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The paper deals with the following elaboration levels of opera myth in Wagner’s “Lohengrin”: the semantic functions of the Monsalvat and Valhalla oronyms, concentric dramaturgy as a sign of the reverse time of the chronotope-sacra. The research is based on the principles of mythooperology, musical onomatology, encyclopedic, introand extra-myphological types of analysis – scientific fields of musicology and methodological principles developed by the author of this paper. Valhalla and Monsalvat fulfilled at different times the similar functions (world resurrection mountain, castle, dwelling of heavenly warriors of light), which gave the sacred oronyms meaning of semantic twins in R. Wagner's opera. “Lohengrin” opera transmythology, which takes place in the era of destroyed Klingsor, is based on a confrontation between Wunder and Zauber, a duel for the rule over Brabant (Midgard). Four large circles (the circle of Monsalvat, the narrative circle, the circle of Dei Judicium, the vow circle), two small circles, two transitional or intermediate circles (conspiracy and Valhalla) structure the content of the musical-scenic whole. The sacral centre of the opera myth is interpreted through scenes 4 and 5 act 2, where the conflictive opposition between Valhalla and Monsalvat acquires public form. According to the doctrine of “transcendental philosophers”, R. Wagner's new opera myth acquires the value of a fragmentary formed encyclopaedia-chaos, which is dominated by the rigid logic of artistic form design with the pattern of freedom.

Oronyms of Monsalvat and Valhalla in Dramaturgy of Wagner’s New Myth “Lohengrin”