KIRISH: K. V. Glyukning opera islohoti 18-asr Yevropa musiqa madaniyati tarixida dramaturgiya, kompozitsiya va sahna harakati tamoyillarini o‘zgartirgan burilish bosqichi sifatida qaraladi. Shuningdek, kamroq bo‘lmasdan muhim natija sifatida reformaning vokal ijrochilikka ta’siri ham yuzaga keldi: u demonstrativ, virtuozlikka asoslangan kuylashdan voz kechib, texnik vositalarni ma’no, so‘z va dramatik his-tuyg‘uga bo‘ysundirishga asoslangan uslubni shakllantirdi. Glyuk tomonidan «Alcesta» operasining muqaddimasida bayon etilgan yangi opera talqini g‘oyasi musiqaning she’riyat va sahnadagi harakatga xizmat qilish tamoyilini mustahkamladi va natijada nafaqat nomerlar tuzilishi va orkestrning roli, balki kuylash estetikasi, tembrning ifodaliligi, matnning artikulyatsiyasi va ijroning dinamik tashkil etilishi ham qayta ko‘rib chiqildi. MAQSAD: orfeyning "Che farò senza Euridice?" ariyasi misolida K.V.Glyuk operasidagi isloh qilingan vokalning asosiy belgilarini aniqlash va tavsiflashdan iborat. , shuningdek, Glyukning opera islohoti qo‘shiqchilik amaliyotida qanday o‘zgarishlar olib kelganini aniqlash. MATERIALLAR VA METODLAR: tadqiqotning asosiy materiali sifatida Glyuk islohotining “Altsesta”ga yozilgan muqaddimada bayon etilgan qoidalari, shuningdek “Orfey va Evridika” operasining partituralari olindi. Tadqiqotda qo‘llanilgan asosiy usul tarixiy-uslubiy, xususan, Glyukning islohotchilik estetikasini opera estetikasidagi oldingi o‘zgarishlar bilan taqqoslashdir. Ijrochilik-texnik tahlil, vokal vazifalarni aniqlash uchun zarur: frazirovka, dinamik plastika, melizmatika MUHOKAMA VA NATIJALAR: ushbu tadqiqot jarayonida tahlil qilinayotgan ariya ijrochilik hamda talqin (interpretatsiya) jihatlarida kompozitorning barcha novatorlik qarashlarini namoyon etishi va o‘zida mujassam etishi aniqlandi.Muhokama: Olingan natijalar opera islohotining ta’sir kuchini, shuningdek, uning teatr san’ati va akademik ijrochilikning keyingi rivojlanishi uchun zarurligini to‘liq tushunish imkonini beradi. XULOSA: “che farò senza Euridice?” ariyasi (“Orfeo ed Euridice” operasi) isloh qilingan vokal modeli sifatida klassik vokal san’atining uslubiy pokligi va texnik mukammalligini o‘zida mujassam etadi. Mazkur asar Gluk islohoti tamoyillariga muvofiq ravishda ortiqcha bezak va murakkab koloraturlardan voz kechib, musiqiy ifodaning soddaligi va dramatik haqiqatiga urg‘u beradi. Shu bois ariya vokal ijrochidan nafaqat texnik mahorat, balki chuqur badiiy tafakkur va emotsional yetuklikni ham talab qiladi. Uslub jihatidan ariya klassitsizm estetikasi asosida qurilgan bo‘lib, tabiiylik, aniqlik va ichki iztirobning vazmin ifodasiga tayanadi. Bu yerda ovozning kuchi emas, balki uning tembr boyligi, legato olib borilishi, frazalarning mantiqiy qurilishi va matn bilan uyg‘unligi muhim ahamiyat kasb etadi. Vokal texnika nuqtai nazaridan esa nafasni to‘g‘ri boshqarish, ovozning barqarorligi, dinamik o‘zgarishlarni nozik ifodalash va registrlar o‘rtasidagi silliq o‘tishlar asosiy omillar hisoblanadi. Shunday qilib, “Che farò senza Euridice?” ariyasi isloh qilingan vokal model sifatida ijrochilikda uslubiy soddalik va texnik mukammallik uyg‘unligini namoyon etadi. U klassik operada dramatik mazmunni tabiiy va samimiy ifodalash tamoyillarini mustahkamlab, vokal san’atida yangi estetik mezonlarning shakllanishiga xizmat qilgan muhim namunadir.
INTRODUCTION: K.V. Glyuk's opera reform in the history of 18th-century European musical culture is considered a turning point that changed the principles of dramaturgy, composition, and stage action. Also, a no less obvious and significant result of the reform was the transformation of vocal performance: from demonstrative virtuoso singing to stylistics, in which technical means are subordinated to meaning, word, and dramatic affect. The concept of a new opera interpretation, outlined by Gluck in the preface to "Alceste," solidified the principle of music serving poetry and action, and as a consequence, led to a revision not only of the structure of the numbers and the role of the orchestra, but also of the singing aesthetics itself, the timbral expressiveness, the articulation of the text, and the dynamic organization of the performance itself. AIM: the purpose of the research is to identify and describe the key features of reformed vocals in K.V. Glyuk's opera using the example of Orpheus' aria "Che farò senza Euridice?" , as well as determining what changes Gluck's opera reform brought to singing practice MATERIALS AND METHODS: the main material of the research is the position of Gluck's reform, set forth in the preface to "Alceste," as well as the scores of the opera "Orpheus and Eurydice." The main method used in the research is historical-stylistic, in particular, comparing Gluck's reformist aesthetics with previous changes in opera aesthetics. Performancetechnical analysis is necessary for identifying vocal tasks: phrasing, dynamic plasticity, and melismatics. DISCUSSION AND RESULTS: during this study, it was established that the analyzed aria demonstrates and encompasses all the composer's innovative views both in terms of performance and interpretation. The obtained results allow for a comprehensive understanding of the influence of the opera reform, as well as its necessity for the subsequent development of theatrical art and academic performance. At the level of performance, there is a shift from singing for beauty and demonstrating voice to deeply reading the author's text and singing as a form of dramatic speech. CONCLUSION: the aria “Che farò senza Euridice?” from the opera Orfeo ed Euridice represents a model of the reformed vocal style, embodying the stylistic purity and technical refinement of classical vocal art. In accordance with Christoph Willibald Gluck’s operatic reform principles, the work abandons excessive ornamentation and complex coloratura, placing emphasis instead on simplicity of musical expression and dramatic truthfulness. Therefore, the aria requires from the performer not only high technical proficiency but also deep artistic insight and emotional maturity. From a stylistic perspective, the aria is grounded in the aesthetics of Classicism, characterized by naturalness, clarity, and restrained expression of inner sorrow. The focus is not on vocal power, but on timbral richness, smooth legato phrasing, logical shaping of musical phrases, and the organic unity of music and text. Technically, special importance is given to proper breath control, vocal stability, subtle dynamic nuances, and seamless transitions between registers. Thus, “Che farò senza Euridice?” as a reformed vocal model demonstrates a harmonious combination of stylistic restraint and technical excellence. It reinforced the principles of natural and sincere expression of dramatic content in classical opera and became a significant milestone in the development of new aesthetic standards in vocal art.
ResearcherUz