The Study of Music Theatre in the Russian Context: Italian Contributions and the Current Debate

Abstract

The two main narratives that coexist in Russian musicological literature – notably in the field of opera – fall within the branches of russkaja and zarubežnaja muzyka. The first is inward-looking, self-referential, aiming at enhancing the peculiarities of the original, peculiar, and autochthonous contribution to Russian musical culture; the other studies Western music and its evolution separately from the previous one. This approach differs from Western scholarship, which today tries to integrate the Russian musical phenomenon into the global horizon. While this difference can be explained through historical reasons, much remains to be done regarding communication between scientific communities and the coordination of efforts made to study sources that are still too dispersed and difficult to submit to an overall view. Observing the current state of research, my contribution highlights potential directions in the frame of Slavic studies, such as the reception of Western opera in Russia, the mobility of musicians and musical assets, the reception and evolution of aesthetic thinking, and the vocabulary with which this was expressed, particularly in the imperial era.