Abstract: The article examines the issue of performing interpretations of famous tenor arias from operas by J. Puccini, who are not only firmly established in the repertoire of outstanding singers, but are also an obligatory part of the program of vocal competitions and the educational repertoire of music universities. We analyzed the representation of arias of their operas "Bohemia", "Tosca" and "Turandot") by masters of the Russian (S. Lemeshev, V. Atlantov, P. Melentyev, E. Raikov, M. Mikhailov, V. Galuzin) and Chinese vocal schools (Kang Wang, Yijie Shi, Wei Song, Shi Chu Jang, Deng Chao Hong).
This article analyzes performers from different schools and eras, in which the weak and strong sides of interpretations were identified and the features of the part and its performance variants were highlighted by outstanding representatives of the Russian vocal school and young singers from China. The author aims to identify various techniques of the vocal technique of the tenor, using as an example arias from the operas of J. Puccini, as well as the task – to analyze arias performed by outstanding Russian and Chinese artists, paying special attention to interpretation and means of performance, in particular the bel canto technique, using a comparative analysis of interpretations. Masterpieces of world opera are of equal importance for both Russian and Chinese culture, and they are often addressed by directors. The immortal figure of opera mastery for Russia and China is J. Puccini and, in general, the Italian opera school with its unique bel canto style, embodied also in the works of masters Rossini, Verdi, Donizetti.
Since Chinese are actively interested in Russian and Italian opera and often perform them, this aspect is seen as relevant in our time, to which many research papers are devoted.
In this work, the author aims to identify various techniques of the tenor vocal technique, using as an example arias from the operas of J. Puccini, as well as the task of analyzing arias performed by outstanding Russian and Chinese artists, paying special attention to interpretation and means of performance, in particular the bel canto technique.

Keywords: execution, interpretation, Calaf, Cavaradossi, Rudolf, Puccini, Vocal art, tenor arias, vocal, Chinese vocal School

References:
Koenigsberg, A. K. (1963). Some techniques of musical drama by J. Puccini and modern foreign opera // Questions of modern music : collection of art. / chief editor M. S. Druskin ; Leningrad Order of Lenin State Conservatory named after N. A. Rimsky-Korsakov. L.: Muzgiz, 202-222.
Koenigsberg, A. K. (2004). Giacomo Puccini // 111 ballets and forgotten operas : reference.-guidebook / author-comp. L. V. Mikheeva, A. K. Konigsberg ; ed. B. L. Berezovsky ; Philharmonic Society of St. Petersburg. St. Petersburg : Kult-inform-press, 672.
Stepanov, O. B. (2000). Giacomo Puccini // Musical literature of foreign countries : a textbook / comp. I. A. Giventhal, L. D. Shchukina, B. S. Ionin. M.: Music, 7, 10-64.
Danilevich, L. V. (1969). Giacomo Puccini. M.: Music, 453.
Nestiev, I. V. (1966). Giacomo Puccini: an essay on life and creativity. M.: Music, 171.
Puccini, J. (1917). Letters; translated from Italian by I. V. Konstantinova ; ed. and comp. T. G. Keldysh. M. : Music, 366.
Fraccaroli, A. (2014

Abstract: This article is dedicated to the research of the peculiarities of the interpretation of the choral genres in the work of Arthur Lourié. As a result of the conducted musicological analysis, the authors determine the role of the composer’s work in the musical culture of the early XX century, and define the innovative attempts of aligning the expressional capabilities of the symphonic and choral scores, aimed at strengthening the coloristic and expressional capabilities of the choral sound. It is substantiated that the symphonization represents the dominant principle of development of the musical dramaturgy of the symphonic cantata for mixed chorus a cappella “In the Temple of Golden Dreams” of peculiarities of the interpretation of the choral genres in the work of Arthur Lourié. The authors prove that in the cantata the lyrical-dramaturgical principle of symphonism is realized at the level of musical dramaturgy and system of expressional means. They substantiate that peculiarities of the interpretation of the choral genres in the work of Arthur Lourié uses the methods of monothematic development and creates a system of thematic arches, which contribute to the structurization of the musical material and establish the opening intonation-impulse; he also implements innovative methods that help align the expressional capabilities of the choral and orchestral scores.

Keywords: musical art, Russian music, choral music, Arthur Lourie, symphonic cantata, interpretation, monothematicism, sonoristicheskoe sound, musical drama, nature of the vote

References:
Asaf'ev, B. V. O muzyke XX veka [Tekst] / B. V. Asaf'ev. – L.: Muzyka. – 1982.
Gazdyuk, G. Debyussi i Shenberg: paradoksy fenomena Klangfarbenmelodie [Tekst] / G. Gazdyuk // Izrail' XXI: Muzykal'nyy zhurnal. – ¹ 44. (mart 2014). – [Elektronnyy resurs]. – Rezhim dostupa: www.21israel-music.com/Debussy_Schoenberg.htm
Zhdanova, G. V. Simfonizm [Tekst] / G. V. Zhdanova / Muzykal'nyy entsiklopedicheskiy slovar'. Gl. red. G. V. Keldysh. – M.: Sovetskaya entsiklopediya, 1990. – S. 498.
Zaytseva, M.L. «Formula mirovogo rastsveta»: iskusstvo russkogo avangarda skvoz' prizmu osnovnykh tendentsiy kul'tury nachala XX veka [Tekst] / M. L. Zaytseva // Sbornik statey po materialam Mezhdunarodnoy nauchnoy konferentsii [«Iskusstvoznanie i gumanitarnye nauki sovremennoy Rossii: Paralleli i vzaimodeystviya»] (9-12 aprelya 2012 g., g. Moskva). – M.: GKA imeni Maymonida, 2012. – S. 257-264.
Ishmeeva V.A. Chetvertitonovaya muzyka kak otrazhenie kategoriy «myslimoe» i «zvuchashchee» v tvorchestve 1910-kh godov N. Kul'bina i A. Lur'e. – [Elektronnyy resur

Abstract: This article explores the peculiarities of the musical language of a composer that distinguish the music of modern artists and stylistic differences of modern choral works from the works that preceded them. Examining the questions of musical composition, we go into more detail on the “plane of content” and “plane of expression”, discovering the specificity of implementation of musical-expressive means. At the center of the examined musical material are the choral oeuvres that are based on the material of Russian folk songs. At the same time, it is important to determine the individual stylistic traits of the works created for the original texts, from other choral works of the 2000’s. The “idiostyle” of Larin’s choral music manifests itself in the genre variety of folklore sources. In this article, the author attempts to classify the genres of the used songs by the initiation aspect, attributes of rustic or urban environment, ethno-musical orientation of the theme and musical solutions. The important role for the timbre and texture sides is manifested in both the constructive role of the methods of musical syntax (more precisely, allocation of the melody between choral voices), as well as the various means of multi-plane texture, revealed in layering.

Keywords: individual author's style, "Plan the content", "Expression of the plan", musical composition, genre, the source, folklore, texture, timbre, sonority

References:
Fateeva N. Idiostil', individual'no-avtorskiy stil' [Elektronnyy resurs] // Entsiklopediya Krugosvet. Universal'naya nauchno-populyarnaya onlayn-entsiklopediya. URL: http.://www.krugosvet.ru/enc. Data obrashcheniya: 29.09.2015.
Severskaya O.I. Yazyk poeticheskoy shkoly: idiolekt, idiostil', sotsiolekt: Nauchnoe izdanie. M.: Slovari.ru, 2007.
Lingvisticheskiy entsiklopedicheskiy slovar' / pod red. V.N.Yartsevoy. 2-e dop. izd. M.: Bol'shaya Rossiyskaya Entsiklopediya, 2002.
Bogdanova E.V. O nekotorykh aspektakh izucheniya termina idiolekt v otechestvennoy i zapadnoy lingvistike // Vestnik Leningradskogo gosudarstvennogo universiteta im. A.S.Pushkina. 2011. ¹4. Tom 1. S.100-109.
Gulyanitskaya N.S. Poetika muzykal'noy kompozitsii: Teoreticheskie aspekty russkoy dukhovnoy muzyki KhKh veka. M.: Yazyki slavyanskoy kul'tury, 2002.