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Section 2. Musical arts - PRE_M|ER European Journal of Arts 4 (2021) - ISSN 2310-5666 -
UDС 784.1.071.2:782]:78.071.1(44)(092) DOI: 10.29013/EJA-21-4-47-52
T. I. KYSELOVA 1
1 Kharkiv I. P. Kotlyarevsky National University of Arts, Kharkiv, Ukraine
THE STAGES OF THE PERFORMANCE MODELING OF THE OPERA CHORAL SCENES (BASED ON THE OPERA "LA JUIVE" BY F. HALEVY)
Abstract
The purpose of the study is to determine the stages of the performance modeling of the opera choral scenes based on the opera "La Juive" by F. Halevy
The research methodology involves systematic, terminological, intonational, dramaturgical, structural and functional approaches as well as the method of genre analysis.
The scientific novelty lies in the fact that the stages of the performance modeling of the opera choral scenes are formulated and their semantic essence is revealed for the first time in Ukrainian art studies.
The conclusions summarize the results of the study and identify the stages of the performance modeling of the opera choral scenes which include: the cooperation of the choirmaster with the conductor and director to model the performance version of the opera; pre-rehearsal work of the choirmaster; the rehearsal work with the choir in the classroom; the demonstration of the opera choral scenes to the conductor; the staging phase; the dress rehearsal; the premiere as the final stage.
Keywords: opera; opera choir; choral scenes; performance modeling.
For citation: T. I. Kyselova. The stages of the Performance Modeling of the Opera Choral Scenes (Based on the Opera "La Juive" By F. Halevy) // European Journal ofArts, 2021, №4. - C. 47-52. DOI: https://doi. org/10.29013/EJA-21-4-47-52
Background. A genre of opera work as an artistic phenomenon influences its choral component. Depending on the chosen genre of opera, its choral component can be employed in dramaturgical development of the work (historically-heroic mass drama "Taras Bulba" by M. V. Lysenko), or in musically-scenic works of lyrical inclination, where the attention is usually focused on the relationship of enamoured characters, choral component bears multiple functions, such as background, commentator, support of protagonist etc. (Gounod's "Faust"). In comic operas dramaturgical role of a choir is usually background, dynamical, which can be seen in active par-ticipance of choral component in development of certain lines of a plot (S. Hulak-Artemovsky's lyrically-comic opera "A Zaporozhian Beyond the Danube"). Choral component is indispensable part of "opéra grande" genre, as it is characterized by monumentality, heroically-Romantic grandeur, dramaticism, lavish decorations, scenic effects. Examples of this genre include G. Meyerbeer's "Les Hu-
guenots" and "Le prophète". G. Rossini's "William Tell" and F. Halévy's "La Juive". Operas of this genre were created using historical plots, they contained large-scale choral scenes, which were conducive to dramaturgical action, created dynamics, represented prayers etc.
While typology of choral component in opera has already become an object of research by O. Batovska, N. Belik-Zolotaryova and L. Butenko, analytical research on constituents used to create models of chorale fragments is not sufficient. There are special chapters of L. Butenko's textbook devoted to productions of several operas. N. Belik-Zolotaryova's dissertation regards specifics of work of opera choirmaster and opera choir singers, some problems of creating the production. But a special research on modelling of choral scenes in opera has not been conducted yet, which causes relevancy of this article. Thus, relevancy of this article lies in development of stages of performative modelling of choral scenes in opera on example of F. Halévy's opera.
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The aim of the article is to define the stages of performative modelling of choral scenes in opera on example of F. Halevy's "La Juive".
The object of research is opera choir performance. The subject of research is defined as stages of performative modelling of choral scenes in opera on example of F. Halevy's "La Juive".
The methods of research are found on application of systematic approach for cognizance of the process of modelling of choral scenes in opera; terminological analysis is used to study the content of the stages of modelling of choral scenes; intonationally-dramaturgical and structurally-functional methods are applied in order to determine dramaturgical role of choral component in F. Halevy's "La Juive"; contextual analysis is used to determine a role of choral component in dramaturgy of a whole; genre analysis is necessary to comprehend mutual connection between a genre of opera and functional significance of its choral component.
Material of research: vocal score of F. Halevy's opera "La Juive", its productions made by Viennese State Opera (2003, conductor - Vjekoslav Sutej) and Saint-Petersburg Mussorgsky State Academic Opera and Ballet Theatre (Mikhalovsky Theatre, 2008, conductor - Peter Feranec).
Literature review. O. Batovska [2] devoted her research to analysis of dramaturgical role of choir in V. Hu-barenko's operas, in which she created a classification of dramaturgical functions of choral components in opera, which she defined as: background, coloristic, representative, inner-emotional, active and dynamical; she also defined ten supplementary functions: statical, illustrative, illustrative-coloristic, background-representative, dynamically-coloristic, emotionally-coloristic, representative-dynamical, emotionally-active and active-dynamical. L. Butenko [7], who introduced the term "opera-choir performance" to scholarly usage, in homonymous textbook devotes his attention to definition of dramaturgical functions of choral component in operas, where he was co-director; and creates a typology, where the first type is a choir as a sonorous "background" for main dramatis personae, a choir defining tempo-rhythmical profile of the production; the second type is a commentator of the events; the third type is an active participant of the events or a protagonist; the fourth type reveals the essence of the protagonist, his thought, becomes his "inner voice"; the fifth type is a choir behind the stage, which is a theatrical device used since Ancient Greece. In his dissertation [7], the scholar studies the problems of tempo-rhythm of op-
era performance including choir. I. Beliaev [5] accentuates significance ofinner dynamics of'crescendo" and development of conflict in choral scenes. The scholar emphasizes that for the authors of opera productions it is necessary to understand the significance of the choral layer, both of main and supplementary dramaturgical lines of an opera. Despite being separated one from another, notes I. Beliaev [5], choral scenes should not be regarded as isolated episodes, devoid of connections with preceding and future development oforchestral layer. N. Belik-Zolotaryova defines "opera-choir performance" as a synthetic type ofper-formance, which "unites interpretation of artistic content ofchoral component of opera whole with dramatic action in the process of opera spectacle" [3, P. 8], and introduces to scholarly usage term "opera-choir suite" [3, P. 8], defining its two types, dissolved and concentrated.
Results and discussion. According to N. Belik-Zolotaryova [3], specifics of opera-choir performance lie in relative independence of opera choirmaster in performative modelling of choral scenes in an opera, as a general interpretation of an opera should be a product of collaboration between a conductor, a director, and a designer.
According to M. Aranovsky's conception, modelling is a systematic process of musical thinking, in which extramusical stimuli turn into musical content, in his words, "extramusical content becomes musical" [1, P. 124]. On the other hand, performative modelling is a search for a conception ofthe work and its incarnation with the means of musical expression. As an opera is a synthetic genre combining music, literature, visual arts and choreography, modelling of choral scenes requires creation of a system, constituted, according to N. Belik-Zolotaryova's definition, from interpretation of choral scenes of an opera by a choirmaster in a context of general performative conception of opera whole and from dramatic action.
The modelling of choral scenes in an opera is begun on an artistic council of a theatre, where an opera for future production is chosen. The members of an artistic council choose a new title according to such factors as presence or absence of singers who would perform main or secondary roles, material and technical possibilities. Another important factor is whether a repertoire of a theatre contains the works of a composer, whose opera is chosen to be produced. As he participates in a discussion, a choirmaster must fairly evaluate the capability of a choir which he manages. If the work is not familiar for a choirmaster, he must examine it beforehand, so his position is based on the knowledge of the music.
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By performative capability of opera choir we mean its qualitative and quantitative characteristics. In order to produce large-scale choral scenes, to create such images as fanatical citizens in F. Halevy's "La Juive", a choir must consist of at least 50-60 singers. And if we take into account that the composer indicates a separation of a choir into groups, this number must be increased even further. Obviously, one must take into account a size of an opera hall where a production will be made, as well as its acoustics. The qualitative characteristics of opera choir include the level of musical education of its singers, previous work experience, professional vocal voice and acting skills.
The next stage of modelling of a performative version lies in collaboration between a choirmaster and a conductor as they should discuss the general conception, agogics, articulation, dynamics, cuts. This results in beginning of the work on a performative version, which will be understood in the same way across the board.
Pre-rehearsal work of a choirmaster with a vocal score, which is a third stage of modelling, includes studying of composer's style, opera libretto, defining of dramaturgical functions of choral component, analysis of a structure of choral episodes, reveal of rhythmical, into-national, dynamical, ensemble difficulties of choir part.
A choirmaster meticulously studies choir part from a standpoint of organization of upcoming rehearsal process. It is important to familiarize both phrases of soloists and orchestral parts preceding entrances of the choir -and do so both with voice and memory. But a work of a choirmaster should not be reduced only to studying the choral episodes of an opera, as he must know a whole opera and regard a choir as an element in a general structure of the whole. As he knows a vocal score of the opera and has his own vision of the choral scenes, a choirmaster can begin his collaboration with a conductor, director and designer to create unified understanding, performative conception of new production. Collaboration with a director must be aimed at a discussion of tasks which a director will set for choir members as well as of misan-cenes including a choir. If a composer indicates with his remark a usage of a choir behind a stage, it is necessary to discuss an exact placement of a choir. Collaboration with a dress designer must end in a creation of the costumes which will be comfortable and non-restrictive for choir members, which will allow them to achieve both acting and vocal objectives. These costumes must adequately reflect social status, age, time period of the persons,
which a choir singers will portray. Historical incongruity can be illustrated with a production of F. Halévy's "La Juive", done in Mikhalovsky Theatre, where the action was transposed from 1414 to the XX century, the Nazi Germany. The director (Arnaud Bernard) stated that it was done in order to remind of the horrendous historical events, which should not be forgotten and the possibility of their recurrence in our era must be eradicated. But this approach does not reflect F. Halévy's idea: conflict between two religions, persecution of the Jews for their faith is changed to oppression of the Jews by the Nazis.
The next step of incarnation of performative-inter-pretational version of the opera is a beginning of the rehearsal work. A choir gets familiar with a content and choral scenes of the opera on a general rehearsal, although in some cases a work can begin straight from group rehearsals. In this case principal choirmaster conveys his vision of choir parts to choirmasters which will work with separate choir parts so they can pass it on. Usually rehearsal process of opera choir is relatively long as it is marked by necessity of singing by heart, since choir singers have additional acting tasks, apart from singing. Thus, process of absorption of musical material into singers' memory requires choirmaster's scrupulous attention to vocal component because high vocal position is crucial for singing while walking or even running. For instance, in № 4 "Affrettiam che gia l'ora" in spite of the composer's remark "the crowd near the wine fountain", director of Viennese Theatre Günter Krämer decided to have choir artists singing while sitting on chairs, because in a hurried tempo Allegro=120-144 this mis-ancene helped the singers to retain good breath support, pronunciation and ensemble. Thus, on the one hand, all the singers of a choir can see the conductor, on the other hand, this decision was conducive to creation of vocal and rhythmical ensemble.
As for potential solutions for problems of choir performance in opera whole, N. Belik-Zolotaryova notes important significance of such ensemble types as rhythmical, ensemble between a choir, an orchestra and a soloist or soloists, as a choir and an orchestra are usually performing together (with exception of brief a cappella episodes, for instance, the Choir from the Introduction to F. Halévy's "La Juive" or choir operas a cappella, such as "Seven Stones" by Ondrej Adamek).
The modelling of performative version continues during a rehearsal in class, the most adequate variant of reveal of a composer's idea is crystallized. For instance,
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in order to achieve prayer-like character in initial choral episode of F. Halevy's "La Juive" a choirmaster must indicate a significance and a content of a prayer to choir singers and define dramaturgical function of this choral episode in the whole structure of the opera. In order to recreate a worship, the rehearsal process might include singing on certain syllables, mormorando with text being pronounced only with the inner voice and expressive enunciation of "Te Deum" with understanding of its text and meaning, not only in the context of F. Halevy's "La Juive", but in Catholic tradition.
The models in which choir singers are distributed through stage in opera performance differ from a traditional one. Various misancenes including choir might result in singers being separated by a large distance or situated among singers of other parts, which becomes an obstacle for creation of proper ensemble (rhythmical, timbral, dynamical, ensemble between orchestra and soloists, between choral parts and general choral ensemble). Thus, a work of choirmaster on getting the music absorbed into singers' mind and memory is very important and time-consuming: artists must keep high singing position, expressive articulation, ensemble coordination while creating various artistic images, performing complex misancenes or choreographic movements. At the same time, while working on opera scenes with a choir a choirmaster not only helps to memorize musical text, but also creates a connection between singing and emotional state, understanding of age, era, social status of characters portrayed by the choir singers, acting tasks set by a director both for a choir as a "collective character" and separate choral groups, singers, so choral scenes do not turn into depersonalized "mass scenes". Modelling is a process in which choir artists participate both during rehearsal stage and directly on the stage. Thus, it is necessary for choirmaster to work on choral episodes in their succession related to general storyline, so singers can memorize a development of the plot and understand their own role in its incarnation.
Conductor's evaluation of a level of choir's performance is a next stage of modelling of performative version, as in the end an opera is conducted by him, not by the choirmaster; director might have his own interpretation of the opera, psycho-physiological attributes, according to which he might slightly change tempo, increase or decrease volume etc. This does not result in drastic differences as interpretational problems are usually thoroughly discussed between a director and a
choirmaster throughout whole process. Moreover, unlike chamber-choir performance, marked by mobility, opera choir performance supposes stability, as while performing on opera stage choir members face both acting and vocal tasks, they participate in various ensemble structures with soloists and almost always are accompanied by the orchestra, which requires feeling of rhythmic pulsation inside the beat, rhythmical ensemble both in a choir and between a choir and an orchestra.
Unlike chamber choir or chamber chapel, after being examined by a conductor opera choir continues its work on opera at various rehearsals: misancene, orchestral, orchestrally-scenic etc. Rehearsals with soloists are usually guided by a conductor, as a rule, in a choir class. During these rehearsals ensemble problems are solved regarding tempo-rhythmical and dynamical ensemble between a choir and an soloists.
The next stage of modelling is a scenic one, it happens at the stage rehearsals, where the choir layer of opera whole is integrated into a dramatical action.
Opera choir always portrays different images, depending on a content and plot development ofopera whole. For instance, in F. Halévy's "La Juive", a choir depicts Christians, Jews, revellers, guests of the ball and fanatical citizens. The opera includes three opera-choir suites: one concentrated -citizens (the faithful, fanatical crowd and revellers) and two dissolved - Jews and guests in the palace.
As N. Belik-Zolotaryova notes, "choir line of opera can be constituted from different layers of content and images, but artistic mind of a choirmaster must transform it into intricately organized contradictive unity, in which he must reveal integral logics of choral development, find causal relationship" [3, P. 43]. This conclusion of the scholar is very important for modelling of choral episodes in opera. In F. Halévy's opera "La Juive", this "intricately organized contradictive unity" has the following structure: I Act, No. 1 "Te Deum" - a choir of supplicant coming from the temple (behind the stage) and fanatical citizens, No. 2 cavatina of Count Brogni (citizens support his thoughts), No. 4. "Hatons-nous, car l'heure s'avance", No. 5 choir of revellers "Ah! Quel heur eux destin!", No. 7, Finale: choir depicts fanatical citizens and a choir of supplicants, accompanying procession of the Emperor (on the stage); II Act, No. 8, Prayer of the Jews; III Act, No. 16, guests in the palace, glorifying Prince Léopold and his bride Princess Eudoxie, No. 18 a) choir "Di trombaallo squillar", b) Sextet, c) malediction, d) ensemble; IV Act No. 22 - fanatical citizens call
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death upon Eleazar (male choir); V Act, No. 23, fanatical citizens enjoying execution of the Jews as if it was a feast, No. 25 - citizens praying for the Lord's forgiveness of Eleazar's and Rachel's sins.
Choirs behind the stage (both accompanied or a cappella) demand special attention. Choirmaster with conductor and director must define the placement of offstage choir, relevant to opera dramaturgy. If this choir is accompanied, choirmaster has to conduct "in advance", which requires perfect knowledge of both choral and orchestral parts. Modern technology makes possible a practice when choir behind the stage can follow conductor's gestures by looking at him through cameras and monitors. The performance behind the stage gives a choirmaster higher degree of artistic freedom. For example, in the Introduction to F. Halevy's "La Juive" the first verse from "Te Deum" comes from the space behind the stage, while fanatical citizens occupy the stage at the same time. Then the third verse from "Te Deum" sounds, but it is accompanied by organ. There are pauses after each line of the prayer, indicating that F. Halevy intended to create an illusion of singing in a temple. Recurrences of "Te Deum" and organ are present throughout all the I Act of the opera. In order to model off-stage choruses from Introduction to "La Juive", where the choir has two simultaneous functions (action on the stage and behind it), attention must be paid to the placement of the offstage choir, to separation of the choir into "church choir" and "throng", bearing the role of scenic action. If a choir consists of relatively small number of singers, an original decision must be found which would allow not to split the choir, as it was done in the production of Viennese
State Opera in 2003 (conductor Vjekoslav Sutej, director Günter Krämer). In this case a creative solution with a deep meaning was found - the stage featured the large glass wall, which depicted a wall of a temple. Christians -choir artists - sung "Te Deum", being behind that wall, and when the composer's remark indicated a switch of the role of the choir to a crowd of citizens, they came to the avant-scene through multiple doors in that wall.
Run-through is an important stage of creation of performative version of the opera, where a synthesis between choir and dramatic action in opera whole occurs, and a premiere of a new production becomes a final stage of modelling of choral scenes of opera.
Conclusions. Modelling of choral scenes of opera is a long process, including the following stages:
• Choice of an opera by an artistic council of an opera theatre to be produced;
• Collaboration between a choirmaster, a conductor and a director on modelling of performative version of an opera;
• Pre-rehearsal work of a choirmaster with the vocal score;
• Rehearsal work with the choir in the class
• Examination of the level of performance by a conductor and rehearsals with soloists;
• Scenic stage, with rehearsal being mostly on stage;
• Dress rehearsals;
• Final stage - premiere.
Perspectives of research of stated problems lie in further studying of the process of the search for performative version of choral component of opera from the standpoints of choir research and psychophysiology.
References
1. Aranovskiy M. Myshlenie, yazyk, semantika (Thinking, language, semantics). Problems of musical thinking,-Moscow: Music, 1974.- P. 90-127. (in Russian).
2. Batovsjka O. M. Dramaturghija khorovykh scen v operakh V. Ghubarenka (na prykladi "Zaghybeli eskadry", "Pam'jataj mene", "Vij", "Zghadajte, bratija moja") (Dramaturgy of choral scenes in operas by V. Hubarenko (based on "Death of a squadron", "Remember me", "Vij", "Remember, my brothers")) (Extended abstract of Candidate's thesis),- Odessa: The Odessa National A. V. Nezhdanova Academy ofMusic, 2005.- 16 p. (in Ukrainian).
3. Bjelik-Zolotarjova N. A. Operno-khorova tvorchistj ukrajinsjkykh kompozytoriv drughoji polovyny XX st.: shl-jakhy rozvytku. (Opera and choral works of Ukrainian composers of the second half of the XX century: ways of development). (Extended abstract of Candidate's thesis), - Kharkiv: Kharkiv I. P. Kotlyarevsky National University of Art, 2011. - 20 p. (in Ukrainian).
4. Bjelik-Zolotarjova N. A. Operno-khorova tvorchistj ukrajinsjkykh kompozytoriv drughoji polovyny XX st.: shl-jakhy rozvytku. (Opera and choral works of Ukrainian composers of the second half of the XX century: ways of development). (Candidate's thesis),- Kharkiv: Kharkiv I. P. Kotlyarevsky National University of Art, 2011.275 p. (in Ukrainian).
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5. Belyaev I. I. Problemy interpretatsii operno-khorovykh stsen v ukrainskoy sovetskoy istoriko-patrioticheskoy opera. (Problems of interpretation of opera and choral scenes in the Ukrainian Soviet historical and patriotic opera) (Extended abstract of Candidate's thesis), - Kyiv: National P. I. Chaikovsky Music Academy of Ukraine, 1989.- 20 p. (in Russian).
6. Butenko L. M. Operno-khorove vykonavstvstvo (Opera and choral performance).- Odessa: The Odessa National A. V. Nezhdanova Academy of Music, 2002.- 266 p. (in Ukrainian).
7. Butenko L. M. Funkcija khoru v dramaturghiji suchasnogho opernogho spektaklju. (The function of the choir in the drama of modern opera performance). (Extended abstract of Candidate's thesis),- Kyiv: National P. I. Chaikovsky Music Academy of Ukraine, 2001.- 16 p. (in Ukrainian).
Information about the author
Tetiana Ivanivna Kyselova, a postgraduate student at the Department of Ukrainian and Foreign Music History,
Kharkiv I. P. Kotlyarevsky National University of Arts
Address: 61003, Kharkiv, Ukraine, Maidan Konstytutsii 11/13
E-mail: kiseltanya@ukr.net
ORCID: 0000-0002-6643-7614
КИСЕЛЬОВА Т. I. 1
1 Харшвський нащональний утверситет мистецтв iMeHi I. П.Котляревського, Харшв, Украша
ЕТАПИ ВИКОНАВСЬКОГО МОДЕЛЮВАННЯ ХОРОВИХ СЦЕН В ОПЕР1 (НА ПРИКЛАД1 «LA JUIVE» Ф. ГАЛЕВ1)
Аннотация
Мета до^дження: - визначити етапи виконавського моделювання хорових сцен в onepi на прикладi «La Juive» Ф. Галевь
Методологiя до^дження: базуеться на системному тдход^ застосувант термшолопчного, штонацш-но-драматурпчного, структурно-функцюнального мeтoдiв та жанрового аналiзу.
Наукова новизна полягае в тому, що в даному досмджент вперше у вггчизняному хорознавсга сформу-льовано етапи виконавського моделювання хорових сцен оперного твору та розкрито ïx змштову сутшсть. У висновках тдсумоваш результата досл!дження i визначет етапи виконавського моделювання хорових сцен в оперному твор^ зокрема, ствпраця хормейстера з диригентом-постановником i режисером щодо моделювання виконавсько'' версп' оперного твору; дорепетицшна робота хормейстера; репетицшна робота з хором у клаа; здавання хорових побудов опери диригенту-постановнику; сцетчний етап; прогони оперно'' вистави у костюмах; заключний етап - прем'ера.
Ключовi слова: опера, оперний хор, xopoвi сцени, виконавське моделювання.
1нформаця про автора
Кисельова Тетяна 1ваншна, аспipант кафедри iстopïï украшсько'' та заpубiжнoï' музики Хаpкiвськoгo нацю-
нального унiвepситeту мистецтв iмeнi 1.П. Котляревського.
Адреса: 61003, Харюв, Украша, Майдан Конституцп' 11/13
E-mail: kiseltanya@ukr.net
ORCID: 0000-0002-6643-7614
КИСЕЛЬОВА Т. I. ЕТАПИ BИКОНАBСЬКОГО МОДЕЛЮBАННЯ ХОРОBИХСЦЕН B ОПЕР1 (НА ПРИКЛАД1 «LA JUIVE» Ф. ГАЛЕBI) 52
