Open AccessThe Image of Yaromir in the Artistic System of Nikolai Rimsky-Korsakov’s Opera- Ballet “Mlada
Author(s) -
Svetlana A. Podshivalova,
Olga V. Shmakova
Publication year - 2019
Publication title -
ikoni
Language(s) - English
Resource type - Journals
eISSN - 2713-3095
pISSN - 2658-4824
DOI - 10.33779/2658-4824.2019.4.061-075
Subject(s) - opera , ballet , art , theme (computing) , realm , literature , happiness , tonality , musical , mythology , character (mathematics) , aesthetics , history , dance , psychology , social psychology , archaeology , computer science , operating system , geometry , mathematics
The article is devoted to the image of Yaromir in Nikolai Rimsky-Korsakov’s opera-ballet “Mlada,” a mythological work in its structure and content. Russian musicology does not include a systematic research work from such an angle, and this stipulated the topicality of the present theme. The image of Yaromir is examined in a complex form, highlighting the characteristic means of musical expressivity, related to intonation, timbre, texture and modality-tonality. In conclusion, it is emphasized that Yaromir is a complex character. At first he appears in heroic light as the Prince of Arkona. Passing through peripetiae of mystically conditioned circumstances in the confrontation between the forces of Good and Evil, in the struggle for happiness within the framework of the lyrical triangle (Voyislava – Mlada), Yaromir perishes physically, but is elevated in the spiritual realm. Above all his trials is only Love.