Logic of the fuhctioning of timbre-semantic dubies in W. A. Mozart`s Commedia per Musica «Le nozze di Figaro»
DOI:
https://doi.org/10.31318/2522-4190.2026.145.356091Keywords:
open work, comedy through music, wedding-play operatic chronotope, mythooperology, timbral-semantic double, paired archetype of the bridegroom and the bride, soubrette, travestyAbstract
Relevance of the study. Reproducing the theme of doubling, Mozart disrupts the logic of direct correspondences between timbral and semantic solutions in the “relationships” between operatic doubles. The identification of the logic governing the functioning of timbral-semantic doubles determines the relevance of the chosen research topic.
The Main Objective of the Study is to establish the laws of the logic governing the functioning of timbral-semantic doubles of Mozart’s commedia per musica Le nozze di Figaro.
The methodology includes the dialectical method to reveal the manifestation of the laws of logic in commedia per musica; inductive and deductive methods; systemic-structural and semantic types of logical analysis aimed at revealing the specificity of the functioning of timbral-semantic doubles; a hermeneutic approach to recognize to identify hidden meanings; analysis of intonational dramaturgy; mythooperological analysis, which contributes to identifying the laws of mythological thinking in comic opera.
Results and Conclusions. Mozart’s comedy through music is examined from the standpoint of reproducing the logic of the functioning of timbral-semantic doubles formed around the archetypes of the bridegroom and the bride — the paired archetype of the wedding couple. The archetype of the bridegroom is supplemented by the role of the avenger; the internal structure of the bride archetype is based on the interaction of the hypostases Engel and Schelmin. The image of Susanna corresponds to a coloratura embodiment of the soubrette role, while Barbarina represents a «pure» embodiment of the soubrette. The interpretation of Susanna allows her to be placed on the same «performative pedestal» as the Countess, as a second prima. The ambiguity of Cherubino’s Hosenrolle corresponds to the theatrical tradition of interpreting the Travestie-Rolle. In the functioning of timbral-semantic doubles in Mozart’s opera, the interaction of the laws of classical logic (identity and contradiction) and the logic of myth (metamorphosis and the principle of the non-excluded third) is observed. Myth-making acquires the significance of a genre-defining feature of the opera, extending to comic models, which expands the subject boundaries of mythooperology.
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