Арії з іспанських сарсуел як джерело оновлення репертуару вокаліста

This study analyzes the compositional and performance techniques employed in arias from Spanish zarzuelas, highlighting their potential to significantly enrich and diversify a vocalist's repertoire. The unique national melodic characteristics inherent in zarzuelas, along with their vibrant rhythmic elements and dynamic mood shifts, serve as compelling factors that capture the listener's attention, making these works a striking addition to concert programs. A concise overview of the evolution of zarzuela as a genre is provided, detailing its historical development into two primary forms: baroque and romantic zarzuela. Within the romantic category, two subgenres are identified: grand zarzuela and minor zarzuela. The analysis reveals that the two zarzuelas examined—Geromino Gimenez's "Tempranica" and Ruperto Chapi's "The Waffle Seller"—are classified as minor zarzuelas, while Chapi's "Daughters of Zebedee" is categorized as a major zarzuela.The study delineates the defining characteristics of minor and major zarzuelas through an examination of selected arias. Major zarzuelas typically feature three (or occasionally two) acts, with a predominance of vocal numbers over spoken dialogue, the inclusion of a choir actively participating in the narrative, and instrumental interludes at the beginning of each act. In contrast, minor zarzuelas are characterized by a single act, a greater emphasis on spoken text, plots drawn from everyday life, a limited number of characters, and the incorporation of popular musical motifs. The author conducts a detailed analysis of the expressive techniques utilized in three specific arias: Maria's aria from "Tempranica," Luisa's aria from "Daughters of Zebedee," and Socorro's aria from "The Waffle Seller." The findings reveal several expressive elements that embody the distinct national flavor of Spanish music, including: 1) harmonic structures that utilize dominant modes; 2) melodies enriched with melismas and rapid passages; and 3) contrast as a fundamental compositional device, encompassing modal, textural, and rhythmic variations. The author posits that effectively conveying the national Spanish essence in performance necessitates the use of expressive techniques, particularly through dynamic accents, the incorporation of vocal ornaments, and elements of improvisation. This approach not only enhances the authenticity of the performance but also deepens the audience's engagement with the zarzuela repertoire.