Mean (opera)

The work is an example of a classic comic opera on the Russian stage, but it has innovative features and in many ways does not fit into the strict framework of genre traditions. The composer chooses a common plot for her, but adapts it to the Russian life of the XVIII century. In the opera, the classic principle of the trinity of place, time and action is observed, but it contains not only traditional humor, but also features of the psychological characteristics of the actors.

In the work used only five characters, no choir. In the center of action is the main character - Skryagin, whose surname characterizes his character. At the beginning of the opera, he is shown as a typically buffoon character who pays money for his niece Favorite. However, in the process of unfolding a musical act, lyrical features penetrate into his characteristic - he falls in love with Martha, the Favorite's maid, who seems to be the Countess. Later, conflict characteristic penetrates its characteristics - it is set before the choice between money and love. The composer for his character creates serious dramatic music and thereby enhances the severity of irony. It is noteworthy that the main musical number, in which Skryagin’s characteristic is fully revealed is performed in the character of the accompanying recitative separated from other numbers - this gives the composer freedom to use various musical means and is the only one of its kind to not only use this operatic form, but also application at the climax of the action. The characteristics of the servant Skryagin Prolaz and the maidservant, Favorite Marty, are also in depth. Both of them play a double role on stage, seeming to Skryagin as different than they really are. Martha, in order to take money from Skryagin for her mistress, seems to be a rich countess to Skryagin, who has a "village near China." However, she is actually in love with Prolaz, who knows about her true origin. This gives impetus to unexpected stage situations (for example, in a quintet). In addition, she is illiterate, but she possesses worldly wisdom and is able to depict their future relationships in the satirical form when she becomes rich (Martha’s aria). Prolaz also possesses intelligence and cunning, but with the owner it is forced to pretend to be a fool. Similar characteristics of the servants, where their mind and acuity are put in the first place, have this opera with future operas on the plots of Beaumarchais - Mozart's Figaro's Wedding and Rossini's Barber of Seville . Ensembles are also brilliantly written. Pashkevich solves the most complicated problem of simultaneous characterization of diverse psychological states (in this the musical side of the ensembles comes close to some ensembles in Mozart's comic operas). For example, the opposition of the characteristics of Marfa and Skryagin in their duet is achieved not only by text (Marfa asks for money, and Scriagin tries to distract her with an explanation of love), but also by polyphonic and timbre means (violins withstand a combination of altos and bassoons). Ensembles of action filled with unexpected contrasts, for example, the "trio of receipts", when Skryagin dictates a receipt for money to Marfa, are also masterfully made, and the latter, being illiterate, in order not to reveal itself, simulates a headache.