«The violent man from Gascogne» by Qara Qarayev: towards the problem of genre identiication

Abstract

The author of the paper examines the musical-theatrical project «The Violent Man from Gascogne» (1974) by G. Garayev and P. Gradov. This project was named by his creators both «romantic musical comedy» and «musical». The need for a more accurate deinition of the genre has prompted the researcher to address the most important aspects of the work:the individually interpreted synthesis of «the 17thcentury and contemporary music» stylistics, the speciicity of «dialogues» between musical genres, a stage adaptation of the origin literary text (E. Rostand’s play «Cyrano de Bergerac»), realization of «choreo-plastic line», etc. The submitted analytical observations further to draw the conclusion about priority role of «operaness» in the capacity of the fundamental conceptual element in «The Violent Man from Gascogne», and to represent the corrected deinition of the latter work as «opera-musical».