Galina V. Zadneprovskaya

The article presents the main trends in the development of modern Russian opera remake, a concept and term introduced into musicological practice by the author of this study. The definition of an opera remake has been clarified. The author considers the philosophical concept of «possible worlds» to be the basic reason for the emergence of this type of opera.

Literary and film criticism works devoted to the remake are analyzed. Their study made it possible to extrapolate some positions of the theory of a literary remake into the field of musical stage genres, in particular, into opera. The conditions for the extensive development of the opera remake at the beginning of the 21st century are revealed. The analysis of the works of G. Korchmar («NIGENO YIENEGVE»), V. Kobekin («Hamlet»), I. Yusupova («Don Juan's List of Don Juan»), S. Levkovskaya («Carmen-perezagruzka») belonging to this genre is presented.

The typology of opera remakes of the named composers is given. The narrative, genre and plot transformations underlying the typology of the works under consideration are described. As a result of the analysis of modern Russian opera remakes of the early XX century. the author comes to the conclusion that they represent all types: pseudo-remake (remake-reinterpretation) and postmodern remake (remake-deconstruction and destructive remake).

The article outlines the contribution of outstanding graduates of the Imperial Moscow University (IMU), who significantly improved Russian education. Being the intellectual elite, they formed musical and performing arts in Russia due to putting their effort, creativity and organizational skills to these spheres.

The author analyses scientific papers, archival materials and documents concerning the history of IMU of the second half of the 19th century, as well as biography of N.G. Rubinstein, a graduate of the Faculty of Law, IMU, the founder of the Moscow Conservatory and its first director, and biographies of two of his students — pianist K.N. Igumnov and stage director L.V. Baratov, each of whom were at the origins of piano performing and stage directing art in Russia.

The author concludes that N.G. Rubinstein, K.N. Igumnov and L.V. Baratov — graduates of IMU — played a really fundamental role in forming and developing professional music education in Russia, in particular in improving pianistic performing classes and stage directing schools.

This article studies the way natural geography, regional cultural identity, socio- economic factors, historical continuity, and lyrical musical traditions contributed to the development and aesthetic character of Kunqu opera. The material is analysed through the lens of cultural and artistic geography. The authors argue that Kunqu’s emergence in its historical context and its continued relevance today were conditioned with markedly Chinese cultural elements. Being a foundational condition for human artistic creation and material culture, the natural environment has shaped unique aesthetic sensibilities over time. Specifically, the geographic conditions of Suzhou, where Kunqu opera appeared, have played a crucial role in the formation of its distinctive aesthetic style. Moreover, geography fosters a unique regional cultural ethos that underpins Kunqu’s artistic vitality. The socio-economic development of different historical periods is shown to have significantly impacted the evolution of Kunqu. The authors conclude that diverse musical forms and lyrical traditions occurred in various dynasties served as vital sources of its artistic life and continuity; they incorporated to shape Kunqu’s aesthetic temperament.