International Journal on Integrated Education e-ISSN : 2620 - 3502

p-ISSN : 2615 - 3785

The Process of Changing Modern Traditions in the Uzbek Opera Theater

Gafarov Ruslan Rayetovich

Abstract: During the years of independence the issues of development and strengthening the
spiritual culture of the population are a priority of state importance. Recently, more and more
attention has been paid to organizing and conducting scientific forums and conferences,
international and republican contests. One of such heritage of national spiritual revival is the art
of opera. In particular, the opera theater. Let us dwell on it in more detail.
The article deals with the issues of Uzbek opera art. On the material of the analysis of the opera
genre in the works of modern Uzbek composers the expressive means, aimed at educating the
younger generation through the art of opera are identified.
Keywords: creativity, opera, theatre, art, traditions, vocals, composer, education, stage.
---------------------------------------------------------------------------------------------------------------------
Introduction: The history of the national opera in the musical culture of Uzbekistan began with
the operas “Buran” by M. Ashrafi and S. Vasilenko in 1939, “Leyli and Majnun” by R. Glier and
T. Sadykov in 1940. A rapid rise in the development of operatic art took place in the 50-60s of
the twentieth century. The opening of the State Grand Academic Opera and Ballet Theater
named after Alisher Navoi, the State Philharmonic Society, the opera studio at the conservatory
raised the level of performing skills to an unprecedented height. Outstanding composers M.
Ashrafi, S. Yudakov, M. Burkhonov, I. Akbarov, later M. Bafoev, R. Abdullaev and others
wrote operatic works that became worthy national classics. Scenes from operas, in particular,
arias, cavatinas, duets are heard on the stages of theaters, festivals, competitions. The above
genres are included in the educational repertoires.
Interest in opera among the population increased under the influence of the creative work of the
collective of the Bolshoi Theater named after A. Navoi and the Samarkand State Opera and
Ballet Theatre. Close comprehensive contacts have been established with the State Conservatory:
cooperation in the training of national personnel, with individual methodology and directions.
Because opera music helps to consciously perceive the work, reveals its content, accumulates
musical experience, enriches the spiritual world of a person. An objective assessment of a work
can only be given by someone who knows it perfectly, who has performing skills.
Literature review: The Opera House is a source of colossal spiritual power of influence,
affecting the deepest feelings, thoughts, in some cases associated with the living conditions and
lifestyle of a person. Opera is one of the most actively developing types of musical theatre. The
repertoires of the touring opera troupes of the early 20th century included a special genre in their
performances, which immediately aroused keen interest; It has not weakened throughout the
century.
The opera has improved over the years. She revealed the internal cataclysms of mankind, the
problems and events of the current period, and it was natural that the actors in the form of heroes
were the owners of perfect voices and performances. Accordingly, the requirements for the
conductor were the same. The conductor is a creative musician, giving the viewer a modern look
of artistic creativity, novelty, the requirements of life in conditions, in modern bright artistic
design. At the same time, it is the conductor's skill that reflects the composer's innovations and
bold discoveries, new symbols, heroes, and patriotic ideas.

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Despite the fact that the art of conducting came to us relatively recently, only in the 1950s-
1980s, it acquired its own forms and content. In particular, the significance of the persons
involved in the music of this direction is great: symphonic, stage, folk instruments, choirs,
percussion instruments and pop music. Among them, the opera genre, the place and personality
of the conductor are also significant. Sources about the activities of the conductor are not
complete enough. The role of the orchestra and conductor in music and stage performances, in
their artistic fusion, has been little studied and covered. It should be noted that the orchestra is
completed in several stages, and it takes years, then its management will be improved
accordingly.
Discussion: As a result, a new performer appeared in the theater under the name - conductor. His
two leadership roles and duties during rehearsal - not only as a conductor, but also as a director -
are worthy of study. The science of complex tasks that an opera conductor must solve during a
performance, the interconnected management of the technique of stage-by-stage disclosure of
theatrical events, is also necessary for practical application, determines the relevance of the
chosen topic.
Uzbek opera is inseparable from the traditional music of the East. It is an important factor
influencing all aspects of opera art: composer creativity, musical dramaturgy of a work, stage
performance. Various plots prevail in the Uzbek opera at all stages of its development. In
particular, historical-epic and fairy-tale-legendary themes, oriental literary plots related to
ancient times. All this calls composers to the need to address and use the traditional musical
genres of the East. They include:
 vocal;
 instrumental;
 dance;
 syncretic forms.
The appeal of Uzbek composers in their operatic works to the traditional music of the East is
usually due to a certain plot, which receives an individual interpretation, specific artistic
solutions.
Particularly interesting in this sense is the opera "Leyli and Majnun" (1940) by R. Glier and T.
Sadykov based on the eponymous plot of Navoi's poem. This is a lyrical-epic opera in which
fragments from the Shakhnoz-Gulyor maqoms (part of Girya) are used in various ways. "Segoh"
conveys the cry of the mother. Arioso Leyli in the last picture is built on the basis of the
Tashkent maqom "Chorgoh". In revealing the image of Omar, an excerpt from the maqom
“Bayot 4” was used [1, 100].
The geographical map of the traditional music of the East in the opera "Ulugbek" (1942) by
Alexei Kozlovsky is shown more widely. This opera is about a historical figure, where a diverse
panorama of traditional genres is interconnected: vocal, dance, folklore, ritual song. The
pantomime "The Ganga Boat", "The Shell Catchers", the Choir of Indian Ambassadors, is
characteristic of the appeal to oriental traditions. One of the highlights of the opera is the
Cavatina of the Chinese Envoy Guo Ji, which is close to Chinese melodies, and sings of the
beauty of Xing Dongfang, sent as a gift to Ulugbek.
Results: In the opera "Dilorom" (1958) by Mukhtar Ashrafi, based on the poem "Seven Planets"
by Navoi, a number of authentic Uzbek, Tajik, Egyptian, Indian and Iranian melodies are used.
Among them is the Dance of the Seven Beauties in the fourth act, where the expressive melodies
of the Eastern peoples sound at the moments determined by the development of the action. The
composer tried to give them a character corresponding to the stage image [2, 122].
The opera The Tricks of Maysara (1959) by Sulaiman Yudakov is the first Uzbek comic opera. It
uses the authentic Namangan wedding “Hai, hai, ulan jon ulan”, folk dance “Dutar bayat” as
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International Journal on Integrated Education e-ISSN : 26203502
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traditional forms and genres. The opera is dominated by cheerful, lively, clear rhythmic tunes,
smooth, dance movements: “Lali Badakhshon”, “Olma atirzhon”.
The opera "Sadokat" (2015) by Rustam Abdullayev about the life of the people's poet Zulfiya, is
presented through vivid stage performances, where people celebrate the traditional Navruz
holiday, organize festivities. The dramatic center of the opera is Zulfiya's monologue as an
extreme degree of despair, where national-characteristic features are brought to the fore: singing
of the second step, fret, movement of the melody in ledges, chants in a high register, as well as
elements of chromatism, unusual for traditional Uzbek music, subordinated to one artistic task -
revealing the tragedy of the moment.
Uzbek opera is characterized by dance, choreographic scenes, plot compositions, in which there
are many traditional oriental melodies. Through them, the spring holiday Navruz, religious dhikr,
wedding ceremonies are revealed. Such examples are the operas “Omar Khayyam” (1994), “The
Sky of My Love” (2002), “Khamsa” (2017) by Mustafo Bafoev. Thus, the operatic dramaturgy is
revealed through the traditional music of the peoples of the East, without changing the modal
structure of the melody.
All this is of great interest to the audience, the youth. Recently, more and more listeners are
interested in opera art. Because theatrical art, like no other genre, affects the aesthetic education
of the younger generation, shapes the taste. One of the reasons why the art of opera has taken an
important place in the musical education of the younger generation is that it is in it that one can
see a single synthesis of many art forms.
Conclusion: The opera reveals the life of the people, problems and events, and it is natural that
the requirements for actors in the images of heroes, owners of perfect voices, for conductors and
directors are being put ever higher. This is due to the high spiritual and aesthetic demands of
modern society.
Thus, summarizing our observations on the process of updating traditions in the Uzbek opera, it
is necessary to draw the following conclusions:
 the process of co-authorship created the first Uzbek operas, giving way to single authors:
 citation of the Uzbek national folklore to more complex forms, and on its basis the creation
of original melodies;
 poppy and its musical and stylistic means became significant in the Uzbek opera: mode,
rhythm, principle, form of education;
 In modern Uzbek opera, there is a unity of traditions and modern forms.
The process of updating the opera is endless, and this is the vitality and modernity of the Uzbek
operatic art.
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