POETICS OF MUSICAL BAROQUE: AESTHETICS, PERFORMING TRADITIONS, INTERPETATION

The purpose of the article is to identify performance strategies in contemporary musical culture that are related to the interpretation of ancient styles and genres as authentic examples of the cultural process in the age of globalization, based on the comprehension of the components of the poetics of the musical baroque. The research methodology is based on the cognitive, interpretive, historical and stylistic approaches necessary for a comprehensive study of this topic. The gender specification of performance is highlighted. The author analyses iconic works (Dardano's aria “Pena tiranna” from Act II of the opera “Amadis of Gaula”) and performances (the Sesto part from the opera “Julius Caesar” by G.F. Handel) in which the gender approach to the authentic “opera text” prevails; the role of the countertenor in contemporary art is characterized from the standpoint of historically informed performance. In connection with the great popularity and spread of the art of countertenors in the performance of ancient vocal music, the question of gender identification as a performance strategy has arisen, in the development of the concept of V.O. Gigolaeva. The conclusions outline the components of the performing poetics of the musical baroque era: the parity of vocal and instrumental thinking, sound imitation, improvisation on the contralto, and the performance of one's own cadences. The stylistic differences in the performance of Baroque music in terms of vibration, which is an inherent quality and characteristic of the voice, and methods of colourful sound formation that provide unlimited possibilities for performance are indicated.