OPERA AND 'LATE MODERNISM' AT THE TURN OF THE 21ST CENTURY

The historical development of music at the turn of the 21st century may be seen as a linear process fixed in such definitions as 'modernism-postmodernism-metamodernism' (van der Akken, Natalia Khroushcheva). However, another interpretation of historical development is also possible: such scholars as David Metzer or Klaus Mahnkopf offer non-linear interpretation 'modernism postmodernism second (or late) modernism' following the point of view expressed by such authorities as C. Jencks (architecture) and M. Perloff (literature). The key point of this polemic becomes the reflection of processes in the art 'after postmodernism.' Understanding postmodernism as an art with a sencs of 'the end of the history' makes it possible to differentiate between postmodernism and some other state of art which seems to refer to such concept as modernism. Different scholars in the spheres of humanitarian research insist on reconsidering modernism as an actual state of art where some ideas that were not fully developed during the modernist period take place. It is argued that many composers of the beginning of the 21st century turn to specific artistic ideas rooted in styles of earlier period of modernism, i.e. expressionism: new opera shows its development towards expressionist ideas in the The Minotaur by H. Birtwistle, Luce mie traditrici by S. Sciarrino, L'amour de loin by K.Saariaho. All these operas could be interpreted in terms of modernist aesthetics with its definite attention to the subconsciousness, human values, high emotional tension. Therefore Harrison Birtwistle follows some Stravinsky principles while Saariaho explores principles characteristic for Debussy and Messiaen. Therefore a way to new sensibility and emotional expression is developed followed by diminishing severity of musical language and heightening emotion.