Frankfurt “The Enchantress” by P. I. Tchaikovsky (2022) in the aspect of musical semiotics

The paper touches on a number of issues of musical and theatrical semiotics. Within the framework of a semiotic approach to a musical material, the author examines the phenomenon of musical code, the evolution of a director’s role in the co-creation of the final integral theatrical product and the appearance of a trend for directorial dominance. Taking as an example P. I. Tchaikovsky’s opera “The Enchantress” (2022 г.) staged by the Frankfurt Opera House and relying on, in particular, I. V. Kochubey’s “Doctrine about the Everyday Things Order”. The author analyzes the functioning of the system of “details” within the framework of a director’s intention, relating to the various levels: musical, plot-compositional, plastic-objective ones. The purpose of the study is to identify the cause-and-effect relationships in the semiotic reading of the stage production of “The Enchantress” by P. I. Tchaikovsky. The scientific novelty of the work is seen by the author in the fact that for the first time the problem of the director's reading of an opera text and its perception by the viewer from structural-semiotic, hermeneutical, phenomenological positions, as an important component of the expressive system of modern musical and theatrical production, is specifically studied. As a result of the study, it was established that an operatic work is capable of creating new readings, interacting with a changing cultural and ideological context. As a result of the study, it was established that an operatic work is capable of creating new readings, interacting with a changing cultural and ideological context.