Pumeza Matshikiza, Aurora Orchestra & Iain Farring - Pata Pata

However, in the early Rus. A. noticeable and fruitful impact of the established arts. traditions of foreign opera art. The first artistic-weighty examples of Russian A. are presented in the opera work of V. A. Pashkevich (“Misfortune from a carriage”, post. 1779) and especially by E. I. Fomin (for example, the heroic aria of Boeslaevich from the opera “Novgorod Bogatyr” Boeslaevich ", post. 1786; lyric aria of Soretta and aria of Foleta from the comic opera" The Americans ", post. 1800). The further evolution of A. is connected with process intonats. music updates. language in Russian opera of the 1st third of the 19th century So, in A. , written by S. I. Davydov to the “Mermaid” by F. Cower (1803-07),there is a desire to create an end-to-end opera form (A. -polonaise of Tarabar), and in Lesta’s aria from the 4th part of the opera of the same name, using intonations of Russian. a long song, development lines leading to the arias of Gorislava (Ruslan and Lyudmila Glinka) and the Princess (Mermaid of Dargomyzhsky) were outlined. Romantic tendencies are characteristic of some A. in the operas of K. A. Cavos. A. was also affected by the influence of vaudeville, people's household interludes and divertissement. A. is used in the oratorio (“Minin and Pozharsky” by S. A. Degtyarev, 1811), in the theater. music (e. g. , "Esther" by O. A. Kozlovsky, 1816).