The dissertation examines the singer's vocal timbre, which acts as a semantic factor in the genre specification of opera poetics. Timbre is defined as a key characteristic of vocal sound, it gives sound meaning and semantic meaning. In the art of opera, the vocal timbre acts as a factor in the dramaturgy of the work, which creates a complex set of expressive methods in unity with the figurative meaning of the music.
It is the timbre that determines the unique overtone "aura" of the sound, as the main richness of the vocalist's voice. At the same time, the timbre of the voice is not only a natural characteristic, but also a technological method of expressive and meaningful content of vocal utterance, which determines its interpretative potential.The purpose of the study is to substantiate the timbre properties of the vocal voice as the main psychological and performing center of opera poetics; the object of the study is the dramaturgical role of the timbre indicators of the operatic vocal voice in the triune communication "composer - singer - listener/spectator"; the subject of the study is the semantics of the opera timbre as a determining factor in the psychological portrayal of the opera image.
Timbre acts as a component of the musical language, which is responsible for conveying the meaning hidden in the bowels of the musical fabric. Through timbre, musical communication finds the announcement of sound material as a meaningful message, therefore timbre is a significant "stroke" in portraying an opera image - defining its character, learning its temperament and programming its external stage manifestations - facial expressions, gait, plasticity, artistic solution of stage costume.
The integrity of the artistic image cannot be understood through rational thinking, which is based on the rigid principle of determination and excludes the emotional nature as non-constructive. Only sensual, metaphorical thinking, based on empathy, allows one to fully perceive an artistic image in all its completeness and uniqueness. The most difficult thing in defining and explaining timbre is that it is always felt subjectively. Timbral recognition and sensory response to timbre are determined by deep archetypal images. The timbre of the voice initiates the emergence of intersensory associations structured both conversionally (traditionally) and purely individually. It is the timbre, especially the timbre of the human voice, that causes intersensory associations in our consciousness - synaesthesia, which enriches the perception of music.
The legality of dividing the voice into different timbres-roles is explained from the point of view of the psychological and performance phenomenology of opera singing and the understanding of opera art as a special type of stage communication, which is determined not only by purely vocal data, but also by the singer's psychophysical characteristics, which provides an opportunity to more fully and comprehensively understand and predict the birth of an artistic musical image in opera.Timbre-role acts as a tool of "internal psychological portraiture" (O.I. Samoilenko) of the opera image. In the opera, the internal action of the character is realized by sound means of a certain timbre-role, and "the fact of the action is realized through the sound" (O.I. Samoilenko).The characteristics of the timbre-role of the performer of a certain part play a significant role in the realization of the author's idea and act as the initial basis for the comprehensive realization of the genre specificity of opera as a stage art. Timbre-role in the opera is a communicative and psychological tool in the implementation of artistic tasks of the general thesaurus of an opera performance.
