opera guda daya

Wasan opera mai kunshe da mataki daya ana kiranta opera-act. Ana iya raba wannan aikin zuwa hotuna, al'amuran, sassa. Tsawon lokacin irin wannan wasan opera yana da mahimmanci ƙasa da mai aiki da yawa. Duk da girman girmanta, wasan opera a cikin aiki ɗaya cikakkiyar halitta ce ta kiɗa tare da haɓakar wasan kwaikwayo da fasahar gine-gine, kuma an bambanta ta da bambancin sa. Kamar wasan opera na “babban”, tana farawa da overture ko gabatarwa kuma tana ƙunshe da lambobi na solo da tarawa.

Koyaya, wasan opera guda ɗaya yana da nasa halayen halayen:

Example:

Wasan opera guda ɗaya a cikin ƙarni na 17-18. sau da yawa ana yin su yayin tsaka-tsakin manyan operas; a kotu, da kuma a cikin gidajen wasan kwaikwayo. Babban ɓangarorin ƙwaƙƙwaran kida na farkon ƙaramin opera ya kasance mai karantawa, kuma daga tsakiyar karni na 18. aria ta mayar da shi baya. Mai karantawa yana taka rawar inji na makirci da haɗin kai tsakanin ensembles da aria.

Daga Glück zuwa Puccini.

A cikin 50s XVIII karni HW Gluck hada biyu cute nishadi operas guda daya: kuma, da kuma P. Mascagni, a karni daga baya, ya ba duniya ban mamaki opera na kananan nau'i. Haɓaka nau'in nau'in a farkon karni na XNUMX. D. Puccini ya taso da sha'awar shi da mawallafin ya kirkiro wasan opera guda daya dangane da wasan kwaikwayon suna daya da D. Gold,,; P. Hindemith ya rubuta wasan opera mai ban dariya. Akwai misalai da yawa na ƙananan operas.

Labarin makomar wata mace mai daraja wacce ta haifi ɗa ba tare da aure ba kuma ta tafi gidan sufi don tuba shine tushen makircin opera na Puccini "Sister Angelica". Da yake koyi game da mutuwar ɗanta, Sister Angelica ta sha guba, amma ta gane cewa kashe kansa babban zunubi ne wanda ba zai bari ta ga yaron a sama ba, ya sa jarumar ta yi addu'a ga Budurwa Maryamu don gafara. Ta ga Budurwa Mai Tsarki a sararin cocin, tana jagorantar yaro mai gashi da hannu, kuma ya mutu cikin salama.

'Yar'uwar Angelica mai ban mamaki ta bambanta da duk sauran wasan operas na Puccini. Muryoyin mata ne kawai ke shiga cikinsa, kuma a wurin ƙarshe ne kawai ake jin ƙungiyar mawaƙa ta maza ("Mawakan Mala'iku"). Ayyukan yana amfani da salo na waƙoƙin coci tare da sashin jiki, tsauraran dabarun yin amfani da sauti, kuma ana iya jin ƙararrawa a cikin ƙungiyar makaɗa.

Yanayin farko yana buɗewa da ban sha'awa - tare da addu'a, tare da ƙwanƙwasa gabobin jiki, karrarawa da kukan tsuntsaye. Hoton dare - intermezzo symphonic - zai dogara ne akan jigo ɗaya. Babban hankali a cikin opera an biya shi don ƙirƙirar hoto mai hankali na babban hali. A cikin rawar Angelica, wani lokacin ana nuna matsanancin wasan kwaikwayo a cikin maganganun magana ba tare da wani fage ba.

Wasan operas guda ɗaya na mawakan Rasha.

Fitattun mawakan Rasha sun tsara operas masu kyan gani da yawa na nau'o'i daban-daban. Yawancin abubuwan da suka halitta suna cikin jagorancin lyrical- ban mamaki ko lyrical (misali, "Boyaryna Vera Sheloga" na NA Rimsky-Korsakov, "Iolanta" na Tchaikovsky, "Aleko" na Rachmaninov, da dai sauransu), amma kuma karamin tsari. wasan kwaikwayo na ban dariya - Ba sabon abu ba. IDAN Stravinsky ya rubuta wasan opera a wani wasan kwaikwayo bisa ga waƙar Pushkin "The Little House in Kolomna," wanda ya zana hoton lardin Rasha a farkon karni na 19.

Babban jigon wasan opera, Parasha, ya sanya wa masoyinta sutura, hussar mai zage-zage, a matsayin mai dafa abinci, Mavra, domin ta sami damar kasancewa tare da shi, ta kawar da shakkun mahaifiyarta mai tsauri. Lokacin da aka bayyana yaudara, "dafa" ya tsere ta taga, kuma Parasha ya gudu bayan. Asalin wasan opera "Mavra" an ba da shi ta launuka masu launi: abubuwan ban sha'awa na soyayya na birni, waƙar gypsy, operatic aria-lamento, raye-rayen raye-raye, kuma duk wannan mawaƙan kaleidoscope an sanya shi a cikin tashar wasan kwaikwayo na ban mamaki. aiki.

Kananan wasan operas na yara.

Wasan opera guda ɗaya ta dace da fahimtar yara. Mawakan gargajiya sun rubuta gajerun wasan operas da yawa don yara. Suna ɗaukar mintuna 35 zuwa ɗan sama da awa ɗaya. M. Ravel ya juya zuwa wasan opera na yara a cikin aiki ɗaya. Ya ƙirƙiri wani aiki mai ban sha'awa, "Yaron da Sihiri," game da wani yaro marar kulawa wanda, ba ya son shirya aikin gida, yana wasa da wasan kwaikwayo don ya ɓata mahaifiyarsa. Abubuwan da ya ɓata suna rayuwa suna barazana ga ɗan iska.

Nan take Gimbiya ta fito daga wani shafi na littafi, ta zagi yaron ta bace. Littattafan karatu dagewa suna umurtar masa ayyukan ƙiyayya. Kittens masu wasa sun bayyana, sai Yaron ya ruga ya bi su cikin lambun. Anan shuke-shuke da dabbobi har ma da wani kududdufin ruwan sama da suka bata masa rai sun koka kan dan wasan. Halittun da aka yi wa laifi suna so su fara fada, suna so su dauki fansa a kan yaron, amma ba zato ba tsammani suka fara fada a tsakaninsu. A tsorace Yaro ya kira Mama. Lokacin da gurguwar Squirrel ya faɗi a ƙafafunsa, yaron ya ɗaure ɗaɗaɗɗen tafinta da ke ciwo kuma ya faɗi a gajiye. Kowa ya fahimci cewa yaron ya inganta. Mahalarta taron sun dauke shi, suka kai shi gida suka kira inna.

Waƙar da mawaƙin ya yi amfani da ita sun kasance na zamani a ƙarni na 20. raye-rayen Waltz da raye-rayen foxtrot na Boston suna ba da bambanci na asali ga salon wakoki da na fastoci. Abubuwan da aka kawo rayuwa suna wakilta da jigogi na kayan aiki, kuma haruffan da ke tausaya wa yaron ana ba su waƙoƙin waƙa. Ravel yana amfani da onomatopoeia da yardar rai (kumburin kurwar cat, kurwar kwadi, bugun agogo da karan ƙoƙon da ya karye, girgiza fuka-fukan tsuntsaye, da sauransu).

Wasan opera yana da ƙaƙƙarfan kayan ado. Duet na kujerun Arm ɗin mara nauyi da Couch Couch yana da launi mai haske - a cikin rhythm na minuet, kuma Duet na Kofin da Teapot shine foxtrot a cikin yanayin pentatonic. Ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan mawaƙa da raye-rayen adadi suna da kaifi, tare da raye-rayen galloping. Halin yanayi na biyu na opera yana da yawan waltzing - daga mahimmancin elegiac zuwa ban dariya.