“The Passenger” by M. Weinberg: Updating the repertoire in accompanist training

The research subject is the degree of application of new works not originally intended for concert performance in accompanist training. The research aims to substantiate the need to update and use rarely performed works in the educational process, which makes it possible to expand the horizons of performers and listeners. As a result, M. Weinberg’s opera “The Passenger” is considered for the first time as an example of practical application of a 20th-century work written in a complex, innovative musical language and endowed with deep psychologism during classes with piano faculty students. Weinberg’s orchestral thinking transferred to the piano sound within the framework of the clavier allows for the use of new methods of studying the work and practicing one’s own performing skills. The scientific novelty of the research lies in creating necessary transitions, cuts of individual opera numbers most suitable for performance within the framework of a concert, as well as in the first comprehensive consideration of the opera’s main characters from the viewpoint of the dramatic development of images and their psychology. The scope of application of the results presented in the article using the examples from Weinberg’s opera relates to the professional practice of an accompanist, contributing to a significant increase in the performing skills of students and invariably bringing about an expansion of the horizons of both performers in other training program specializations and listeners.