Musicology Annotation << Back Composition and dramaturgy principles of the opera «The Enchanted Wanderer» by Rodion Shchedrin Tatiana M. Siverskaya In this article the author shares a number of observations concerning dramaturgy principles of modern opera theatre, including the principle of «mirror». Most attention is paid for Rodion Schedrin’s opera «The Enchanted Wanderer». The dramaturgy conception of this opera is considered in the context of the other works of the composer, notifying the stylistic devices which is character for the musical theatre works of the Twentieth century: a retrospective principle of narrative («revived memories»), multi-channel action, orchestral Intermezzo as a generalization of the result, timbre dramaturgy, non-personifi cation and others. Parallels between the conceptual solution of operas by Rodion Shchedrin and musical theatre by Igor Stravinsky. A special attention is paid to the composition of the opera: it’s graceful concentric with the architectonics, the principle of the mirror behind it. Notes typical «adaptation» of the genre of opera under the realities of the modern concert life. The author emphasizes the importance of the spiritual component in the plot of this work, in the writings of R. Schedrin at 1990–2000s years, as well as the relevance of these themes in the art of modern times. Keywords: Schedrin, Leskov, Enchanted Wanderer, opera, dramaturgy, composition, the principle of «mirror». Contacts: E-mail: tatiana_fund@mail.ru Pp. 03-09.