Hadji Murad by Decker-Schenk on Khabarovsk Stage

In Khabarovsk and a number of other provincial towns at the turn of the 19th – 20th centuries, foreign \nand Russian operetta formed the basis of the mixed operetta and drama troupes’ repertoire. One of \nthe first Russian samples of this genre is analyzed in the article. Combining traditional musicological \nanalysis with musical and sociological approach, the author attempts to establish a link between \nartistic and stylistic peculiarities of the popular work in the period under consideration – the operetta \nby I.F. Decker-Schenk “Hadji Murad”, on the one hand, and its perception by the local artistic forces, \naudience and critics on the other. It is revealed that the ratio of “complexity” as a characteristic of \nhigh art and availability, typical of entertainment genres found by the composer and librettist, gave \nthe provincial audience a feeling of belonging to art, at that theater became a symbol of the “civilized” \nprovincial life

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