadows Elsa's joy: she cannot call her husband by name. At first, timidly, caressing, and then more and more insistently, she tries to find out the secret of Lohengrin. In vain Lohengrin reassures Elsa, in vain reminds her of duty and oath, in vain he assures her that her love is dearer to him than anything in the world. Unable to overcome her suspicions, Elsa asks the fatal question: who is he and where did he come from? At this time, Friedrich Telramund bursts into the chambers with armed soldiers. Lohengrin draws his sword and kills him.

The day is occupied. Knights gather on the banks of the Scheldt, ready to go on a campaign against enemies. Suddenly, the joyful cliques of the people fall silent: four nobles carry the corpse of Friedrich covered with a cloak: they are followed by the silent, grief-stricken Elsa. The appearance of Lohengrin explains everything, Elsa did not keep her oath, and he must leave Brabant. The knight reveals his name: he is the son of Parsifal, sent to earth by the brotherhood of the Grail to protect the oppressed and offended. People must believe in the messenger of heaven; if they have doubts, the power of the Grail Knight disappears, and he cannot remain on earth. The swan reappears. Lohengrin sadly says goodbye to Elsa, predicts a glorious future for Germany. Lohengrin frees the swan, it disappears into the water, and little Gottfried, Elsa's brother, turns into a swan by Ortrud's witchcraft, emerges from the river. Elsa cannot bear the separation from Lohengrin. She dies in her brother's arms. And on the waves of the Scheldt, a shuttle glides, carried away by the white dove of the Grail. In the canoe, sadly leaning on a shield, stands Lohengrin. The knight leaves the earth forever and retires to his mysterious homeland.

Tannhäuser

PLOT. The interior of Mount Venus near Eisenach. In the mysterious twilight of the grotto, groups of sirens and naiads flicker, Bacchantes rush in a passionate dance. In this world of pleasure, Venus reigns. But the caresses of the goddess of love cannot dispel Tannhäuser's anguish: he remembers native land, the ringing of bells, which I have not heard for so long. Taking a harp, he composes a hymn in honor of Venus and ends it with an ardent plea: to let him go free, to people. In vain Venus reminds Tannhäuser of former pleasures, in vain she curses her unfaithful lover, predicting suffering in the cold world of people; the singer pronounces the name of the virgin Mary, and the magical grotto instantly disappears.

The view of Tannhäuser opens up the flowering valley in front of the Wartburg castle; the bells of the grazing herd are ringing, the shepherd plays the flute and greets spring with a song. From afar comes the chorale of pilgrims going to repentance in Rome. At the sight of this peaceful native painting a deep emotion seizes Tannhäuser. The sound of the horns herald the approach Landgrave of Thuringia and minnesinger knights returning from hunting. They are amazed at the meeting with Tannhäuser, who has long proudly and arrogantly left their circle. Wolfram Eschenbach calls him to return to his friends, but Tannhäuser stubbornly refuses - he must run away from these places. Then Wolfram pronounces the name of Elizabeth, the landgrave's niece; she is waiting for him, the songs of Tannhäuser won the girl's heart. The knight, overwhelmed by joyful memories, stops. Together with the minnesingers, he hurries to the Wartburg.

Hall of singing competitions in the Wartburg castle. Elizabeth anxiously awaits her meeting with Tannhäuser. She is sure of near happiness - Tannhäuser will win the singing tournament, and her hand will be the winner's reward. Wolfram introduces Tannhauser and, seeing the joy of Elizabeth, whom he secretly loves, sadly leaves, leaving the lovers alone. To the sounds of a solemn march, glorifying the landgrave, the knights gather for a tournament. Landgraf proposes the topic of a poetic contest: what is the essence of love? The singers take their harps and Wolfram starts first by lot. In restrained and calm improvisation, with the thought of Elizabeth, he sings of the pure source of love, which he never dares to defile. And other singers, one after another, support him in this understanding. true love. But Tannhäuser experienced a different love, and under the vaults of the Wartburg castle a passionate hymn in honor of Venus is heard, which he composed in the Venus Hill. Everyone is indignant at Tannhäuser's audacity. The ladies leave the hall in horror, the knights rush at him with drawn swords. But Elizabeth boldly stands between them. In the presence of the landgrave and the knights, she openly confesses her love for Tannhäuser, begging for his life. Tannhäuser, in repentance, does not dare to raise his eyes to her. The landgrave replaces his death with exile: he will not set foot on the land of Thuringia until he is cleansed of sin. In the distance, a chorale is heard - it is the pilgrims passing by the castle, going to worship the pope. And Tannhäuser, admonished by the knights, joins them.

Valley in front of the Wartburg. Autumn. Pilgrims return from Rome to their homeland. But in vain Elizabeth looks for Tannhäuser among them. She prays to the Virgin Mary, asking her to accept her life as an atoning sacrifice for the sins of her beloved. Wolfram tries to restrain Elizabeth, but she stops him with a gesture and slowly walks away. Left alone, Wolfram takes a harp and composes a song about a beautiful and inaccessible evening star that illuminates the darkness, just as his love for Elizabeth shines on him in the darkness of life. The night is coming. Suddenly, another pilgrim appears - in rags, exhausted. With difficulty, Wolfram recognizes Tannhäuser in him. He bitterly talks about his pilgrimage to Rome. He walked with sincere repentance, the severity of the long journey pleased him, and in order not to see the charms of Italian nature, he closed his eyes. And now Rome appeared before him and the sparkling papal palace. But the Pope pronounced a terrible verdict: until the staff blooms in his hands, Tannhäuser will be cursed. Now he has one way - to Mount Venus. He passionately calls on the goddess of love, and the mountain opens before him, Venus beckons him into her mysterious grog. In vain Wolfram tries to keep his friend: he is powerless before the spell of Venus. Then Wolfram says the name of Elizabeth, and Tannhäuser stops. A chorale is heard from the Wartburg - this is a solemn procession moving with the coffin of Elizabeth. Stretching out his hands to her, Tannhäuser falls dead. It's getting light. Approaching a new group pilgrims; they bring news of a great miracle: a staff blossomed in the hands of the pope - Tannhäuser is forgiven.

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