Modern musical interpretation of A. P. Chekhov’s drama «Three sisters» on the European stage

The subject of the research covers two modern operas written on the motifs of A. P. Chekhov’s drama «Three sisters»: the opera by the Hungarian composer Péter Eötvös (1998) and that by the Russian composer V. Tarnopolsky (1999). The present paper makes a comparative analysis of these operas and reveals the presence of some similar details in them along with a sharp contrast in the general interpretation of the drama. The «non-traditional» reading of Chekhov, the avant-garde musical style and the existential orientation, unite the two operas. The two composers jointly with the librettists change the chronology of the play explaining it by their aspiration «to raise the “Three sisters” to a composition deprived of the mark of time». According to them, Chekhov attracts «by the modernity of the heroes». The contrast of the said operas consists not only in using different musical means, but first of all in their conceptual distinction. Thus, the opera by Eötvös can be compared with a musical, for it is a beautiful performance with the participation of non-traditional voices of countertenors in the 4 main (female) roles and of instruments rare for this genre. This is a life-asserting composition reflecting the dreamy atmosphere of the 19th century. As for the opera by Tarnopolsky, it is, on the contrary, a tragedy with elements of dark absurd comicalness.

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