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This article reviews Maurice Ravel's lyric fantasy The Child and the Spells as a frank and at the same time encrypted “diary” of the personal and creative composer’s life. Different layers of European culture and own works of the composer are reflected in the opera. So it sets a challenge before researches to distinguish the “author's word” (Mikhail Bakhtin) behind the mosaic of styles. The “author's word” becomes a code that allows us to understand the principle of organization of the opera. The first scene, the scene with the Princess, the scenes using the “Apaсhes’ letters” and the monologue of the Squirrel can be considered as the “author's word” in the opera. Keywords—Maurice Ravel; The Child and the Spells; the “author's word”; lyric fantasy; “Apaсhes’ letters”; the “diary” of the creative composer’s life

The “Author's Word” in the Maurice Ravel’s Lyric Fantasy The Child and the Spells