Abstract: The article examines the issue of performing interpretations of famous tenor arias from operas by J. Puccini, who are not only firmly established in the repertoire of outstanding singers, but are also an obligatory part of the program of vocal competitions and the educational repertoire of music universities. We analyzed the representation of arias of their operas "Bohemia", "Tosca" and "Turandot") by masters of the Russian (S. Lemeshev, V. Atlantov, P. Melentyev, E. Raikov, M. Mikhailov, V. Galuzin) and Chinese vocal schools (Kang Wang, Yijie Shi, Wei Song, Shi Chu Jang, Deng Chao Hong). This article analyzes performers from different schools and eras, in which the weak and strong sides of interpretations were identified and the features of the part and its performance variants were highlighted by outstanding representatives of the Russian vocal school and young singers from China. The author aims to identify various techniques of the vocal technique of the tenor, using as an example arias from the operas of J. Puccini, as well as the task – to analyze arias performed by outstanding Russian and Chinese artists, paying special attention to interpretation and means of performance, in particular the bel canto technique, using a comparative analysis of interpretations. Masterpieces of world opera are of equal importance for both Russian and Chinese culture, and they are often addressed by directors. The immortal figure of opera mastery for Russia and China is J. Puccini and, in general, the Italian opera school with its unique bel canto style, embodied also in the works of masters Rossini, Verdi, Donizetti. Since Chinese are actively interested in Russian and Italian opera and often perform them, this aspect is seen as relevant in our time, to which many research papers are devoted. In this work, the author aims to identify various techniques of the tenor vocal technique, using as an example arias from the operas of J. Puccini, as well as the task of analyzing arias performed by outstanding Russian and Chinese artists, paying special attention to interpretation and means of performance, in particular the bel canto technique.

Keywords: execution, interpretation, Calaf, Cavaradossi, Rudolf, Puccini, Vocal art, tenor arias, vocal, Chinese vocal School