V.P. Zaderatsky. The opera "The Valencian Widow": a current view

This article is devoted to V.P. Zaderatsky's opera "The Valencian Widow," based on the comedy by Lope de Vega. This work is the first to receive detailed, specialized treatment in musicological literature. "The Valencian Widow," which he primarily worked on from 1934 to 1940, became the one of composer's favorite creation. Zaderatsky, knowing the work would not be performed in his lifetime, refused to write the score. Nevertheless, he meticulously refined the piano score and brought it to perfection. Miraculously preserved sheet music, provided by the composer's son, V.V. Zaderatsky, serve as the primary source material for this article. The study focuses on the opera's musical form and the specifics of the composer's approach. The feauters of libretto, written by V.P. Zaderatsky himself, is also considered. Particular attention is given to the opera's main thematic material, the musical characteristics of the characters, and the instrumental and choral fragments. The composer's use of intonational and rhythmic complexes and their relationship with Spanish folklore are highlighted. The work's origins and its current status are briefly discussed. The research methodology is based on a combination of historical, analytical and comparative approaches with the use of archival materials. "The Valencian Widow" is the only surviving complete opera by V.P. Zaderatsky, offering a glimpse into the composer's theatrical legacy. It demonstrates a particular attention to drama. Authoring not only the music but also the libretto, V.P. Zaderatsky places his own emphasis on themes, subjecting the literary source to modifications. The use of diverse leitmotifs and recurring intonations cements the opera's structure, lending it a unique cohesion. This work is permeated with Spanish melodies and rhythms, lending it a vibrant musical character. The characterizations of the characters represent a variety of composer's approaches, from unchanging roles to psychologically subtle ones that undergo changes throughout the work. Instrumental fragments, serving various functions, are also significant: the overture, introductions to scenes, postludes, and symphonic episodes. The use of choral coloring is quite laconic and determined by the plot. The democratic nature of the musical language, coupled with the high level of artistic craftsmanship, lends the three-act composition a lightness and grace.