Abstract: The object of the research is the musical dramaturgy and the structure of images in a mono opera 'Émilie' by a famous modern Finnish composer Kaija Saariaho. Based on the anaylsis of libretto, musical composition and combination of expressive means enabling plot-forming and dramaturgical solutions in the opera, the author of the present article describes and analyzes original principles used by the composer in her creating the image of the main heroine. One of the most brilliant principles is the composer's revealing the image of Émilie through her 'invisible presence' in monologues of other 'characters' mentioned in the libretto and expressed in music. The main analytical methods used by the author in this research relate to musical hermeneutics. In addition, the author also bases the research on approaches that are traditionally used by Russian music studies to analyze opera librettos and music. The scientific novelty of the research is caused by the fact that the author studies this particular opera. The result of the research is the conclusion that versatile dramaturgy of the opera libretto and music along with the polyphony of images in the opera 'Émilie' provides new opportunities for developing the genre. 

Abstract: “Émilie” is the newest of the three operas of the renowned contemporary composer Kaija Saariaho, which premiered in 2010. As in two other musical-theatrical oeuvres of the composer – the operas “L'Amour de loin” (2000) and “Adriana Mater” (2004-2005), there is a female character in the center. The monodrama’s heroine is a French mathematician and physicist, Voltaire’s muse – Émilie du Châtelet. The goal of this article is to demonstrate the peculiarities of dramaturgy and compositional-technical side of the opera. The author used the methods of systemic and historical approaches, comparative and stylistic analysis, as well as literary and music sources. Multiple qualities of style that are characteristic to Saariajo are manifested in this opera. But at the same time, we can notice the new features, not inherent to the earlier oeuvres of the composer. First and foremost, it is the accent on certain repeated melodic, rhythmic, and sound combinations, which in one or another way correlate with the imagery-dramatic lines of the libretto. Adopting a new style, the composer experiments with structure and musical means that are new to her repertoire by creating a remarkably vivid and rich portrait of the personality that is tormented by the internal conflicts and controversies, unlike any of her previous compositions.

Abstract: This report is dedicated to the event, which represents a significant interest to the music science: international scientific conference “Russian Musical Baroque: Tendencies and Perspectives of Research” that took place in the State Institute for Art Studies on October 24-26, 2016. Interest towards the Russian musical Baroque is currently growing in Russian and abroad, thus, this conference provided an occasion to discuss a number of topical questions, related to the exploration of the manuscript legacy of that epoch, the history and theory of partesnïy (part-song) polyphony, the peculiarities of the system of polyphonic genres (including non-liturgical and paraliturgical ones), the restoration of the biographies and the creative output of individual musicians, the evolution of music-theoretical thought about the music of the aforementioned era. further, the conference will help to reveal parallels and intersections in the development of Russian, East-European, and West-European baroque.
During the course of their studying, the authors applied the methodology of theoretical analysis and source study, historical and stylistic approaches, methods of systemic and comparative analysis. Russian musical Baroque for the first time became the topic of a fundamental international conference, which was called upon to determine the most recent trends in examination of this era, synthesize the modern scientific achievements, promote new research, as well as help restore an integral, and at the same time, multifaceted image of the Russian culture of the late XVII– middle of the XVII centuries that reflected the connections with Polish, Italian, German, and French musicians. It is for the first time that Russian musical baroque becomes a subject matter for an extensive range of opinions within the framework of the scientific event, expressed by the luminaries of Russian science, alongside the young scholars, including a number of foreign guests.

Abstract: “Émilie” is the newest of the three operas of the renowned contemporary composer Kaija Saariaho, which premiered in 2010. As in two other musical-theatrical oeuvres of the composer – the operas “L'Amour de loin” (2000) and “Adriana Mater” (2004-2005), there is a female character in the center. The monodrama’s heroine is a French mathematician and physicist, Voltaire’s muse – Émilie du Châtelet. The goal of this article is to demonstrate the peculiarities of dramaturgy and compositional-technical side of the opera. The author used the methods of systemic and historical approaches, comparative and stylistic analysis, as well as literary and music sources. Multiple qualities of style that are characteristic to Saariajo are manifested in this opera. But at the same time, we can notice the new features, not inherent to the earlier oeuvres of the composer. First and foremost, it is the accent on certain repeated melodic, rhythmic, and sound combinations, which in one or another way correlate with the imagery-dramatic lines of the libretto. Adopting a new style, the composer experiments with structure and musical means that are new to her repertoire by creating a remarkably vivid and rich portrait of the personality that is tormented by the internal conflicts and controversies, unlike any of her previous compositions.

Abstract: This report is dedicated to the event, which represents a significant interest to the music science: international scientific conference “Russian Musical Baroque: Tendencies and Perspectives of Research” that took place in the State Institute for Art Studies on October 24-26, 2016. Interest towards the Russian musical Baroque is currently growing in Russian and abroad, thus, this conference provided an occasion to discuss a number of topical questions, related to the exploration of the manuscript legacy of that epoch, the history and theory of partesnïy (part-song) polyphony, the peculiarities of the system of polyphonic genres (including non-liturgical and paraliturgical ones), the restoration of the biographies and the creative output of individual musicians, the evolution of music-theoretical thought about the music of the aforementioned era. further, the conference will help to reveal parallels and intersections in the development of Russian, East-European, and West-European baroque.
During the course of their studying, the authors applied the methodology of theoretical analysis and source study, historical and stylistic approaches, methods of systemic and comparative analysis. Russian musical Baroque for the first time became the topic of a fundamental international conference, which was called upon to determine the most recent trends in examination of this era, synthesize the modern scientific achievements, promote new research, as well as help restore an integral, and at the same time, multifaceted image of the Russian culture of the late XVII– middle of the XVII centuries that reflected the connections with Polish, Italian, German, and French musicians. It is for the first time that Russian musical baroque becomes a subject matter for an extensive range of opinions within the framework of the scientific event, expressed by the luminaries of Russian science, alongside the young scholars, including a number of foreign guests.

Abstract: This article is dedicated to the opera of the most produced modern Finnish composer Kaija Saariaho “L’amour de loin”. This work is recognized as the masterpiece of the musical theatre of the XXI century, and received multiple awards, including Grammy in 2011. Libretto of the opera is based on the biography of a troubadour named Jaufre Rude, his fiery passion for the Countess of Tripoli of whom he has only heard, and his journey to meet the woman of his dreams. It encompasses such pages of history of world culture as the era of the Crusades in the XII century, Persian love poetry, and Biblical texts. The music in “L’amour de loin” is also an intertextual organism, with organically intertwined beauty of the orchestra fabric, thin scales of vocal intonations, and exquisite composing technique.

Abstract: This article is dedicated to the opera of the most produced modern Finnish composer Kaija Saariaho “L’amour de loin”. This work is recognized as the masterpiece of the musical theatre of the XXI century, and received multiple awards, including Grammy in 2011. Libretto of the opera is based on the biography of a troubadour named Jaufre Rude, his fiery passion for the Countess of Tripoli of whom he has only heard, and his journey to meet the woman of his dreams. It encompasses such pages of history of world culture as the era of the Crusades in the XII century, Persian love poetry, and Biblical texts. The music in “L’amour de loin” is also an intertextual organism, with organically intertwined beauty of the orchestra fabric, thin scales of vocal intonations, and exquisite composing technique.

Abstract: This article is dedicated to the opera of the most produced modern Finnish composer Kaija Saariaho “L’amour de loin”. This work is recognized as the masterpiece of the musical theatre of the XXI century, and received multiple awards, including Grammy in 2011. Libretto of the opera is based on the biography of a troubadour named Jaufre Rude, his fiery passion for the Countess of Tripoli of whom he has only heard, and his journey to meet the woman of his dreams. It encompasses such pages of history of world culture as the era of the Crusades in the XII century, Persian love poetry, and Biblical texts. The music in “L’amour de loin” is also an intertextual organism, with organically intertwined beauty of the orchestra fabric, thin scales of vocal intonations, and exquisite composing technique.