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Креативная рецепция библейской музыкальной драмы XIX века в рок-опере Э. Л. Уэббера «Иисус Христос – суперзвезда»In the current situation of the development of creative industries, which are represented by a wide
Технология приобщения младших школьников к оперному творчеству of three stages: training, developing, and creative. The methods of introduction to Opera creativity were
Принцип интеграции в приобщении младших школьников к оперному творчеству approach. The article considers one of the principles of introduction to the Opera creativity of younger
Принцип интеграции в приобщении младших школьников к оперному творчеству approach. The article considers one of the principles of introduction to the Opera creativity of younger
Роль екатеринбургской композиторской школыв становлении творческих традиций Южно-Уральскогомузыкального театра artistic and creative processes that took place in the given field of art from late 1930s to early1980s
Comic Operas of G. I. Banshchikov in Context of Development of the Domestic Musical Theatre of the Second Half of the 20th Century
operas, considered not only in the context of the creative biography of the musician, but also in terms
Specificity of Plot Composition of G.F. Handel’s opera “Rinaldo”The article focuses on “Rinaldo”, one of the first operas that brought G.F. Handel European fame
Адаптация оперного искусства к медиакоммуникации как проявление культурной конвергенцииThe article explores specific challenges in adapting opera as part of the entertainment industry
Implementation of Instrumental Theatre Principles in Yuri Kasparov’s Opera-Monodrama “Nevermore!” penetrates
into the opera-monodrama genre, given the example of “Nevermore!” opera
Peculiarities of Adaptation of the Novel by F.M. Dostoyevsky “The Idiot” in the Opera by M. Weinberg of the Same Name drama. The opera “The Idiot”, finished by the Russian composer
Mieczysław Weinberg in 1986
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